He is so desperate that when the peculiar Mr Rinyo-Clacton offers him one million pounds but only one year to live, he agrees to the proposal. But what happened next was even more shocking.

    More than 250 color photos.

    Stars and galaxies have formed, and elements come forth from great stellar cauldrons. The necessary elements are present, the environment is fit for life, and slowly life forms have populated the earth. Are the creative forces purposeful, and in fact divine?Owen Gingerich believes in a universe of intention and purpose. We can at least conjecture that we are part of that purpose and have just enough freedom that conscience and responsibility may be part of the mix. They may even be the reason that pain and suffering are present in the world. The universe might actually be comprehensible.Taking Johannes Kepler as his guide, Gingerich argues that an individual can be both a creative scientist and a believer in divine design--that indeed the very motivation for scientific research can derive from a desire to trace God's handiwork. The scientist with theistic metaphysics will approach laboratory problems much the same as does his atheistic colleague across the hall. Both are likely to view the astonishing adaptations in nature with a sense of surprise, wonder, and mystery.In God's Universe Gingerich carves out "a theistic space" from which it is possible to contemplate a universe where God plays an interactive role, unnoticed yet not excluded by science.

    Krishna begins his sweeping exploration ofthe tradition of Karnatik music with a fundamental question: what is music? Takingnothing for granted and addressing readers from across the spectrum - musicians, musicologists as well as laypeople - Krishna provides a path-breaking overviewof south Indian classical music.

    In this excellent reprint of a rare volume of essays, he reveals the essence of the Indian experience, rooted in "a constant intuition" of the unity and harmony of all life. Everything has its place, every being its function and all play a part in the divine concert led by Natarājā (Śiva), Lord of Dancers.In a series of 14 stimulating and provocative essays, Coomaraswamy unfolds the vast metaphysic of India: the magnificent revelation of its art; its conception of the universe; social organization; attitudes toward feminism; problems of family; romantic love, and marriage. His sweeping commentary considers the "intellectual fraternity" of mankind; the venerable past as it survives side by side with emerging modern India; and the individual, autonomy, and repudiation of "the will to govern."Enhancing the text are 27 black-and-white photographs — mostly of masterpieces of painting and sculpture from the second century B.C. to the eighteenth century, and including the glorious "Cosmic Dance of Nàtaraja." This handsome volume offers rich insight into the art, philosophy, and culture of a fascinating forty-centuries-old civilization.

    Through a parable in which a young man is brought into a mystical garden by a beautiful embodiment of Wisdom, Roach presents the pantheon of great Tibetan teachers. The nameless seeker lured to the garden meets the dominant historical figures who have contributed fundamental teachings to Tibetan Buddhism, such as Tsong Khapa, the first Dalai Lama, and Master Kamalashila. Unique among works of Buddhism now available, The Garden is destined to become a classic for its lucid revelation of the secrets of the Tibetan tradition and for the wisdom Geshe Michael Roach evokes.

    It distills the wisdom and insight of the New York Times bestselling See Jane Win, based on a three-year survey of a thousand women of achievement who reflect on their upbringing. Noted child psychologist and NBC Today correspondent Dr. Sylvia Rimm, who conducted the research with the help of her own daughters, emphasizes self-esteem, education, and healthy competition to help young women achieve fulfillment and success.

    The Samurai spirit, Bushido, is an integral component of Japanese tattooing that is traced through the imagery and interpersonal dynamics of this veiled subculture. The eloquent text is based largely on Takahiro Kitamura's experiences as client and student of the famed Japanese tattoo master, Horiyoshi III. Over 200 beautiful photos by Jai Tanju capture the breathtaking tattoo artistry of Horiyoshi III. Five original, unpublished prints by Horiyoshi III, like those in his acclaimed book, 100 Demons of Horiyoshi III, are included here. Bushido: Legacies of the Japanese Tattoo is certain to fascinate everyone with an interest in tattoo culture.

    It fills our Facebook feeds. It keeps afloat a whole armada of late-night comedians, YouTube auteurs, and twitter wits … an endless stream of "Worst Things Ever." Recall, if you will, Rebecca Black's chart-topping disasterpiece, "Friday." Or “The Room”, Tommy Wiseau's cinematic tragedy turned cult farce. Or the devout Spanish septuagenarian who produced an infamously botched, and now stunningly ubiquitous, retouching of a 19th-century fresco of her Lord and Savior Jesus Christ. The Internet era has fueled an obsession with these and other acts of cultural cluelessness. Hardly a week goes by, it seems, without some new aesthetic travesty spreading across the globe in the form of ones and zeros, spawning countless remixes and riffs, like the world's biggest inside joke. And once more the cry goes up: Fail! Epic Fail!But what, exactly, draws us to these futile attempts at making songs, movies, and art? What are the essential ingredients that render a ridiculous failure sublime? More important, what does our seemingly insatiable appetite for the "succès d'incompetence" say about our aesthetic impulses? Our ethical ones? Is our laughter all in good fun or is something more sinister at work?

    He read deeply in the French revolutionary philosophers. From Rousseau he evolved the idea that imagination divorced from reason produces monsters, but that coupled with reason "it is the mother of the arts and the source of their wonders." In Spain he saw a country that had abandoned reason, and he peopled Los Caprichos with the grotesque monsters that result from such an action. Plate after plate shows witches, asses, devils, and other strange creatures, many of which are caricatures of members of the society against which Goya was fighting. The plates were first published in 1799. There are still in existence, however, six extremely rare sets of artist's proofs, considered by most who have managed to see them as infinitely superior to the work actually published. Now, for the first time, this edition reproduces one of these sets of 80 prints, together with the "Prado" manuscript, a commentary on the plates. In addition, this collection contains supplementary material to the Los Caprichos series, inlcuding a never-before-published study for Caprichos 10; three unique proofs of plates probably intended for publication with the others; a preliminary drawing for plate I, a self-portrait of Goya (which appears as the frontispiece to this volume); and a unique proof of "Woman in Prison" which may represent an earlier version of Caprichos 32.

    You are missing what is happening in the distance and right in front of you. In reading these words, you are ignoring an unthinkably large amount of information that continues to bombard all of your senses. The hum of the fluorescent lights; the ambient noise in the room; the feeling of the chair against your legs or back; your tongue touching the roof of your mouth; the tension you are holding in your shoulders or jaw; the constant hum of traffic or a distant lawnmower; the blurred view of your own shoulders and torso in your peripheral vision; a chirp of a bug or whine of a kitchen appliance.On Looking begins with inattention. It is not meant to help you focus on your reading of Tolstoy; it is not about how to multitask. Rather, it is about attending to the joys of the unattended, the perceived "ordinary." Horowitz encourages us to rediscover the extraordinary things that we are missing in our ordinary activities. Even when engaged in the simplest of activities - taking a walk around the block - we pay so little attention to most of what is right before us that we are sleepwalkers in our own lives. So turn off the phone and portable electronics and get into the real world, where you'll find there are worlds within worlds within worlds.

    "A beautiful book, including about 100 wondrous photographs."-- "Library Journal" "A beautiful book, including about 100 wondrous photographs." "--Library Journal"

    Sport makes them think, engage and argue. Given that people already take sport so very seriously, and at such an intense level of enquiry, then Ed Smith concludes we should draw out some of sport's intellectual lessons and practical uses What Sport Teaches Us About Life gives us a rare glimpse into the world of sport as seen from an extraordinarily keen, and closely-involved observer. In one chapter Smith extols the virtues of amateurism in today's professional world; in another he explains why there'll never be another sportsman as dominant as Don Bradman. He unearths the hidden dimensions of England's 2005 Ashes win, examines the impact of the free market on cricket and football, argues that cheating is not always as clear cut as it might seem.

    , 546 pages, 448 pages with index in English followed by Hyms in Hindi, colour and black and white illustrations

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.