A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. This book is a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.In the first of these essays, Anarchism: What It Really Stands For, she says, "Direct action, having proven effective along economic lines, is equally potent in the environment of the individual." In Minorities Versus Majorities she holds that social and economic well-being will result only through "the non-compromising determination of intelligent minorities, and not through the mass." Other pieces deal with The Hypocrisy of Puritanism; Prisons: A Social Crim and Failure; The Psychology of Political Violence—note the relevence of these themes to our own time; The Drama: A Powerful Disseminator of Radical Thought; Patriotism: A Menace to Liberty; and The Tragedy of Woman's Emancipation. A biographical sketch by Hippolyte Havel precedes the essays.Anarchism and Other Essays provides a fascinating look into revolutionary issues at the turn of the century, a prophetic view of the social and economic future, much of which we have seen take place, and above all, a glimpse into the mind of an extraordinary woman: brilliant, provocative, dedicated, passionate, and what used to be called "high-minded."Unabridged republication of the 3rd (1917) edition, with a new Introduction by Richard Drinnon. Frontispiece. xv + 271 pp. 5-3/8 x 8-1/2. Paperbound.

    In one story, two New Jersey siblings with substance-abuse problems relapse together on Christmas Eve; in another, a young couple tries to make sense of an increasingly unhinged veterinarian who seems to be tapping, deliberately or otherwise, into the unspoken troubles between them. In tales about characters as they age from punk shows and benders to book clubs and art museums, the promise of community acts--at least temporarily--as a stay against despair.Running throughout Cool for America is the characters' yearning for transcendence through art: the hope that, maybe, the perfect, or even just the good-enough sentence, can finally make things right.

    The Language of Fashion brings together all Barthes' untranslated writings on fashion.The Language of Fashion presents a set of remarkable essays, revealing the breadth and insight of Barthes' long engagement with the history of clothes. The essays range from closely argued essays laying down the foundations for a structural and semiological analysis of clothing to a critical analysis of the significance of gemstones and jewellery, from an exploration of how the contrasting styles of Courrges and Chanel replayed the clash between ancient and modern to a discussion of the meaning of hippy style in Morocco, and from the nature of desire to the role of the dandy and colour in fashion.Constantly questioning, always changing, Barthes' ideas about clothes and fashion remain to provoke another generation of readers seeking to understand not only the culture of fashion but the fashion of culture.

    Hard work, study and a determination to fulfil a long-held dream eventually became a reality when a computer search led to the discovery and purchase of their much loved mountain property. Follow Jane and Rob on their journey through a mosaic of early memories, anecdotes, observations and funny stories. As they travelled back and forth from their home in the UK to the Alpes de Haute Provence, their journeys over the years have provided a rich source of material, from a weird encounter with strangers on a ferry to the trouble dogs can get you into. Jane brings to life these and other experiences, introduces residents and neighbours and peppers her tale with facts and vivid descriptions of the area, making you want to pack your bags and see it for yourself!

    Volume 2 of the Selected Writings is now available in paperback in two parts.In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.

    From art and cinema, through politics, bodybuilding, science fiction and the city, they both reflect and challenge these times of radical change and puzzlement. Matching guts to theory, anger with compassion, Acker offers original views on the likes of Peter Greenaway, Samuel Delaney, Burroughs, de Sade, and Cronenberg's Crash. Collectively, these essays offer the reader a journey into strangeness, provocation and delight.

    Covering a wide range of religious communities—including Evangelical, Catholic, Jewish, Mormon, Muslim, Calvinist, Moonie, and Jehovah’s Witness—and containing contributions from authors like Julia Scheeres (Jesus Land), the stories in Beyond Belief reveal how these women became involved, what their lives were like, and why they came to the decision to eventually abandon their faiths. The authors shed a bright light on the rigid expectations and misogyny so often built into religious orthodoxy, yet they also explain the lure—why so many women are attracted to these lifestyles, what they find that’s beautiful about living a religious life, and why leaving can be not only very difficult but also bittersweet.

    Running alongside the mainstream of Western intellectual history there is another current which, in a very real sense, should take pride of place, but which for the last few centuries has occupied a shadowy, inferior position, somewhere underground. This "other" stream forms the subject of Gary Lachman’s epic history and analysis, The Secret Teachers of the Western World. In this clarifying, accessible, and fascinating study, the acclaimed historian explores the Western esoteric tradition – a thought movement with ancient roots and modern expressions, which, in a broad sense, regards the cosmos as a living, spiritual, meaningful being and humankind as having a unique obligation and responsibility in it.The historical roots of our “counter tradition,” as Lachman explores, have their beginning in Alexandria around the time of Christ. It was then that we find the first written accounts of the ancient tradition, which had earlier been passed on orally. Here, in this remarkable city, filled with teachers, philosophers, and mystics from Egypt, Greece, Asia, and other parts of the world, in a multi-cultural, multi-faith, and pluralistic society, a synthesis took place, a creative blending of different ideas and visions, which gave the hidden tradition the eclectic character it retains today. The history of our esoteric tradition roughly forms three parts:  Part One: After looking back at the earliest roots of the esoteric tradition in ancient Egypt and Greece, the historical narrative opens in Alexandria in the first centuries of the Christian era. Over the following centuries, it traces our “other” tradition through such agents as the Hermeticists; Kabbalists; Gnostics; Neoplatonists; and early Church fathers, among many others.  We examine the reemergence of the lost Hermetic books in the Renaissance and their influence on the emerging modern mind.Part Two begins with the fall of Hermeticism in the late Renaissance and the beginning of “the esoteric counterculture.” In 1614, the same year that the Hermetic teachings fell from grace, a strange document appeared in Kassel, Germany announcing the existence of a mysterious fraternity: the Rosicrucians. Part two charts the impact of the Rosicrucians and the esoteric currents that followed, such as the Romance movement and the European occult revival of the late nineteenth century, including Madame Blavatsky and the opening of the western mind to the wisdom of the East, and the fin-de-siècle occultism of the Hermetic Order of the Golden Dawn.Part Three chronicles the rise of “modern esotericism,” as seen in the influence of Rudolf Steiner, Gurdjieff, Annie Besant, Krishnamurti, Aleister Crowley, R. A Schwaller de Lubicz, and many others. Central is the life and work of C.G. Jung, perhaps the most important figure in the development of modern spirituality. The book looks at the occult revival of the “mystic sixties” and our own New Age, and how this itself has given birth to a more critical, rigorous investigation of the ancient wisdom. With many detours and dead ends, we now seem to be slowly moving into a watershed. It has become clear that the dominant, left-brain, reductionist view, once so liberating and exciting, has run out of steam, and the promise of that much-sought-after “paradigm change” seems possible. We may be on the brink of a culminating moment of the esoteric intellectual tradition of the West.

    The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.

    Jerry Garcia was one of the most gifted musicians of all time, and he was a member of one of the most worshiped rock 'n' roll bands in history. Now, Blair Jackson, who covered the Grateful Dead for twenty-five years, gives us an unparalleled portrait of Garcia--the musical genius, the brilliant songwriter, and ultimately, the tortured soul plagued by his own addiction. With more than forty photographs, many of them previously unpublished, Garcia: An American Life is the ultimate tribute to the man who, Bob Dylan said, "had no equal."

    So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year earlier, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art.Spring Cannot Be Cancelled is an uplifting manifesto that affirms art’s capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney’s new Normandy drawings and paintings alongside works by Van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years, yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, color, space, perception, water, trees. He has much to teach us, not only about how to see . . . but about how to live.

    

    Wesselman reveals what it means to be a mystic and a medicine man in an age of high technology and super science. His spiritual quest continues to unfold, illuminating the emergence of a modern Western shamanism, the phenomenon of spirit possession, the conveyance of the souls of the dead, and the true nature of the human spirit.

    With dazzling intelligence and wit, Gass sifts through cultural issues of our time and contemplates how written language, whether a sentence or an entire book, is a container of consciousness, the gateway to another's mind that we enter for a while and make our own.

    It is a brilliant work of critical insight that also tells us much about its author's own thinking and preoccupations. In its own right it is a masterpiece of literary and philosophical creative writing. This edition was published in 1999 - ten years after the writer's death. The volume also contains the equally celebrated dialogues with the art critic Georges Duthuit - written to record their different points of view after the discussions took place. Beckett always let Duthuit win, but his very unusual and often opposite point of view on the nature and purpose of art is all the more forceful and memorable on that account.