But will he find himself? Or a version of himself he might learn something from?Strange Labyrinth is a quest narrative arguing that we shouldn't get lost in order to find ourselves, but solely to accept that we are lost in the first place. It is a singular blend of landscape writing, political indignation, cultural history and wit from a startling new voice in non-fiction.

    Proposing instead that kitsch is the product of a larger sensibility of loss, Celeste Olalquiaga shows how it enables the momentary re-creation of experiences that exist only as memories or fantasies. Simultaneously exposing and celebrating this process, Olalquiaga gives us a bold, trenchant analysis of what and how we see when we look at kitsch.

    Some years later in 1977, Nan Shepherd published The Living Mountain, her prose bringing each contour of the Cairngorm mountains to life. These pioneering women set a precedent for a way of writing about wilderness that isn’t about conquering landscapes, reaching higher, harder or faster, but instead about living and breathing alongside them, becoming part of a larger adventure.The artists in this inspired collection continue Gwen and Nan’s legacies, redressing the balance of gender in outdoor adventure literature. Their creativity urges us to stop and engage our senses: the smell of rain-soaked heather, wind resonating through a col, the touch of cool rock against skin, and most importantly a taste of restoring mind, body and spirit to a former equanimity.With contributions from adventurers including Alpinist magazine editor Katie Ives, multi-award-winning author Bernadette McDonald, adventurers Sarah Outen and Anna McNuff, renowned filmmaker Jen Randall and many more, Waymaking is an inspiring and pivotal work published in an era when wilderness conservation and gender equality are at the fore.

    From extraordinary highs - patronage by the Medicis, friendship with Galileo and, most importantly of all, beautiful and outstandingly original paintings - to rape by her father's colleague, torture by the Inquisition, life-long struggles for acceptance by the artistic Establishment, and betrayal by the men she loved, Artemisia was a bold and brilliant woman who lived as she wanted, and paid a high price.

    Although there is no evidence the letters were ever posted, they indicate a long relationship, geographically apart, in which correspondence would have been the primary means of communication. Dickinson did not write letters as a fictional genre, and these were surely part of a much larger correspondence yet unknown to us. In the week following Dickinson’s death on May 15, 1886, Lavinia Dickinson found what she described as a locked box containing seven hundred of her sister’s poems. The Master letters may have been among them, for they were clearly not with the correspondence, which Lavinia destroyed upon discovery. Of primary importance, the Master letters nevertheless have had an uncertain history of discovery, publication, dating, and transcription. This publication, issued at the centennial of Emily Dickinson’s death, presents the three letters in chronological order, based upon new dating of the manuscripts, and provides their texts in facsimile as well as in transcriptions that show stages in the composition of each letter.

    Her arrival coincides with an explosion of activity in the art world—artists have colonized a deserted and industrial SoHo, are staging actions in the East Village, and are blurring the line between life and art. Reno meets a group of dreamers and raconteurs who submit her to a sentimental education of sorts. Ardent, vulnerable, and bold, she begins an affair with an artist named Sandro Valera, the semi-estranged scion of an Italian tire and motorcycle empire. When they visit Sandro’s family home in Italy, Reno falls in with members of the radical movement that overtook Italy in the seventies. Betrayal sends her reeling into a clandestine undertow. The Flamethrowers is an intensely engaging exploration of the mystique of the feminine, the fake, the terrorist. At its center is Kushner’s brilliantly realized protagonist, a young woman on the verge. Thrilling and fearless, this is a major American novel from a writer of spectacular talent and imagination.

    Catalogue to accompany the "Sylvia Plath: Her Drawings" exhibition at The Mayor Gallery in London (2nd November - 17th December 2011).

    Wendell Berry just as easily steps into Kentucky’s Red River Gorge and makes the observations of a poet as he does step away to view his subject with the keen, unflinching eye of an essayist. The inimitable voice of Wendell Berry—at once frank and lovely—is our guide as we explore this unique wilderness.Located in eastern Kentucky and home to 26,000 acres of untamed river, rock formations, historical sites, unusual vegetation and wildlife, the Gorge very nearly fell victim to a man-made lake thirty years ago. “No place is to be learned like a textbook,” Berry tells us, and so through revealing the Gorge’s corners and crevices, its ridges and rapids, his words not only implore us to know more but to venture there ourselves. Infused with his very personal perspective and enhanced by the startling photographs of Ralph Eugene Meatyard, The Unforeseen Wilderness draws the reader in to celebrate an extraordinary natural beauty and to better understand what threatens it.

    Some are well known, others less so, but all helped form the world we now inhabit.

    Home to one of the largest ornithological collections in the world, the Tring museum was full of rare bird specimens whose gorgeous feathers were worth staggering amounts of money to the men who shared Edwin's obsession: the Victorian art of salmon fly-tying. Once inside the museum, the champion fly-tier grabbed hundreds of bird skins--some collected 150 years earlier by a contemporary of Darwin's, Alfred Russel Wallace, who'd risked everything to gather them--and escaped into the darkness. Two years later, Kirk Wallace Johnson was waist high in a river in northern New Mexico when his fly-fishing guide told him about the heist. He was soon consumed by the strange case of the feather thief. What would possess a person to steal dead birds? Had Edwin paid the price for his crime? What became of the missing skins? In his search for answers, Johnson was catapulted into a years-long, worldwide investigation. The gripping story of a bizarre and shocking crime, and one man's relentless pursuit of justice, The Feather Thief is also a fascinating exploration of obsession, and man's destructive instinct to harvest the beauty of nature.

    Starting on the streets of New York with simple fly-posters, she has gone on to disseminate her truisms, slogans, memorials and poems through a variety of media. They are enunciated by an unstable register of personae, be it ad-man, stand-up comedian, torturer, victim or evangelist. The sites for her work range from T-shirts and golf balls to dazzling electronic signboards at baseball stadiums.Her work uses language to investigate the nature of ideologies as conscious and unconscious formations about identity and experience. Her complex and poetic texts can be shocking, humorous and intriguing in content. At the same time she draws on Minimalism's use of industrial materials and deploys scale, movement and light to create art of great formal power and beauty.In the Survey, art critic and academic David Joselit surveys Holzer's changing oeuvre, from the first appearance of the streetwise Truisms in the late 1970 to her large-scale installations in museums worldwide. Joan Simon, curator of Holzer's first solo US museum exhibition, discusses with the artist her use of language and its relationship to visual form. In the Focus, Slovenian cultural theorist and philosopher Renata Salecl takes an in-depth look at Holzer's Lustmord series, which was precipitated by the events in the former Yugoslavia and boldly addresses the atrocities committed in war. For the Artist's Choice, the artist's fragmented, unexpected language is mirrored in Samuel Beckett's Ill Seen Ill Said, which the artist has chosen alongside extracts from Crowds and Power by Elias Canetti. A text by the artist on her literary influences accompanies a selection of her signature texts in the Artist's Writings section.

    The next anybody heard from her, this genteel, farm-reared, 67-year-old great-grandmother had walked 800 miles along the 2,050-mile Appalachian Trail. And in September 1955, having survived a rattlesnake strike, two hurricanes, and a run-in with gangsters from Harlem, she stood atop Maine’s Mount Katahdin. There she sang the first verse of “America, the Beautiful” and proclaimed, “I said I’ll do it, and I’ve done it.”Grandma Gatewood, as the reporters called her, became the first woman to hike the entire Appalachian Trail alone, as well as the first person—man or woman—to walk it twice and three times. Gatewood became a hiking celebrity and appeared on TV and in the pages of Sports Illustrated. The public attention she brought to the little-known footpath was unprecedented. Her vocal criticism of the lousy, difficult stretches led to bolstered maintenance, and very likely saved the trail from extinction.Author Ben Montgomery was given unprecedented access to Gatewood’s own diaries, trail journals, and correspondence, and interviewed surviving family members and those she met along her hike, all to answer the question so many asked: Why did she do it? The story of Grandma Gatewood will inspire readers of all ages by illustrating the full power of human spirit and determination. Even those who know of Gatewood don’t know the full story—a story of triumph from pain, rebellion from brutality, hope from suffering.

    After opening the groundbreaking Bazaar boutique on London’s King’s Road in 1955, Quant soared to international fame with her brand of witty style that fitted perfectly with modern life. Just as her signature styles have become synonymous with the pop culture of the Swinging Sixties, her joyful, evocative autobiography captures the world in which she found inspiration—and which she ultimately helped to define and change.

    (1929–1968) and Malcolm X (1925–1965), represent two wings of the revolt against racism: nonviolent resistance and revolution "by any means necessary." This volume presents the two leaders’ relationship to the civil rights movement beyond a simplified dualism. A rich selection of speeches, essays, and excerpts from Malcolm X’s autobiography and King’s sermons shows the breadth and range of each man’s philosophy, demonstrating their differences, similarities, and evolution over time. Organized into six topical groups, the documents allow students to compare the leaders’ views on subjects including integration, the American dream, means of struggle, and opposing racial philosophies. An interpretive introductory essay, chronology, selected bibliography, document headnotes, and questions for consideration provide further pedagogical support.

    In this new edition Ari Seth Cohen shares his work from the past few years including some of the world's best-dressed older gentlemen. Similar in format to the original, with dozens of images from cities all over the world including: Los Angeles, London, Cape Town, Rome, Florence, Tokyo, San Diego, Palm Springs, Melbourne, Sydney, New York, Amsterdam, Edinburgh, Stockholm, and Geneva, the book will also feature 22 short essays (by the subjects of the book) distilling the wisdom and lifestyle secrets of some of Cohen's favorite  Advanced Style  ladies. Plus an introduction from the always fabulous and witty Simon Doonan makes for a celebration of smashing senior style! "...I must tell you that I am not really an old lady; just cleverly disguised as one. Art and color keep me young, keep me sane. Working as I do as an untutored 'outsider' artist is my therapy, my medicine, my joy, and my purpose in life.Color surrounds me: I revel in it, splash it everywhere, gulp it with a spoon. I am immersed in art. I make it, collect it, it fills and defines my existence. Childish, shamanistic, wild and anarchic, it is as far outside the box as it is possible to be. Box?? There is no box!Be bold, be adventurous. Do profound things, dazzle yourself and the world. Don't wear beige: it might kill you. Contribute to society, and live large. Life is short, make every moment count. It is never too late to find your passion." -- Sue Kreitzman