James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. All of the minutiae of Leopold Bloom’s day, including its unspeakable details, unfold with careful precision in its pages. The New York Society for the Suppression of Vice immediately banned the novel as "obscene, lewd, and lascivious.” Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to its landmark federal obscenity trial in 1933.   Literary historian Kevin Birmingham follows Joyce’s years as a young writer, his feverish work on his literary masterpiece, and his ardent love affair with Nora Barnacle, the model for Molly Bloom. Joyce and Nora socialized with literary greats like Ezra Pound, Ernest Hemingway, T. S. Eliot and Sylvia Beach. Their support helped Joyce fight an array of anti-vice crusaders while his book was disguised and smuggled, pirated and burned in the United States and Britain. The long struggle for publication added to the growing pressures of Joyce’s deteriorating eyesight, finances and home life.   Salvation finally came from the partnership of Bennett Cerf, the cofounder of Random House, and Morris Ernst, a dogged civil liberties lawyer and founder of the ACLU. With their stewardship, the case ultimately rested on the literary merit of Joyce’s master work. The sixty-year-old judicial practices governing obscenity in the United States were overturned because a federal judge could get inside Molly Bloom’s head.   Birmingham’s archival work brings to light new information about both Joyce and the story surrounding Ulysses. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say yes to Ulysses.

    Together, the cookbooks contain over 550 of Paula’s classic, down home, Southern recipes and this boxed set makes a tempting addition to any cookbook collection, and a great gift for friends!

    The most extraordinary thing he found when writing about his experiences is that the most common comment about his work is "OMG that's me. You are telling my story. I don't feel so alone now."Living with mental illness is hard, but it's especially difficult when dealing with more than one condition at the same time. Many books about coping with mental illness focus on one disorder, such as bipolar disorder, anxiety, panic attacks, or depression. Because Dave Mowry didn't see any that dealt with his situation of living with multiple disorders simultaneously, he decided to write about it himself.OMG That's Me! is sometimes funny, often poignant, but always deeply honest, open, and personal. Mowry's stories let others know there is help and there is hope, and that they too can recover and live a full life. This book is a must read for family members and friends who will gain true insight into the experiences of loved ones living with a mental illness. This book is a must read for mental health professionals who will better understand the symptoms faced by their patients. And ordinary people will see the strength, resilience, and beauty of people that will shatter the stigma surrounding mental illness.

    This collection of Paul Celan's writings and aphorisms on poetry and art illuminates the sources of his language his exploration of the condition of being a stranger in the world, the necessity and limitation of discourse, and the understanding of the poet and his vocation.

    The trove included massive, multi-volume illustrated manuscripts, double-sided nine-foot-long watercolor murals, photo-enlarged tracings, and hundreds of sketches. Depicting a turbulent world, these works are the product of the fertile yet tormented imagination of a secretive Chicago janitor who has since been recognized as one of the supreme self-taught artists of the 20th century.Cataloguing in full color the American Folk Art Museum's recent acquisition of 37 paintings, among other Darger works, this informative yet affordable volume offers a general introduction to a controversial self-taught artist.

    You ARE It. Be It." Gary Douglas and Dr. Dain Heer share processes, tools and points of view that you can use to create consciousness and magic- and change your life in ways you may not even be able to imagine.Magic is about the fun of having the things you desire. In a larger way, magic is about consciousness - not the addendum TO your life, it's consciousness AS your life. You can function from consciousness every moment you're alive. When you do, your life becomes truly magical and there's nothing you can't generate.What are the infinite possibilities?What else is possible?"Magic is all around us, it's something we all generate. What would it take to think differently about the universe, the consciousness and oneness that we all are and the magic that is an intrinsic part of it?"--Gary M. Douglas"The real magic is the ability to have the joy that's possible, the joy that can be generated, the joy that life can be!"-- Dr. Dain Heer

    He studies Lynch's talent for blending the bizarre and the normal to emphasize the odd nature of normality itself. Hollywood is often criticized for distorting reality and providing escapist fantasies, but in Lynch's movies, fantasy becomes a means through which the viewer is encouraged to build a revolutionary relationship with the world.Considering the filmmaker's entire career, McGowan examines Lynch's play with fantasy and traces the political, cultural, and existential impact of his unique style. Each chapter discusses the idea of impossibility in one of Lynch's films, including the critically acclaimed Blue Velvet and The Elephant Man; the densely plotted Lost Highway and Mulholland Drive; the cult favorite Eraserhead; and the commercially unsuccessful Dune. McGowan engages with theorists from the "golden age" of film studies (Christian Metz, Laura Mulvey, and Jean-Louis Baudry) and with the thought of Sigmund Freud, Jacques Lacan, and Hegel. By using Lynch's weirdness as a point of departure, McGowan adds a new dimension to the field of auteur studies and reveals Lynch to be the source of a new and radical conception of fantasy.

    "[Thomas Lynch's] poems . . . are as stark and graceful as geese lifting off backwater. The poems trace from the rural midwest to London and County Clare, a quiet elegy of loss and testament. But then Lynch is by trade a mortician, and by craft a bard."—Amazon.com "[Lynch] evinces a steady wisdom drawn from years of passionate attention to daily experience."—Seattle Weekly

    They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White’s New York. Another section is a continuation of Weinberger’s celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to “What I Heard About Iraq,” which the Guardian called the only antiwar “classic” of the Iraq War. A new installment of his magnificent linked “serial essay,” An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.

    This book puts the reader in the pilot's seat for a "day at the office" unlike any other. It recounts the tragic 1966 mid-air collision with the XB-70; describes flights of the lifting body and YF-12 blackbird, and details work with the Apollo Lunar Landing Research Vehicle.The Smell of Kerosene tells the dramatic story of a NASA research pilot who logged over 11,000 flight hours in more than 125 types of aircraft. Donald Mallick gives the reader fascinating firsthand descriptions of his early naval flight training, carrier operations, and his research flying career with NASA and its predecessor agency, the National Advisory Committee for Aeronautics (NACA).Mallick joined the NACA as a research pilot at the Langley Memorial Aeronautical Laboratory at Hampton, Virginia, where he flew modified helicopters and jets, and witnessed the NACA's evolution into the National Aeronautics and Space Administration.After transferring to the NASA Flight Research Center (now NASA Dryden Flight Research Center) at Edwards, California, he became involved with projects that further pushed the boundaries of aerospace technology. These included the giant delta-winged XB-70 supersonic research airplane, the wingless M2-F1 lifting body vehicle, and the triple-sonic YF-12 Blackbird. Mallick also test flew the Lunar Landing Research Vehicle (LLRV) and helped develop techniques used in training astronauts to land on the Moon.Excerpt: " I was onboard an airliner, on 28 January 1986, when I heard the news that the Space Shuttle Challenger had exploded 73 seconds after launch that morning. Even knowing the complexity and risk involved in Shuttle operations, I was shocked by the news. The shuttle commander, Dick Scobee, had been an Air Force test pilot at Edwards and flown a number of research missions at NASA Dryden. I grieved for all the crew, but especially Dick, who I knew best. I can still recall his broad grin when he visited the Dryden pilot's office following the announcement of his selection as an astronaut. He showed great pride in his selection, and I congratulated him heartily. The results of the accident review board were hard to accept. The commission that investigated the accident blamed the Shuttle loss on poor management decisions. Challenger had been launched against the recommendations of knowledgeable technical personnel who insisted that low temperatures that day increased the chance of hot gas leakage around the seals of the solid rocket boosters. The commission found that the decision making process leading to the launch was flawed and that launch temperature constraints were waived at the expense of flight safety. It was a black day for NASA. I could sense a change in people's attitude concerning the space program. After the Challenger accident report was released, the public's pride in and respect for NASA diminished. At Dryden, we had always striven not to allow the desire to "get a flight off" to interfere with good judgment on flight safety. It was a cardinal rule. There were occasions when visiting Headquarters personnel and other VIPs were on hand to witness a test flight and we had to cancel the event due to some technical problem. We forced ourselves to avoid the desire to "press on" just to meet a schedule or impress a visiting VIP."

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

    Photographs are included.

    Schlesinger, Jr., chronicles the short life of the Kennedy family's second presidential hopeful in "a story that leaves the reader aching for what cannot be recaptured" (Miami Herald). Schlesinger's account vividly recalls the forces that shaped Robert Kennedy, from his position as the third son of a powerful Irish Catholic political clan to his concern for issues of social justice in the turbulent 1960s. ROBERT KENNEDY AND HIS TIMES is "a picture of a deeply compassionate man hiding his vulnerability, drawn to the underdogs and the unfortunates in society by his life experiences and sufferings" (Los Angeles Times).

    In Frank Zappa: The Negative Dialectics of Poodle Play, Ben Watson explains that these characteristics are not mutually exclusive; it is misguided to suppress either aspect of Zappa's genius. His socially transgressive shocks - designed to show up the repressions of contemporary culture - are central to his art, . Watson brings serious critical attention to the musician, dissecting Zappa within his context, and analyzing him alongside such artists as John Cage and Pierre Boulez. Zappa's ideas are interpreted as an extension of a Western radical tradition that encompassed the Marquis de Sade, the Surrealists, and beyond, from musique concrete to doowop, Theodor Adorno to Suzy Creamcheese, Plato to Punky Meadows, the Situationists to the PMRC. Zappa's politics, as well a his wit and relentless attempts to break standard forms, are integral to his music.

    Published posthumously, this volume rounds out the life of the legendary guitarist and composer, providing more backstory behind his creative ferocity. The stories provide a personal view into decades of his poignant insights into life and music.