An extraordinary and surreal art book, this edition has been redesigned by the author and includes new illustrations. Deluxe numbered, limited edition of 600 w/signed card. Ever since the Codex Seraphinianus was first published in 1981, the book has been recognized as one of the strangest and most beautiful art books ever made. This visual encyclopedia of an unknown world written in an unknown language has fueled much debate over its meaning. Written for the information age and addressing the import of coding and decoding in genetics, literary criticism, and computer science, the Codex confused, fascinated, and enchanted a generation. While its message may be unclear, its appeal is obvious: it is a most exquisite artifact. Blurring the distinction between art book and art object, this anniversary edition-redesigned by the author and featuring new illustrations-presents this unique work in a new, unparalleled light. With the advent of new media and forms of communication and continuous streams of information, the Codex is now more relevant and timely than ever.
The natural world in all its richness, glimpsed variously in the house, the barnyard, and the garden, in ponds and streams, and at large in the woods and the fields, including old friends like the dog, the cat, the cow, and the pig, along with more unusual and sometimes alarming characters such as the weasel, the dragonfly, snakes of several sorts, and even a whale, not to mention ants in their seeming infinitude and a single humble potato—all these and more are the subjects of what may well be the most deft and delightful book of literary miniatures ever written. In Jules Renard’s world, plants and animals not only feel but speak (one species, the swallow, appears to write Hebrew), and yet, for all the anthropomorphic wit and whimsy the author indulges in, they guard their mystery too. Sly, funny, and touching, Nature Stories, here beautifully rendered into English by Douglas Parmée and accompanied by the wonderful ink-brush images of Pierre Bonnard with which the book was originally published, is a literary classic of inexhaustible freshness.
We surround ourselves with material things that are invested with memories but can only stand for what we have lost. Physical objects—such as one’s own body—situate and define us; yet at the same time they are fundamentally indifferent to us. The melancholy of this rift is a rich source of inspiration for artists. Peter Schwenger deftly weaves together philosophical and psychoanalytical theory with artistic practice. Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; sculpture by Louise Bourgeois and Marcel Duchamp; Joseph Cornell’s boxes; Edward Gorey’s graphic art; fiction by Virginia Woolf, Georges Perec, and Louise Erdrich; the hallucinatory encyclopedias of Jorge Luis Borges and Luigi Serafini; and the corpse photographs of Joel Peter Witkin. However, these representations of objects perpetually fall short of our aspirations. Schwenger examines what is left over—debris and waste—and asks what art can make of these. What emerges is not an art that reassembles but one that questions what it means to assemble in the first place. Contained in this catalog of waste is that ultimate still life, the cadaver, where the subject-object dichotomy receives its final ironic reconciliation. Peter Schwenger is professor of English at Mount St. Vincent University in Halifax, Nova Scotia. He is the author of Fantasm and Fiction: On Textual Envisioning, Letter Bomb: Nuclear Holocaust and the Exploding Word, and Phallic Critiques: Masculinity and Twentieth-Century Literature.
Features unpublished goblin illustrations by legendary illustrator and concept artist Brian Froud and an exclusive peek into Jim Henson’s creative process with 50 never-before-seen pages from his personal journal, detailing the initial conception of his ideas for LABYRINTH.
A collection of 120 paintings by renowned artist Ross Penhall that celebrates the identity and spirit of Vancouver. Also included are paintings of inspirational places across Canada, the US and Europe, including the California Coast, the Prairies and the Italian countryside. Ross Penhall's Vancouver combines stunning imagery, tribute and personal history to create a portrait of the city through an artist's eyes. Ross Penhall was born and raised in Vancouver, where he has had two separate and successful careers as a fire captain and now as an internationally recognized painter. Visitors and residents alike will look at Vancouver in a new way after they see it from Ross' unique perspective. Whether it's a row of hedges on the corner of someone's yard or the cascading rocks at Spanish Banks, Ross finds endless inspiration in the city where he lives. In addition to paintings of Vancouver, there is a chapter on Surrounding Areas that focuses on the scenery of the Interior, Vancouver Island and Coastal British Columbia. The final chapter, Places That Inspire, includes paintings of the Pacific Northwest of the United States, the Canadian Prairies and landscapes from Ross' travels abroad. For lovers of art, for lovers of Vancouver and for anyone who looks for beauty in the everyday world, Ross Penhall'sVancouver is a book that will continue to captivate readers long after they first open it.
Atlas of Prejudice 2 will help you overcome the post-coital tristesse that’s been torturing you since you finished reading the first volume. It will take you to fresh climatic heights, unveiling new fascinating landscapes of human bigotry. The book offers a unique view on otherwise trivial subjects like the Spanish Reconquista and its incestuous but God-fearing masterminds Isabella and Ferdinand, the transatlantic voyages of a racist xenophobe called Christopher Columbus, the passion for ridiculous hats of an Ottoman sultan, the love affair between Charlemagne and Pope Leo III, and the discovery of America by Scandinavian socialists known as the Vikings. You will also find out that virtuous men, like Alexander the Great, only commit mistakes when they listen to women; what’s the difference between the author’s grandmother and Amelia Earhart; how many mummies did Europeans eat during the Renaissance; and why unicorns, who love the company of virgins, got extinct in the early 17th Century, never to be seen again. In the moments when it doesn’t reinvent history, the book offers a stomach-cramping map of horrible European food, a guide for dividing the Old Continent, a prophecy about the aftermath of the coming Blitzjihad, and a world map according to Facebook users.
From the winner of the National Book Award and the National Books Critics’ Circle Award—and one of the most original thinkers of our time—“Andrew Solomon’s magisterial Far and Away collects a quarter-century of soul-shaking essays” (Vanity Fair). Far and Away chronicles Andrew Solomon’s writings about places undergoing seismic shifts—political, cultural, and spiritual. From his stint on the barricades in Moscow in 1991, when he joined artists in resisting the coup whose failure ended the Soviet Union, his 2002 account of the rebirth of culture in Afghanistan following the fall of the Taliban, his insightful appraisal of a Myanmar seeped in contradictions as it slowly, fitfully pushes toward freedom, and many other stories of profound upheaval, this book provides a unique window onto the very idea of social change. With his signature brilliance and compassion, Solomon demonstrates both how history is altered by individuals, and how personal identities are altered when governments alter. A journalist and essayist of remarkable perception and prescience, Solomon captures the essence of these cultures. Ranging across seven continents and twenty-five years, these “meaty dispatches…are brilliant geopolitical travelogues that also comprise a very personal and reflective resume of the National Book Award winner’s globe-trotting adventures” (Elle). Far and Away takes a magnificent journey into the heart of extraordinarily diverse experiences: “You will not only know the world better after having seen it through Solomon’s eyes, you will also care about it more” (Elizabeth Gilbert).