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.

    This contrasts suppressed documents citing the royal family mysteriously disappeared after fires ravaged Saint Petersburg in December 1916 (OS).Grigori Yefimovich Rasputin was supposedly murdered by high-ranking Russian officials on December 16, 1916 (OS), for his unprecedented and perceived nefarious influence over the royal family. He was poisoned, shot twice, and clubbed into submission, yet remained alive. His attackers finally drowned him underneath the icy Neva River.Rasputin’s autopsy was reportedly performed three days later by Professor Kossorotov, a high-ranking Okhrana agent and future Kremlin operative. Cause of death: drowning. The document states Rasputin broke free of his bindings and his fingernails showed signs he’d tried to claw through the ice.The stories surrounding Rasputin’s death are gross falsifications. His body was never recovered for examination, and his status within the Russian intelligence community to this day remains: At Large.This is the true story of Rasputin’s paranormal coup d'etat and his conjuring of ancient vampires that destroyed Saint Petersburg, Russia, in December 1916.History is a lie. The truth will be exposed.

    Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally unhomely modern condition. The essays are at once historical--serving to situate contemporary discourse in its own intellectual tradition and theoretical--opening up the complex and difficult relationships between politics, social thought, and architectural design in an era when the reality of homelessness and the idealism of the neo-avant-garde have never seemed so far apart.Vidler, one of the deftest and surest critics of the contemporary scene, explores aspects of architecture through notions of the uncanny as they have been developed in literature, philosophy, and psychology from the beginning of the nineteenth century to the present. He interprets the unsettling qualities of today's architecture--its fragmented neo-constructivist forms reminiscent of dismembered bodies, its seeing walls replicating the passive gaze of domestic cyborgs, its historical monuments indistinguishable from glossy reproductions - in the light of modern reflection on questions of social and individual estrangement, alienation, exile, and homelessness.Focusing on the work of architects such as Bernard Tschumi, Rem Koolhaas, Peter Eisenman, Coop Himmelblau, John Hejduk, Elizabeth Diller, and Ricardo Scofidio, as well as theorists of the urban condition, Vidler delineates the problems and paradoxes associated with the subject of domesticity.

    Worse, a secret society operating outside the law is intent on bringing the monsters back to life and restoring the creatures as rulers of mankind.Joshua and his ex-girlfriend soon find themselves pitted against vicious assassins, Russian Spetsnaz troops, and cold-blooded giants hungry for human flesh as they journey around the planet in their efforts to stop the secret society.But that’s only the start of their nightmare: Those reviving the army of giants have gained control of ancient stargates enabling an invasion of the seats of power around the globe including the Kremlin and White House. It's a massive power play that leaves the fate of the human race hanging in the balance.This fast-paced, spellbinding novel is a page-turner, with entertaining plot twists and surprises.“Adventure and mayhem, told with style!”“The characters showed personality and the book had imagination. I felt like I was watching a movie. The story line was great…. If you enjoy Stargate type movies I believe you'll like this book.”

    Goth: Undead Subculture is the first collection of scholarly essays devoted to this enduring yet little examined cultural phenomenon. Twenty-three essays from various disciplines explore the music, cinema, television, fashion, literature, aesthetics, and fandoms associated with the subculture. They examine goth’s many dimensions—including its melancholy, androgyny, spirituality, and perversity—and take readers inside locations in Los Angeles, Austin, Leeds, London, Buffalo, New York City, and Sydney. A number of the contributors are or have been participants in the subculture, and several draw on their own experiences.The volume’s editors provide a rich history of goth, describing its play of resistance and consumerism; its impact on class, race, and gender; and its distinctive features as an “undead” subculture in light of post-subculture studies and other critical approaches. The essays include an interview with the distinguished fashion historian Valerie Steele; analyses of novels by Anne Rice, Poppy Z. Brite, and Nick Cave; discussions of goths on the Internet; and readings of iconic goth texts from Bram Stoker’s Dracula to James O’Barr’s graphic novel The Crow. Other essays focus on gothic music, including seminal precursors such as Joy Division and David Bowie, and goth-influenced performers such as the Cure, Nine Inch Nails, and Marilyn Manson. Gothic sexuality is explored in multiple ways, the subjects ranging from the San Francisco queercore scene of the 1980s to the increasing influence of fetishism and fetish play. Together these essays demonstrate that while its participants are often middle-class suburbanites, goth blurs normalizing boundaries even as it appears as an everlasting shadow of late capitalism.Contributors: Heather Arnet, Michael Bibby, Jessica Burstein, Angel M. Butts, Michael du Plessis, Jason Friedman, Nancy Gagnier, Ken Gelder, Lauren M. E. Goodlad, Joshua Gunn, Trevor Holmes, Paul Hodkinson, David Lenson, Robert Markley, Mark Nowak, Anna Powell, Kristen Schilt, Rebecca Schraffenberger, David Shumway, Carol Siegel, Catherine Spooner, Lauren Stasiak, Jeffrey Andrew Weinstock

    Essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theater, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film, the struggles between high and popular culture, and changing attitudes towards human identity, life and death, sanity and madness. The volume also includes a chronology and guides to further reading.

    . . Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on paraphilosophical modes of discourse. The sections on Céline, for example, are indispensable reading for those interested in this writer and place him within a context that is both illuminating and of general interest." -Paul de Man

    --The New York Times Book ReviewThe eighth part of Roberto Calasso's monumental series on the primal forces of civilization The eighth part of Roberto Calasso's singular work in progress that began in 1983 with The Ruin of Kasch, The Celestial Hunter is an inspired and provocative exploration of mankind's relationship with myth, the divine, and the idea of transformation.There was a time, even before prehistory, when man was simply a defenseless animal. The gods he worshiped took the form of other beasts or were the patterns of the stars he saw above him each night in the sky, which he transformed into figures and around which he created stories. Soon, however, man learned to imitate the animals that attacked him and he became a hunter. This transformation, Calasso posits, from defenseless victim to hunter was a key moment, the first step on man's ascendance to power. Suddenly the notion of the hunter became fundamental. It would be developed over thousands of years through the figures that became central to Greek mythology, including the constellations. Among them was Orion, the celestial hunter, and his dog, Sirius.Vivid and strikingly original, and expertly translated from the Italian by Richard Dixon, The Celestial Hunter traces how man created the divine myths that would become the cornerstones of Western civilization. As Calasso demonstrates, the repercussions of these ideas would echo through history, from Paleolithic to modern times. And they would be the product of one thing: the human mind.

    However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, but also one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

     Provides an overview of the most significant issues and debates in Gothic studies. Explains the origins and development of the term Gothic. Explores the evolution of the Gothic in both literary and non-literary forms, including art, architecture and film. Features authoritative readings of key works, ranging from Horace Walpole's The Castle of Otranto to Bret Easton Ellis's American Psycho. Considers recurrent concerns of the Gothic such as persecution and paranoia, key motifs such as the haunted castle, and figures such as the vampire and the monster. Includes a chronology of key Gothic texts, including fiction and film from the 1760s to the present day, and a comprehensive bibliography.

    Instead, she's a teacher, a mum and wife to Julian, a very English husband. When disaster befalls her best friend, Karina feels forced to question the very foundations of her existence.

    

    But ambition quickly took wing. The house swelled to 225 rooms and became - until 2012 when it was topped by the home of a billionaire in Mumbai, India – the world’s largest residence ever built for a private citizen. Here’s the story of the house that Vanderbilt built - from the gardens by Frederick Law Olmsted to the John Singer Sargent portraits that adorn its walls.

    A community betrayed ... The whistle-blower priest who paid the ultimate price Glen Walsh and Steven Alward were childhood friends in their tight-knit working-class community in Shortland, on the outskirts of Newcastle, New South Wales. Both proud altar boys at the local Catholic church, they went on to attend the city's Catholic boys' highs schools: Glen to Marist Brothers and Steven to St Pius X. Both did well: Steven became a journalist; Glen a priest. But when Glen discovered another priest was sexually abusing boys, he reported the offending to police, breaking Canon Law and his vows to the Catholic 'brotherhood' in the process. Just weeks before he was due to give evidence at a key trial against the highest cleric to ever be charged with covering up child abuse, Father Glen Walsh was dead. Two months later, his friend Steven also died, only weeks before he was to marry the love of his life. Ensuing investigations revealed that at least 60 men in the region had taken their own lives. Why? What had happened, and why were so many from the three Catholic high schools in the area?By six-time Walkley Award-winning investigative reporter Suzanne Smith, The Altar Boys is the powerful expose of widespread and organised clerical abuse of children in an Australian city, and how the cover-up in the Catholic Church in Australia extended from parish priests to every echelon of the organisation. Focusing on two childhood friends, their families and community, this gripping and explosive story is backed by secret documents, diary notes and witness accounts, and details a deliberate church strategy of using psychological warfare against witnesses in key trials involving paedophile priests.

    The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me," culture uses art to dream the deaths of beautiful women.