My Foreman was a bastard. Apart from that it was OK. But if I was less heavy... you know what I'd like to be? I'd like to be a ballet dancer. That would be my dream."

    Two days later, the son of one of the most powerful men in the state walked into the sheriff's office with his lawyer and surrendered. The killer's name, and who his father was, would shock the entire nation and make news around the world. In a convoluted story, the mentally unstable genius claimed he killed in self-defense and to protect wealthy debutante Virginia Wilcox-the object of his unrequited love. But prosecutors claimed their star prisoner was actually the mastermind of a diabolical plot in which he would emerge as the hero, win Virginia's heart, and gain acceptance into the Wilcox family by her mega-rich father. Tulsa's high-society murder scandalized the Oil Capitol of the World when the investigation churned up unsubstantiated reports of rich kids wildly out of control. Looking out over their Christian, conservative city, adults imagined sex-mad teens driving dangerously over their streets to get to hole-in-the-wall gambling joints and breast-bouncing dance parties where they would plan big crimes-all while high on marijuana and drunk on 3.2 beer. A tornado of rumors and gossip tore through town, stirring up mass hysteria and igniting a moral crusade to save the souls of Tulsa's youth. When a key witness was found dead in his car under similar circumstances, it only confirmed their worst fears. In a notable year for famous criminals, this case from the Oklahoma heartland received nationwide coverage each step of the way. This true story is not a "whodunit," but rather, a "will he get away with it?" The answer to that question is still up for debate after the killer did something only the bravest of men would ever do.

    The result is a shimmering literary examination of the ghost of communism – no longer Marx’s “specter to come” but a haunting presence of the past.    Marci Shore builds her history around people she came to know over the course of the two decades since communism came to an end in Eastern Europe: her colleagues and friends, once-communists and once-dissidents, the accusers and the accused, the interrogators and the interrogated, Zionists, Bundists, Stalinists and their children and grandchildren.  For them, the post-communist moment has not closed but rather has summoned up the past: revolution in 1968, Stalinism, the Second World War, the Holocaust.  The end of communism had a dark side.  As Shore pulls the reader into her journey of discovery, reading the archival records of people who are themselves confronting the traumas of former lives, she reveals the intertwining of the personal and the political, of love and cruelty, of intimacy and betrayal. The result is a lyrical, touching, and sometimes heartbreaking portrayal of how history moves and what history means.

    By 1973 she was the magazine's chief photographer. Since 1983 Annie Leibovitz has worked closely with Vanity Fair, who will be producing a special music issue to coincide with the book.Her subjects include Ray Charles, Bob Dylan, Aretha Franklin, Al Green, Bruce Springsteen, Bryan Adams, Dolly Parton, Marvin Gaye, Chuck Berry and even Philip Glass. She has created a body of new work for the book, covering the landscape of American music - the juke joints of the Delta, Graceland, B. B. King at his hometown of Indianola in Mississippi and the Carter family in Virginia.The book is a tribute to a great culture in its widest form by the photographer who has understood more than anybody the power of the iconic image.

    Each story is accompanied by scripture, prayer, and discussion exercises designed to remind readers of Mary of Medjugorje's intercession on their behalf and God's personal love for them. Watkins gives nationwide talks and workshops and works as a spiritual director in the Bay Area, in addition to maintaining an active website and e-mail newsletter.

    Baldaev's father, a respected ethnographer, taught him techniques to record the tattoos of criminals in St. Petersburg's notorious Kresty prison, where Danzig worked as a guard. He was reported to the K.G.B. who unexpectedly offered support for his work, allowing him the opportunity to travel across the former U.S.S.R. Witnessing scenes of everyday life in the Gulag, he chronicled this previously closed world from both sides of the wire. With every vignette, Baldaev brings the characters he depicts to vivid life: from the lowest zek (inmate) to the most violent tattooed vor (thief), all the practices and inhabitants of the Gulag system are depicted here in incredible and often shocking detail. In documenting the attitude of the authorities to those imprisoned, and the transformation of these citizens into survivors or victims of the Gulag system, this graphic novel vividly depicts methods of torture and mass murder undertaken by the administration, as well as the atrocities committed by criminals upon their fellow inmates.Danzig Baldaev was born in 1925 in Ulan-Ude, Buryatiya, Russia. In 1948, after serving in the army in World War II, he was ordered by the N.K.V.D. to work as a warden in the infamous Leningrad prison, Kresty, where he started drawing the tattoos of criminals. His collection of drawings, which he made in different reformatory settlements for criminals all over the former U.S.S.R. over a period of more than 50 years, have been published by Fuel in three volumes, in the bestselling Russian Criminal Tattoo Encyclopaedia series.

    Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself.Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

    Beginning in the thirteenth century and making its way towards today, this historically accurate story is the eagerly anticipated debut from Vincent Mahé.Vincent Mahé is fast being established as one of the most exciting illustrators to come out of France. As well as his contribution to Nobrow 8: Hysteria he has been widely commissioned across the world to illustrate for publications such as the New York Times and XXI Magazine.

    Empty Mansions is a rich mystery of wealth and loss, connecting the Gilded Age opulence of the nineteenth century with a twenty-first-century battle over a $300 million inheritance. At its heart is a reclusive heiress named Huguette Clark, a woman so secretive that, at the time of her death at age 104, no new photograph of her had been seen in decades. Though she owned palatial homes in California, New York, and Connecticut, why had she lived for twenty years in a simple hospital room, despite being in excellent health? Why were her valuables being sold off? Was she in control of her fortune, or controlled by those managing her money?   Dedman has collaborated with Huguette Clark’s cousin, Paul Clark Newell, Jr., one of the few relatives to have frequent conversations with her. Dedman and Newell tell a fairy tale in reverse: the bright, talented daughter, born into a family of extreme wealth and privilege, who secrets herself away from the outside world.   Huguette was the daughter of self-made copper industrialist W. A. Clark, nearly as rich as Rockefeller in his day, a controversial senator, railroad builder, and founder of Las Vegas. She grew up in the largest house in New York City, a remarkable dwelling with 121 rooms for a family of four. She owned paintings by Degas and Renoir, a world-renowned Stradivarius violin, a vast collection of antique dolls. But wanting more than treasures, she devoted her wealth to buying gifts for friends and strangers alike, to quietly pursuing her own work as an artist, and to guarding the privacy she valued above all else.   The Clark family story spans nearly all of American history in three generations, from a log cabin in Pennsylvania to mining camps in the Montana gold rush, from backdoor politics in Washington to a distress call from an elegant Fifth Avenue apartment. The same Huguette who was touched by the terror attacks of 9/11 held a ticket nine decades earlier for a first-class stateroom on the second voyage of the Titanic. Empty Mansions reveals a complex portrait of the mysterious Huguette and her intimate circle. We meet her extravagant father, her publicity-shy mother, her star-crossed sister, her French boyfriend, her nurse who received more than $30 million in gifts, and the relatives fighting to inherit Huguette’s copper fortune. Richly illustrated with more than seventy photographs, Empty Mansions is an enthralling story of an eccentric of the highest order, a last jewel of the Gilded Age who lived life on her own terms.The No. 1 New York Times bestseller. Best nonfiction books of the year at Goodreads, Amazon.com, and Barnes & Noble. One of the New York Times critic Janet Maslin's 10 favorite books of 2013.

    Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer. In this book, Larry Fink--well-known for his layered pictures in social settings--explores composing photographs and improvising within a scene to create images with both feeling and meaning. Through words and photographs, he reveals insight into his own practice and discusses a wide range of creative issues, from connecting with the subject in front of the lens to shaping a vision that is authentic. Photographer Lisa Kereszi, a student of Larry Fink, provides the introduction.Larry Fink (born 1941) has been a professor at Yale University School of Art; Cooper Union School of Art and Architecture; Parsons the New School for Design; and Tyler School of Art, Temple University. Currently, he is a tenured professor of photography at Bard College. His work has been widely exhibited in the United States, including solo exhibitions at Light Gallery, New York; Massachusetts Institute of Technology, Cambridge; Museum of Modern Art, New York; and San Francisco Museum of Modern Art.Lisa Kereszi is a photographer and educator. She is now the director of undergraduate studies at the Yale University School of Art, where she has taught since 2004. She has published five books, including "Fun and Games" and "Joe's Junk Yard." Her work is in the collections of the Whitney Museum of American Art, New York, and the Brooklyn Museum, and has appeared in the "New Yorker," "Harper's" and the "New York Times Magazine."

    It also offers tips, shortcuts, design techniques, ideas and layouts to unleash your creativity.

    Her distinctive style is a unique combination of retro glamor, pin-up and high-art eroticism, and always perfect down to the smallest accessories. She only works with the best photographers - Baker, Czernich, James & James, Weathers - and, combined with her clear vision of how she wants to look, the result is always 100% stunning and 100% Dita. Dominant or submissive, damsel in distress or provocative French maid, this genuine fetishist has laced herself up and paraded around in the highest of high heels - a true fetish goddess.

    The view 16-year-old Thomas Osborne first had of Muskoka was at night, trudging alone with his even younger brother along unmarked primitive roads to find their luckless father who, in 1875, had decided to make a new start for his beleaguered family on some "free land" in the bush east of the pioneer village of Huntsville, Ontario. The miracle is that Thomas lived to tell the tale.For the next five years Thomas endured starvation, falling through the ice and freezing, accidents with axes and boats, and narrow escapes from wolves and bears. Many years later, after returning to the United States, Osborne wrote down all his adventures in a graphic memoir that has become, in the words of author and journalist Roy MacGregor, "an undiscovered Canadian classic."Reluctant Pioneer provides a brooding sense of adventure and un- sentimental realism to deliver a powerful account of pioneer life where tragedies arrive as naturally as rain and where humour resides in irony.

    As varied and inventive as the volumes they hold, such buildings can be much more than the dusty, dark wooden shelves found in mystery stories or the catacombs of stacks in the basements of academia. From the great dome of the Library of Congress, to the white façade of the Seinäjoki Library in Finland, to the ancient ruins of the library of Pergamum in modern Turkey, the architecture of a library is a symbol of its time as well as of its builders’ wealth, culture, and learning. Architectural historian James Campbell and photographer Will Pryce traveled the globe together, visiting and documenting over eighty libraries that exemplify the many different approaches to thinking about and designing libraries. The result of their travels, The Library: A World History is one of the first books to tell the story of library architecture around the world and through time in a single volume, from ancient Mesopotamia to modern China and from the beginnings of writing to the present day. As these beautiful and striking photos reveal, each age and culture has reinvented the library, molding it to reflect their priorities and preoccupations—and in turn mirroring the history of civilization itself. Campbell’s authoritative yet readable text recounts the history of these libraries, while Pryce’s stunning photographs vividly capture each building’s structure and atmosphere.  Together, Campbell and Pryce have produced a landmark book—the definitive photographic history of the library and one that will be essential for the home libraries of book lovers and architecture devotees alike.

    From an elegant, curved modern library with sunny picture windows to a bedroom library with dark wood paneling; from a simple apartment with floor-to-ceiling bookshelves to the grand Rothschild library, At Home with Books shows how book lovers live with their books in every room of the house.Includes professional advice on editing and categorizing your library; caring for your books; preserving, restoring, and storing rare books; finding out-of-print books; and choosing furniture, lighting, and shelving.