And sell it, too. The top three reasons people never finish a novel or a film are all bullshit, and here's the reasons why.

    From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    In this volume artists such as Mode 2, KozynDan, Mike Giant, James Jean, Evan Hecox, Grotesk, Alex Pardee and Morning Breath are briefly profiled, then allowed the space to let their work do the talking.

    Yet the Republic of Venice—and the Venier family’s fortune—began to wane and the project was abandoned, with only one story completed. Luisa Casati. Doris Castlerosse. Peggy Guggenheim. These three women  inhabited the Palazzo at different periods, from the start of the twentieth century to the 1960s. Each came from a different country—an Italian, a Brit, and an American—but they had a surprising amount in common, above and beyond their ownership of the same extraordinary building. Amongst other things, all of them had scandalous lives, a passionate interest in art (although in the case of Luisa Casati, the subject had almost invariably to be herself), a fascination with sex, and a deep love of Venice. And, all surrounded themselves with an amazing supporting cast at so many glamorous parties, from D’Annunzio and Nijinsky, via Noel Coward and Cecil Beaton, to Yoko Ono amongst the Picassos. Mackrell weaves an intricate history of the Unfinished Palazzo, bringing it—and its legendary inhabitants—to life.

    Biff and Rosemary are honeymooning in Sorrento.They meet Konrad and Anna, a charming couple who also happen to be newlyweds.They seem to have so much in common — Biff is a pilot in the RAF and Konrad is in the German Navy. Soon things will be very different. . .They tour the Amalfi coast, and visit the ruins at Pompeii. When their holiday comes to an end, they swear to meet again in a year’s time.But their countries and their allegiances will be torn apart by war.Konrad and Anna seem so nice. They can’t possibly be the enemy, can they?Each of them is drawn further into the chaos of conflict. Who will survive? And what will fate hold for these couples?ONE LAST HOLIDAY BEFORE THE WAR THAT WILL CHANGE THEIR LIVES FOREVERA breathtaking wartime saga perfect for fans of Josephine Cox, Kate Eastham, Dinah Jefferies, Pam Howes and Tania Crosse.

    All aspects of Roman art and architecture are treated, including private art and domestic architecture, the art of the Eastern and Western provinces, the art of freedmen, and the so-called minor arts, including cameos, silverware, and coins. The book is divided into four parts-Monarchy and Republic, Early Empire, High Empire, and Late Empire-and traces the development of Roman art from its beginnings in the 8th century BCE to the mid fourth century CE, with special chapters devoted to Pompeii and Herculaneum, Ostia, funerary and provincial art and architecture, and the earliest Christian art.

    Few of his works - including the huge frescoes of the Sistine Chapel Ceiling, the marble giant David and the Last Judgment - were small or easy to accomplish. Like a hero of classical mythology - such as Hercules, whose statue he carved in his youth - he was subject to constant trials and labours.In Michelangelo Martin Gayford describes what it felt like to be Michelangelo Buonarroti, and how he transformed forever our notion of what an artist could be.

    Throughout his life, Churchill painted to relieve his mind from the demands of leadership—and to stave off depression. Included in this volume are Churchill’s meditations on painting as a salve for the spirit and an important method of relaxation—particularly for people under considerable stress over a long period of time. In addition, it includes 18 reprints of Churchill’s original work in oil, giving the reader a window into the little-known creative and artistic talent of this prominent figure in contemporary history. ABOUT THE AUTHOR Sir Winston Churchill was awarded the Nobel Prize in Literature in 1953 “for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values.” Over a 64-year span, Churchill published over 40 books, many multi-volume definitive accounts of historical events to which he was a witness and participant. All are beautifully written and as accessible and relevant today as when first published. During his fifty-year political career, Churchill served twice as Prime Minister in addition to other prominent positions—including President of the Board of Trade, First Lord of the Admiralty, Chancellor of the Exchequer, and Home Secretary. In the 1930s, Churchill was one of the first to recognize the danger of the rising Nazi power in Germany and to campaign for rearmament in Britain. His leadership and inspired broadcasts and speeches during World War II helped strengthen British resistance to Adolf Hitler—and played an important part in the Allies’ eventual triumph. One of the most inspiring wartime leaders of modern history, Churchill was also an orator, a historian, a journalist, and an artist. All of these aspects of Churchill are fully represented in this collection of his works. ABOUT THE SERIES When the Conservative government was defeated in Britain’s 1929 general election, Winston Churchill was exiled from the party—chiefly because of his disagreements with party leaders over Indian Home Rule and protective tariffs, as well as his connections with financiers, press barons, and others who were not trusted by Conservative leadership. This period, between 1929 and 1939, came to be known as Churchill’s “wilderness years.” During this time, he focused on his writing—and served as an important voice for British armament against the rise of Hitler. Many of his works published during this time—including collections of newspaper articles and one very rare short story—are considered lost classics in the Churchill canon.

    Moments later, two bodies are found in a nearby church, each with a gruesome calling card from their killer. Detective Nic Costa is one of the first on the scene. A cop who barely looks his twenty-seven years, Nic soon meets a woman who will dominate both his thoughts—and his investigation. A cool, beautiful professor of early Christianity, Sara Farnese was in the Vatican Library on that fateful day, a witness to her colleague’s outburst and grotesque death. And as more bodies are found, her role becomes even more baffling…because each victim had intimately known Sara, a woman whose history becomes more lurid and unfathomable with each revelation. Until the case takes a sudden, strange turn—and the secrets of a woman, a killer, and a city begin to unravel…with devastating consequences….

    She liked to hang her laundry on a line outside, so that the sun and wind would make it dry. The old woman usually used clothespins to secure her laundry, so that the wind would not blow her things into the lake. Among all the colorful plastic clothespins, there was only one made from wood. The old woman rarely used it because she could not find its mate. Most of the time, the wooden clothespin just hung on the line by itself and looked out at the forest, located on the other side of the lake. One day, the lonely wooden clothespin realized that she was related to those beautiful trees, and decided to visit them. She jumped down from the clothesline and headed toward the lake... Read this fun and entertaining bedtime story now!

    Trapped under Mussolini’s reign and Hitler’s occupation, this riveting true story is propelled by a brave girl’s courage and a family’s bond as they struggle to survive the battle between the forces of evil and the power of love.Where there is love, hope remains.Against the backdrop of fascist Italy during World War II and the Holocaust, “Lilia” sets the stage for the harrowing story of a family whose depth of heart overcomes a war tearing them apart—years marred by unfathomable tragedies, immense loss, upheaval, and countless betrayals.Lilia resigns herself to a world crushed by misery, abject poverty, and a broken, bitter mother who suffered insurmountable grief. The burden of war, loneliness, and adult responsibilities rob her of a carefree childhood. Witnessing her parent’s challenge to stay alive during the Nazi occupation becomes Lilia’s greatest sorrow, one she makes the most heroic efforts to conceal. Ultimately, tragic loss and unanswered prayers dim the flame of her belief in the future. Will a seed of love reignite Lilia’s faith leading her towards an unforgettable and inspiring triumph over tragedy? Or will the dark shadow of war plague her destiny forever? This poignant account will transport you to a lost moment in history that irreversibly changes a quaint Northern Italian village, transforming its people for generations to come. Through the eyes and fearless spirit of a young girl, Lilia’s family story comes to life on the page and will remain in your heart long after you finish the final chapter.Read it now.PRAISE FOR LILIA“A powerful must-read! Get ready for an emotional rollercoaster that rides up there with The Diary of Anne Frank. The writing of this historical memoir is outstanding.”“Poignant and moving, yet startlingly compelling. Stunning.”“If you love WWII stories, this is one for your shelf. It is visual and cinematic. I hope it finds its way to the big screen.”“Powerful, passionate, and poignant. This book will grip you by the heartstrings and not let go. A compelling and astonishing five-star read.”“A beautiful masterpiece. Bring it home to adorn your bookshelf and to live in your heart.”“Full of universal lessons for us all. Poignant and remarkable in many ways, this author and loving daughter birthed a classic story that will endure through the ages. A must-read.” “The indignities, atrocities, and terrors visited on a poor family in a tiny Northern Italian village during WWII place in stark relief the human toll war takes on those the history books never document. Told with deep emotion and love, Lilia’s story steals your breath at the misery and hardship visited on a young girl forced to grow up far too fast in a world torn apart by the greed for power in fascist Italy. Yet there are rare moments of beautiful joy too. Through it all, Lilia’s incredible well of resilience never runs dry. Ganzini’s poetic prose renders this story both a warning about the slide into fascism in modern times and a beacon of hope for the strength of the human spirit. Read it now.” “Lilia is a labor of love, and it shows. The amount of detail, emotional nuance, and attention to the unfolding story of a family held together by love and hope lends itself to an exquisite and heartfelt narrative. Linda Ganzini has created a work that reflects the cruel realities of the past and heralds a clarion call to the time we currently find ourselves. Like Lilia and her family members, we can choose resilience and allow our personal stories to become beacons for our collective human journey. This is an important book for a transformative moment in our history.” “Lilia is a timely and must-read book. The author’s powerfully evocative and descriptive writing transported me back in time to a world of uncertainty, where innocent people were stripped of their humanity, dignity and faith. And a time where bonds were strengthened to survive the unthinkable. My thanks to Linda Ganzini for allowing readers to connect to her family’s past trials and tribulations in Northern Italy during WWII-events few know and talk about, especially our younger generation.”

    A low-pressure system had been stalled over Italy for six weeks and on the previous day it had begun to rain again. Nineteen inches fell in twenty-four hours, more than half of the annual total. By two o’clock in the morning twenty-thousand cubic feet of water per second was moving towards Florence. Soon manhole covers in Santa Croce were exploding into the air as jets of water began shooting out of the now overwhelmed sewer system. Cellars, vaults, and strong-rooms were filling with water. Night watchmen on the Ponte Vecchio alerted the bridge’s jewelers and goldsmiths to come quickly to rescue their wares. By then the water was moving at forty miles per hour at a height of twenty-four feet. At 7:26 a.m. all of Florence’s electric civic clocks came to a stop. The Piazza Santa Croce was under twenty-two feet of water. Beneath the surface, twelve feet of mud, sewage, debris, and oil sludge were starting to ooze and settle into the cellars and crypts and room after room above them. Six-hundred-thousand tons of it would smother, clot, and encrust the city. Dark Water brings the flood and its aftermath to life through the voices of witnesses past and present. Two young American artists wade heedlessly through the inundated city carrying their baby in order to witness its devastated beauty: the Ponte Vecchio buried in debris and Ghiberti’s panels from the doors of the Florence Baptistery, lying heaped in yard-deep mud; the swamped Uffizi Gallery; and, in the city libraries, one billion pages of Renaissance and antique books, soaked in mire. A Life magazine photographer, stowing away on an army helicopter, arrives to capture a drama that, he felt, “could only be told by Dante” amid the flooded tombs of Machiavelli and Michelangelo in Giotto and Vasari’s Santa Croce. A British student, one of thousands of “mud angels” who rushed to Florence to save its art, spends a month scraping mud and mold from Cimabue’s magnificent and neglected Crocifisso as intrigues and infighting among international art experts and connoisseurs swirl around him. And during the fortieth anniversary commemorations of 2006 the author asks himself why art matters so very much to us, and how beauty seems to somehow save the world even in the face of overwhelming disaster.

    But who were these artists, why did they produce such memorable images, and how would their original beholders have viewed these objects? Was the Renaissance only about great masters and masterpieces, or were women artists and patrons also involved? And what about the "minor" pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This Very Short Introduction answers such questions by considering both famous and lesser-known artists, patrons, and works of art within the cultural and historical context of Renaissance Europe. The volume provides a broad cultural and historical context for some of the Renaissance's most famous artists and works of art. It also explores forgotten aspects of Renaissance art, such as objects made for the home and women as artists and patrons. Considering Renaissance art produced in both Northern and Southern Europe, rather than focusing on just one region, the book introduces readers to a variety of approaches to the study of Renaissance art, from social history to formal analysis.

    Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.