As our prehistoric ancestors spread throughout the globe, they began the most deadly epoch the planet's fauna have experienced since the demise of the dinosaurs. And following the dawn of the age of exploration five hundred years ago, the rate of extinction has accelerated ever more rapidly." In A Gap in Nature, scientist and historian Tim Flannery, in collaboration with internationally acclaimed wildlife artist Peter Schouten, catalogues 103 creatures that have vanished from the face of the earth since Columbus first set foot in the New World. From the colorful Carolina parakeet to the gigantic Steller's sea cow, Flannery evocatively tells the story of each animal and its habitat, how it lived and how it succumbed to its terrible destiny. Accompanying every entry is a beautifully rendered color representation by Schouten, who has devoted years of his life to this project. His portraits - life size in their original form - are exquisitely reproduced in this extraordinary book and include animals from every continent: American passenger pigeons, Tasmanian thylacines, Mauritian dodos, African bluebucks, and dozens more.

    A. Scotti traces the defining event of a glorious epoch: the building of St. Peter's Basilica. Begun by the ferociously ambitious Pope Julius II in 1506, the endeavor would span two tumultuous centuries, challenge the greatest Renaissance masters--Michelangelo, Raphael, and Bramante--and enrage Martin Luther. By the time it was completed, Shakespeare had written all of his plays, the Mayflower had reached Plymouth--and Rome had risen with its astounding basilica to become Europe's holy metropolis. A dazzling portrait of human achievement and excess, Basilica is a triumph of historical writing.

    We secretly want to know: could it happen to me? Amanda Montell’s argument is that, on some level, it already has . . .Our culture tends to provide pretty flimsy answers to questions of cult influence, mostly having to do with vague talk of “brainwashing.” But the true answer has nothing to do with freaky mind-control wizardry or Kool-Aid. In Cultish, Montell argues that the key to manufacturing intense ideology, community, and us/them attitudes all comes down to language. In both positive ways and shadowy ones, cultish language is something we hear—and are influenced by—every single day.Through juicy storytelling and cutting original research, Montell exposes the verbal elements that make a wide spectrum of communities “cultish,” revealing how they affect followers of groups as notorious as Heaven’s Gate, but also how they pervade our modern start-ups, Peloton leaderboards, and Instagram feeds. Incisive and darkly funny, this enrapturing take on the curious social science of power and belief will make you hear the fanatical language of “cultish” everywhere.

    It has created a new, unprecedented cultural space that we are all a part of—even if we don’t participate, that is how we participate—but by which we’re continually surprised, betrayed, enriched, befuddled. We have churned through platforms and technologies and in turn been churned by them. And yet, the internet is us and always has been.In Lurking, Joanne McNeil digs deep and identifies the primary (if sometimes contradictory) concerns of people online: searching, safety, privacy, identity, community, anonymity, and visibility. She charts what it is that brought people online and what keeps us here even as the social equations of digital life—what we’re made to trade, knowingly or otherwise, for the benefits of the internet—have shifted radically beneath us. It is a story we are accustomed to hearing as tales of entrepreneurs and visionaries and dynamic and powerful corporations, but there is a more profound, intimate story that hasn’t yet been told.Long one of the most incisive, ferociously intelligent, and widely respected cultural critics online, McNeil here establishes a singular vision of who we are now, tells the stories of how we became us, and helps us start to figure out what we do now.

    The strange saga of American architecture in the twentieth century makes for both high comedy and intellectual excitement as Wolfe debunks the European gods of modern and postmodern architecture and their American counterparts.

    John Carey--one of Britain's most respected literary critics--here cuts through the cant surrounding the fine arts, debunking claims that the arts make us better people or that judgments about art are anything more than personal opinion. But Carey does argue strongly for the value of art as an activity and for the superiority of one art in particular: literature. Literature, he contends, is the only art capable of reasoning, and the only art that can criticize. Literature has the ability to inspire the mind and the heart towards practical ends far better than any work of conceptual art. Here then is a lively and stimulating invitation to debate the value of art, a provocative book that anyone seriously interested in the arts should read (Michael Dirda, The Washington Post).

    Two of Ruskin's famous essays: "The Nature of the Gothic" and "The Work of Iron" from his book The Stones of Venice.

    He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

    It sits in the quiet dark of an archive waiting for a treasure hunter or obsessive researcher to root out its very existence. Under the streets of Manhattan priceless books are shelved; brick outbuildings in London’s East End house drawers of Victorian embroidery remembering foundlings long ago dead; body bags in Washington clothe space suits covered in real moon dust and in an unvisited aircraft hangar sits Auguste Piccard’s extraordinary invention, the balloon gondola…This and many other extraordinary inventions, legacies, discoveries and artefacts have been visited and curated by Molly Oldfield into a Secret Museum. Rich in atmosphere and anecdote, suffused with the surprising emotion of a personal discovery, but grounded in fascinating factual detail, this is a unique and beautifully illustrated book.The Secret Museum reveals sixty unknown artefacts and stories from all five continents, from Rome to Rio and Boston to Berlin. And like the very best mornings spent at a museum it promises to be idiosyncratic, surprising and enormously good fun.The Artefacts in the book include: An original Gutenberg Bible printed on vellum, Harrison Schmitt’s Space Suit, A piece of Newton’s Apple Tree, Van Gogh’s Sketchbooks, The original drawings of Wimbledon’s Centre Court, Dickens’ letter opener,Three pieces of Mars, and much more…

    Here is a blend of history, anthropology and politics.

    His amazing, unprecedented collection of animals, plants and insects from all around the world gained international fame during his lifetime. In 1731, after decades of collecting, Seba commissioned illustrations of each and every specimen and arranged the publication of a four-volume catalog detailing his entire collection?from strange and exotic plants to snakes, frogs, crocodiles, shellfish, corals, insects, butterflies and more, as well as fantastic beasts, such as a hydra and a dragon. Seba's scenic illustrations, often mixing plants and animals in a single plate, were unusual even for the time. Many of the stranger and more peculiar creatures from Seba's collection, some of which are now extinct, were as curious to those in Seba's day as they are to us now. This reproduction is taken from a rare, hand-colored original. The introduction offers background information about the fascinating tradition of the cabinet of curiosities to which Seba's curiosities belonged.

    This is a new view of mathematics, not the one we learned at school but a comprehensive guide to the patterns that recur through the universe and underlie human affairs. A Beginner's Guide to Constructing, the Universe shows you: Why cans, pizza, and manhole covers are round.Why one and two weren't considered numbers by the ancient Greeks.Why squares show up so often in goddess art and board games.What property makes the spiral the most widespread shape in nature, from embryos and hair curls to hurricanes and galaxies. How the human body shares the design of a bean plant and the solar system. How a snowflake is like Stonehenge, and a beehive like a calendar. How our ten fingers hold the secrets of both a lobster a cathedral, and much more.

    While it embodies the entire system of his teaching, with much technical advice and critical comment for the student, it also contains inspiration for those to whom the happiness to be found through all the arts is important.No other American painter attracted such a large, intensely personal group of followers as Henri, whose death in 1929 brought to an end a life that has been completely devoted to art. He was an inspired artist and teacher who believed that everyone is vitally concerned in the happiness and wisdom to be found through the arts. Many of his paintings have been acquired by museums and private collectors. Among them are the Baltimore Museum of Art, the Metropolitan Museum of Art, the National Gallery of Art, the Whitney Museum of American Art, the Wichita Art Museum, and Yale University Art Gallery.

    Having already surpassed milk and beer, and second now only to soda, bottled water is on the verge of becoming the most popular beverage in the country. The brands have become so ubiquitous that we're hardly conscious that Poland Spring and Evian were once real springs, bubbling in remote corners of Maine and France. Only now, with the water industry trading in the billions of dollars, have we begun to question what it is we're drinking and why. In this intelligent, eye-opening work of narrative journalism, Elizabeth Royte does for water what Eric Schlosser did for fast food: she finds the people, machines, economies, and cultural trends that bring it from nature to our supermarkets. Along the way, she investigates the questions we must inevitably answer. Who owns our water? What happens when a bottled-water company stakes a claim on your town's source? Should we have to pay for water? Is the stuff coming from the tap completely safe? And if so, how many chemicals are dumped in to make it potable? What's the environmental footprint of making, transporting, and disposing of all those plastic bottles? A riveting chronicle of one of the greatest marketing coups of the twentieth century as well as a powerful environmental wake-up call, Bottlemania is essential reading for anyone who shells out two dollars to quench their daily thirst.

    Sachs is renowned for his work around the globe advising economies in crisis. Now a classic of its genre, The End of Poverty distills more than thirty years of experience to offer a uniquely informed vision of the steps that can transform impoverished countries into prosperous ones. Marrying vivid storytelling with rigorous analysis, Sachs lays out a clear conceptual map of the world economy. Explaining his own work in Bolivia, Russia, India, China, and Africa, he offers an integrated set of solutions to the interwoven economic, political, environmental, and social problems that challenge the world's poorest countries.   Ten years after its initial publication, The End of Poverty remains an indispensible and influential work. In this 10th anniversary edition, Sachs presents an extensive new foreword assessing the progress of the past decade, the work that remains to be done, and how each of us can help. He also looks ahead across the next fifteen years to 2030, the United Nations' target date for ending extreme poverty, offering new insights and recommendations.