Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    One road.England, 1348. A gentlewoman is fleeing an odious arranged marriage, a Scottish proctor is returning home to Avignon and a handsome young ploughman in search of adventure is on his way to volunteer with a company of archers. All come together on the road to Calais.Coming in their direction from across the Channel is the Black Death, the plague that will wipe out half of the population of Northern Europe. As the journey unfolds, overshadowed by the archers' past misdeeds and clerical warnings of the imminent end of the world, the wayfarers must confront the nature of their loves and desires.A tremendous feat of language and empathy, it summons a medieval world that is at once uncannily plausible, utterly alien and eerily reflective of our own. James Meek's extraordinary To Calais, In Ordinary Time is a novel about love, class, faith, loss, gender and desire—set against one of the biggest cataclysms of human history.

    He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology, and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague." Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.

    A city of gas lamps, cobblestone streets, and horse-drawn carriages—and home to the controversial surgeon Dr. Spencer Black. The son of a grave robber, young Dr. Black studies at Philadelphia’s esteemed Academy of Medicine, where he develops an unconventional hypothesis: What if the world’s most celebrated mythological beasts—mermaids, minotaurs, and satyrs—were in fact the evolutionary ancestors of humankind?  The Resurrectionist offers two extraordinary books in one. The first is a fictional biography of Dr. Spencer Black, from a childhood spent exhuming corpses through his medical training, his travels with carnivals, and the mysterious disappearance at the end of his life. The second book is Black’s magnum opus: The Codex Extinct Animalia, a Gray’s Anatomy for mythological beasts—dragons, centaurs, Pegasus, Cerberus—all rendered in meticulously detailed anatomical illustrations. You need only look at these images to realize they are the work of a madman. The Resurrectionist tells his story.

    And so he has decided to put his thoughts down on paper. In THE CROWN: TRUTH & FICTION, Vickers writes that he does not approve of THE CROWN because 'it depicts real life people in situations which are partly true and partly false, and unfortunately most viewers take it all as gospel truth.'  He accepts that fiction can be a device to illuminate true events, but points out that it can be used to create dangerous, and lasting, false impressions too. THE CROWN has been a highly successful series, watched with intense interest across the globe.  The settings and costumes are of high quality, the acting is good, and it all looks convincing.  Peter Morgan is an intelligent writer, author of the film THE QUEEN, and the stage production of THE AUDIENCE.  The real Queen has previously inspired great performances from actresses such as Prunella Scales and Helen Mirren, and Claire Foy portrays her beautifully. As Vickers writes, 'THE CROWN has done a great job in reminding a younger generation that the Queen and Prince Philip were once young themselves.' One of the devices used in Series 2 is to take two straightforward themes which did happen and clash them against each other to create something which did not.  For example, in Episode 8, yes, the Queen and Prince Philip entertained the Kennedys at Buckingham Palace (on 5 June 1961), and yes, the Queen visited Nkrumah in Ghana (between 9 and 20 November 1961), but the Queen did not go to Ghana for the trivial reason that she wished to pull one over on Mrs Kennedy – she went there to ensure that Ghana remained part of the Commonwealth. Much has been written about the massive budget for this series and the attention to detail.   THE CROWN: TRUTH & FICTION identifies quite a number of mistakes, especially in respect of Orders and decorations.  Having worked on films himself, Hugo Vickers knows how hard it is to make sure these details are correct, and how sometimes shortcuts have to be taken.  But it is not that difficult to get the details right, and so he points out some of these errors.  But these are trivial things in comparison to the things shown as having happened, when they did not. The cruelest and most undeserved victim of the series is Prince Philip, here portrayed as a fractious, bumptious Jack the Lad, very much the villain.  Watching the series, Hugo Vickers concludes that he failed to find the man who, in 1962, was advancing Anglo-German relations through remarks such as, ‘It may be difficult for people to see any virtue in forgiving one’s enemies, but let them reflect that it is much more likely to achieve a better future than stoking the fires of hatred and suspicion.’  This fictional Prince Philip is little more than a self-centred philanderer.  The real Prince Philip told his biographer, Tim Heald: ‘I certainly believe in the need for a “free” press, but there is a difference between freedom and licence and between the honest pursuit of the truth and the cynical pursuit of thoughtless – even vindictive sensationalism.’ THE CROWN: TRUTH & FICTION delivers a sharp message to filmwriters, producers, and their historical advisers: Fiction should help us understand the truth, not pervert it.

    Hemingway reveals the explosive love triangles that wrecked each of Hemingway's marriages.The Paris Wife was only the beginning of the story... Paula McLain's New York Times bestselling novel piqued readers' interest about Ernest Hemingway's romantic life. But Hadley was only one of four women married, in turn, to the legendary writer. Just as T.C. Boyle's bestseller The Women completed the picture begun by Nancy Horan's Loving Frank, Naomi Wood's Mrs. Hemingway tells the story of how it was to love, and be loved by, the most famous and dashing writer of his generation. Hadley, Pauline, Martha and Mary: each Mrs. Hemingway thought their love would last forever; each one was wrong. Told in four parts and based on real love letters and telegrams, Mrs. Hemingway reveals the explosive love triangles that wrecked each of Hemingway's marriages. Spanning 1920s bohemian Paris through 1960s Cold War America, populated with members of the fabled "Lost Generation," Mrs. Heminway is a riveting tale of passion, love, and heartbreak.

    A Field Guide to Getting Lost draws on emblematic moments and relationships in Solnit's own life to explore the issues of wandering, being lost, and the uses of the unknown. The result is a distinctive, stimulating, and poignant voyage of discovery.

    Kurt Severing, a journalist, and Marthe Muller, an art student, are the central figures in a broad cast of characters intertwined with the historical events unfolding around them. City of Stones covers eight months in Berlin, from September 1928 to May Day, 1929, meticulously documenting the hopes and struggles of its inhabitants as their future is darkened by a glowing shadow.

    In the background loom the many tumultuous changes that have gripped Afghanistan in the years since Amir's carefree kite-flying childhood. From the fall of the monarchy through the Soviet invasion to the mass exodus of refugees to Pakistan and the United States to the rise of the Taliban regime, the story of Amir and Hassan emerges as the story of Afghanistan itself. The engaging new guide to this modern-day classic features an annotated bibliography, a listing of other works by the author, and an introduction by noted literary scholar Harold Bloom.

    Drawing on fourteen years of research; more than a hundred letters unknown to prior biographers; exclusive interviews with Lorca's friends, family, and acquaintances; and dozens of newly discovered archival material, Stainton has brought her subject to Life as few writers can. She describes his carefree childhood in rural Andalusia; his residencies in Madrid and Granada, then in New York, Havana, and Buenos Aires; his potent interaction with other Spanish artists, such as Salvador Dali, Luis Bunuel, and the composer Manuel de Falla; and, finally, Stainton shows how Lorca's marginal political activity during the Spanish Civil War still cost him his life.Throughout, Stainton meticulously but unobtrusively relates the oeuvre to the life. Her biography is quickly becoming the standard one-volume work on the poet.

    This among others is a fundamental reason why a thorough and truthful study and retelling of this history is needed. The study of Hindu history is also a study of values and inspiration and a profound spiritual yearning that subconsciously continues to guide Hindus. It is also what makes India a unique and distinctive country which is not primarily defined by its politics but by its philosophy and spirituality. The essays in this work both tangentially and explicitly bring out these aspects. "10 Lessons from Hindu History in 10 Episodes" is envisaged as a popular narrative without overlooking or taking liberties with historical accuracy.

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

    Deployed today to celebrate subjects as various as the grandeur of art, the beauty of the human form, and the universality of the human spirit, the drawing turns up just about everywhere: in books, on coffee cups, on corporate logos, even on spacecraft. It has, in short, become the world’s most famous cultural icon—and yet almost nobody knows about the epic intellectual journeys that led to its creation. In this modest drawing that would one day paper the world, da Vinci attempted nothing less than to calibrate the harmonies of the universe and understand the central role man played in the cosmos.Journalist and storyteller Toby Lester brings Vitruvian Man to life, resurrecting the ghost of an unknown Leonardo. Populated by a colorful cast of characters, including Brunelleschi of the famous Dome, Da Vinci’s Ghost opens up a surprising window onto the artist and philosopher himself and the tumultuous intellectual and cultural transformations he bridged. With sparkling prose and a rich variety of original illustrations, Lester captures the brief but momentous time in the history of western thought when the Middle Ages gave way to the Renaissance, art and science and philosophy converged as one, and all seemed to hold out the promise that a single human mind, if properly harnessed, could grasp the nature of everything.

    Rescued after a hurricane in South America, doomed to a life of poverty with a swallow medal as her only legacy, the orphaned toddler was adopted by an American family and taken to a new life. As a beautiful, intelligent woman of nineteen, she is in love, engaged, and excited about the future — until another traumatic event shatters her dreams. Menina flees to Spain to bury her misery in research for her college thesis about a sixteenth-century artist who signed his works with the image of a swallow — the same image as the one on Menina’s medal. But a mugging strands Menina in a musty, isolated Spanish convent. Exploring her surroundings, she discovers the epic sagas of five orphan girls who were hidden from the Spanish Inquisition and received help escaping to the New World. Is Menina’s medal a link to them, or to her own past? Did coincidence lead her to the convent, or fate? Both love story and historical thriller, The Sisterhood is an emotionally charged ride across continents and centuries.

    The Devil and Dr. Barnes traces the near-mythical journey of a man who was born into poverty, amassed a fortune through the promotion of a popular medicine, and acquired the premier private collection of works by such masters as Renoir, Matisse, Cézanne, and Picasso. Ostentatiously turning his back on the art establishment, Barnes challenged the aesthetic sensibilities of an uninitiated, often resistant and scoffing, American audience. In particular, he championed Matisse, Soutine, and Modigliani when they were obscure or in difficult straits. Analyzing what he saw as the formal relationships underlying all art, linking the old and the new, Barnes applied these principles in a rigorous course of study offered at his Merion foundation. Barnes's own mordant words, culled from the copious printed record, animate the narrative throughout, as do accounts of his associations with notables of the era--Gertrude and Leo Stein, Bertrand Russell, and John Dewey among them--many of whom he alienated with his appetite for passionate, public feuds. In this rounded portrait, Albert Barnes emerges as a complex, flawed man, who--blessed with an astute eye for greatness--has left us an incomparable treasure, gathered in one place and unforgettable to all who have seen it.