Such strange and chilling tales run the gamut of the terrifying and the bizarre and include crime victims, lost explorers, ships vanished at sea, outdoor disappearances, and supernatural mysteries that defy all explanation. Among these pages you’ll find accounts of America’s Lost Colony, history’s most famous ghost ships, famous figures who vanished into the unknown, the unknown fate of America’s first kidnapping for ransom, a vanished heiress, lighthouse keepers who impossibly disappeared, the killer who escaped the noose – permanently, the Grand Canyon adventurers who were never seen again, the Prohibition lawman’s nephew who was never found, the Ohio sorority girl who never made it home, the abducted housewife who disappeared, the Hollywood starlet who left her family behind, a missing West Point cadet, the babysitter who vanished on Halloween, the missing Texas couple who may have been Russian spies, the little boy who walked away for good in the Smoky Mountains, a missing heiress to a candy empire, a missing TV news reporter, a long distance runner whose run never ended, plus infamous vanishings of figures like Theodosia Burr, Amelia Earhart, Glenn Miller, Judge Crater, Jimmy Hoffa, and far too many more! Just remember as you turn the pages, that if these people so easily vanished from the face of the earth, then it means it could happen to anyone – perhaps even you. You may want to read this one with the lights on.

    But it has long been the subject of intense scrutiny by both prison administrators and reformers—as well as a source of fascination and anxiety for the American public. Historically, sex behind bars has evoked radically different responses from professionals and the public alike. In Criminal Intimacy, Regina Kunzel tracks these varying interpretations and reveals their foundational influence on modern thinking about sexuality and identity. Historians have held the fusion of sexual desire and identity to be the defining marker of sexual modernity, but sex behind bars, often involving otherwise heterosexual prisoners, calls those assumptions into question. By exploring the sexual lives of prisoners and the sexual culture of prisons over the past two centuries—along with the impact of a range of issues, including race, class, and gender; sexual violence; prisoners’ rights activism; and the HIV epidemic—Kunzel discovers a world whose surprising plurality and mutability reveals the fissures and fault lines beneath modern sexuality itself. Drawing on a wide range of sources, including physicians, psychiatrists, sociologists, correctional administrators, journalists, and prisoners themselves—as well as depictions of prison life in popular culture—Kunzel argues for the importance of the prison to the history of sexuality and for the centrality of ideas about sex and sexuality to the modern prison. In the process, she deepens and complicates our understanding of sexuality in America.

    In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.

    By all industry predictions, the film should never have worked. What makes it work so amazingly well are the fascinating and uncompromising personalities that Haskell dissects here: Margaret Mitchell, David Selznick, and Vivien Leigh. As a feminist and onetime Southern adolescent, Haskell understands how the story takes on different shades of meaning according to the age and eye of the beholder. She explores how it has kept its edge because of Margaret Mitchell’s (and our) ambivalence about Scarlett and because of the complex racial and sexual attitudes embedded in a story that at one time or another has offended almost everyone.Haskell imaginatively weaves together disparate strands, conducting her story as her own inner debate between enchantment and disenchantment. Sensitive to the ways in which history and cinema intersect, she reminds us why these characters, so riveting to Depression audiences, continue to fascinate 70 years later.

    Escher, I am absolutely crazy about your work. In your print Reptiles you have given such a striking illustration of reincarnation.' I replied, 'Madame, if that's the way you see it, so be it, '" An engagingly sly comment by the renowned Dutch graphic artist Maurits Cornelis Escher (1898-1972)--the complex ambiguities of whose work leave hasty or single-minded interpretations far behind. Long before the first computer-generated 3-D images were thrilling the public, Escher was a master of the third dimension. His lithograph "Magic Mirror" dates as far back as 1946. In taking that title for this book, mathematician Bruno Ernst is stressing the magic spell Escher's work invariably casts on those who see it. Ernst visited Escher every week for a year, systematically talking through his entire oeuvre with him. Their discussions resulted in a friendship that gave Ernst intimate access to the life and conceptual world of Escher. Ernst's account was meticulously scrutinized and made accurate by the artist himself. Escher's work refuses to be pigeonholed. Scientific, psychological, or aesthetic criteria alone cannot do it justice. The questions remain. Why did he create the pictures? How did he construct them? What preliminary studies were necessary before he could arrive at the final version? And how are the various images Escher created interrelated? This book, complete with biographical data, 250 illustrations, and explications of mathematical problems, offers answers to these and many other questions, and is an authentic source text of the first order.

    Drawing from street culture, high art, and traditional Japanese painting, Murakami takes the contemporary art trend of mixing high and low to an unprecedented level (critics call him the new Warhol), producing original paintings and sculptures as well as mass-produced consumer objects such as toys, books, and most famously, a line of handbags for Louis Vuitton. A committed supporter and spokesperson for Japanese artists and a powerful commentator on postwar culture and society, Murakami has organized influential exhibitions of Japanese art as well as a biannual art fair in Tokyo. Murakami has positioned himself as a new type of artist for the twenty-first century: a hybrid of creator, entrepreneur, and cultural ambassador.In conjunction with the first major retrospective of his work, Murakami traces Murakami’s global impact socially, culturally, and art historically. Essays focus on Murakami’s early works, which were based on a social critique of Japan’s rampant consumerism; the development of his characters; his work with anime, fantasy; otaku culture; and his engagement with global pop culture. Representing output from original works of art to mass-produced multiples, the catalogue also considers the implications of Murakami’s working methods within the tradition of the Western avant-garde.