In ancient monuments as far apart as Egypt’s Great Sphinx, the strange Andean ruins of Tihuanaco, and Mexico’s awe-inspiring Temples of the Sun and Moon, he reveals not only the clear fingerprints of an as-yet-unidentified civilization of remote antiquity, but also startling evidence of its vast sophistication, technological advancement, and evolved scientific knowledge. A record-breaking number one bestseller in Britain, Fingerprints of the Gods contains the makings of an intellectual revolution, a dramatic and irreversible change in the way that we understand our past—and so our future.And Fingerprints of the Gods tells us something more. As we recover the truth about prehistory, and discover the real meaning of ancient myths and monuments, it becomes apparent that a warning has been handed down to us, a warning of terrible cataclysm that afflicts the Earth in great cycles at irregular intervals of time—a cataclysm that may be about to recur.

    However, Lord Meren is no mere courtier but the Eyes and Ears of the living god. In the terrifying Place of Anubis, where unquiet spirits dwell, in the sunstruck city of Thebes, where Hormin's sons and his beautiful concubine plot, and in the royal court, where intrigues abound, Lord Meren hunts his quarry, peeling back the secrets of nobles and slaves in his quest for the truth. But more important by far is Meren's responsibility to protect the young Pharaoh from his enemies -- who are no farther away than the length of a dagger . . . ."This exceptional debut melds ancient Egyptian religious beliefs and practices with court intrigue to produce a riveting mystery." -- Publishers Weekly

    Edwards wrote this historical, egyptological, and cultural study in in 1877, and it became an immediate best-seller, reprinted in 1888 at home in England and abroad. She travelled throughout Egypt at a time when most women didn't leave home. One of the pioneering Egyptologists of the age, she established the Edwards Chair of Egyptology, occupied first by the great Sir William Matthew Flinders Petrie.This book is in a sense a seminal work, known to have influenced the modern writings of Elizabeth Peters in her Amelia Peabody Emerson murder-mystery series. (Summary by Sibella Denton)

    Leader of the Symbolist movement, he exerted a powerful influence on modern literature and thought, which can be traced in the works of Paul Valéry, W.B. Yeats, and Jacques Derrida. From his early twenties until the time of his death, Mallarmé produced poems of astonishing originality and beauty, many of which have become classics.In the Collected Poems, Henry Weinfield brings the oeuvre of this European master to life for an English-speaking audience, essentially for the first time. All the poems that the author chose to retain are here, superbly rendered by Weinfield in a translation that comes remarkably close to Mallarmé's own voice. Weinfield conveys not simply the meaning but the spirit and music of the French originals, which appear en face.Whether writing in verse or prose, or inventing an altogether new genre—as he did in the amazing "Coup de Dés"—Mallarmé was a poet of both supreme artistry and great difficulty. To illuminate Mallarmé's poetry for twentieth-century readers, Weinfield provides an extensive commentary that is itself an important work of criticism. He sets each poem in the context of the work as a whole and defines the poems' major symbols. Also included are an introduction and a bibliography.Publication of this collection is a major literary event in the English-speaking world: here at last is the work of a major figure, masterfully translated.

    A box set consisting of three Bill Bryson books, 'Notes from a Small Island', 'Notes from a Big Country' and 'A Walk in the Woods'.

    We see the relentless propaganda, the cut-throat politics, the brutality and repression that lay behind the appearance of unchanging monarchy.

    Beginning with: "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her. What does the word mean?", Carson examines her subject from numerous points of view and styles, transcending the constraints of the scholarly exercise for an evocative and lyrical meditation in the tradition of William Carlos William's Spring and All and William H. Gass's On Being Blue.

    It tells the story of one man drifting through America, east coast to west, main stem to side street, endlessly searching for "three hots and a flop"--food and a place to sleep. Kromer scans, in first-person voice, the scattered events, the stultifying sameness, of "life on the vag"--the encounters with cops, the window panes that separate hunger and a "feed," the bartering with prostitutes and homosexuals.In "Michael Kohler," Kromer's unfinished novel, the harsh existence of coal miners in Pennsylvania is told in a committed, political voice that reveals Kromer's developing affinity with leftist writers including Lincoln Steffens and Theodore Dreiser. An exploration of Kromer's proletarian roots, "Michael Kohler" was to be a political novel, a story of labor unions and the injustices of big management. Kromer's other work ranges from his college days, when he wrote a sarcastic expose of the bums in his hometown titled "Pity the Poor Panhandler: $2 an Hour Is All He Gets," to the sensitive pieces of his later life--short stories, articles, and book reviews written more out of an aching understanding of suffering than from the slick formulas of politics.Waiting for Nothing remains, however, Kromer's most powerful achievement, a work Steffens called "realism to the nth degree." Collected here as the major part of Kromer's oeuvre, Waiting for Nothing traces the author's personal struggle to preserve human virtues and emotions in the face of a brutal and dehumanizing society.

    A professor of linguistics who specialized in underworld argot, Maurer won the trust of hundreds of swindlers, who let him in on not simply their language but their folkways and the astonishingly complex and elaborate schemes whereby unsuspecting marks, hooked by their own greed and dishonesty, were “taken off” – i.e. cheated—of thousands upon thousands of dollars. The Big Con is a treasure trove of American lingo (the write, the rag, the payoff, ropers, shills, the cold poke, the convincer, to put on the send) and indelible characters (Yellow Kid Weil, Barney the Patch, the Seldom Seen Kid, Limehouse Chappie, Larry the Lug). It served as the source for the Oscar-winning film The Sting.

    She was trained to govern, and loved her land and people above all other things. But custom and the Gods decreed that she must wed her half brother and be the Great Royal Wife while he reigned as Pharaoh. When her husband died, she should have stepped aside, allowing her husband's son by a concubine to rule over Egypt. But Hatshepsut was still young when her husband-brother died, and his heir was a mere child. The Temple of Amon gave the regency to her. And then Hatshepsut did the unthinkable - she took the crowns of Upper and Lower Egypt in her own name and made herself king. Until the twentieth century, the life of Hatshepsut was veiled in mystery. After her death, the nephew whose throne she usurped had taken his revenge in a peculiarly Egyptian way: He eradicated her names from the annals of Egypt, chiseled them off every monument, destroyed every statue he could find, dispersed the goods of her tomb, and hid her nameless mummy. He tried to hide her from history forever. But buried deep in the rock beneath a lovely temple lay the tomb of the architect Senenmut - Hatshepsut's secret lover. And in his tomb was found the history of Hatshepsut, images of her, and the story of a lifelong love that Senenmut could reveal only in death. Judith Tarr has built from Senenmut's true account a novel of great power, about a queen who loved her land too much to see it in the hands of a weak king, and about a woman whose passion for ruling was stronger than her love for one man.

    Celebrating the 125th anniversary of its original publication, this expanded and updated edition of a classic reference features a new, simplified organization.

    This concise guide offers a modern interpretation of the doctrine, distilling its teachings with seven compelling principles that can be applied to self-development in daily life.

    A master of magic and a superb story-teller, Tuhami lives in a dank, windowless hovel near the kiln where he works. Nightly he suffers visitations from the demons and saints who haunt his life, and he seeks, with crippling ambivalence, liberation from 'A'isha Qandisha, the she-demon. In a sensitive and bold experiment in interpretive ethnography, Crapanzano presents Tuhami's bizarre account of himself and his world. In so doing, Crapanzano draws on phenomenology, psychoanalysis, and symbolism to reflect upon the nature of reality and truth and to probe the limits of anthropology itself. Tuhami has become one of the most important and widely cited representatives of a new understanding of the whole discipline of anthropology.

    Yates traces the art of memory from its treatment by Greek orators, through its Gothic transformations in the Middle Ages, to the occult forms it took in the Renaissance, and finally to its use in the seventeenth century. This book, the first to relate the art of memory to the history of culture as a whole, was revolutionary when it first appeared and continues to mesmerize readers with its lucid and revelatory insights.

    Assuming no knowledge on the part of the reader, it shows how to interpret the information on the inscriptions in a step-by-step journey through the script and language of ancient Egypt.We enter the world of the ancient Egyptians and explore their views on life and death, Egypt and the outside world, humanity and the divine. The book draws on texts found on some thirty artifacts ranging from coffins to stelae to obelisks found in museums in Egypt, America, and Europe, and selected across two thousand years. The texts are then explained clearly, and are supported by full translations, photographs, and line drawings.