Three long stories that draw the reader into the lives of three women, all past their first youth, all facing unexpected crises.

    There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art. . . "In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. 'You don't mean to do it,' he said."The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage-'a Hilarious Picture.' Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. 'In the end you lose interest, so I didn't feel the necessity to finish it.'"He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, 'a new thought for that object.'"The art community feels Duchamp's presence and his absence. He has changed the condition of being here."--Jasper Johns, from Marcel Duchamp: An Appreciation

    BalzacLove in ExileWednesday's VioletsA CareerTen Year LaterTidal WaveTransferenceFlowers in SeasonThe WillThe CampaignThe Life of ManThe Corinthian PorchThe CathedralThe AntsThe PostcardPoor MamanThe Green BeltThe Neuilly FairThe Birth of a MasterBlack MasksIrèneThe LettersThe CuckooThe House

    Up to now, only an occasional selection has appeared in an anthology, an he is still little known to American readers.

    

    

    

    

    During this time almost the entire region between Lombardy and Burgundy was brought under the control of Savoyard rulers. The "buffer state" created between France and Italy hindered French expansion for many centuries and helped preserve the independence of Italy. Drawing upon much unpublished material, Professor Cox traces the social and political evolution of the principality. He discusses how the Savoyard state was governed, financed, and defended. He also provides a fascinating biography of the Green Count.Originally published in 1967.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    Library of Congress Catalog Card Number 67-10454