Yehoshuah cares for of Pakko’s camel and shares with him the knowledge of the precious gifts he received from three wise men. But when Yehoshuah’s treasures are taken, he quickly learns that all gifts have a price. In “The Sphinx at Dawn,” Yehoshuah and his camel journey into the desert, where they come across the monstrous, hungry Sphinx. Intrigued and unafraid, Yehoshuah endeavors to answer the Sphinx’s riddles—and in doing so, he begins the real journey of a man with an incredible destiny.

    Edie Sedgwick exploded into the public eye like a comet. She seemed to have it all: she was aristocratic and glamorous, vivacious and young, Andy Warhol’s superstar. But within a few years she flared out as quickly as she had appeared, and before she turned twenty-nine she was dead from a drug overdose.In a dazzling tapestry of voices—family, friends, lovers, rivals—the entire meteoric trajectory of Edie Sedgwick’s life is brilliantly captured. And so is the Pop Art world of the ‘60s: the sex, drugs, fashion, music—the mad rush for pleasure and fame. All glitter and flash on the outside, it was hollow and desperate within—like Edie herself, and like her mentor, Andy Warhol. Alternately mesmerizing, tragic, and horrifying, this book shattered many myths about the ‘60s experience in America.

    A charming little collection of Ancient Egyptian poems translated by Ezra Pound.

    The electric light bulb was only one of thousands of Edison’s inventions, which include the phonograph and the kinetoscope, an early precursor to the movie camera.As a boy, observing a robin catch a worm and then take flight, he fed a playmate a mixture of worms and water to see if she could fly! Here’s an accessible, appealing biography with 100 black-and-white illustrations.

    High Art Lite provides a sustained analysis of the phenomenal success of YBA, young British artists obsessed with commerce, mass media and the cult of personality Damien Hirst, Tracey Emin, Jake and Dinos Chapman, Marcus Harvey, Sarah Lucas, among others. In this fully revised and expanded edition, Julian Stallabrass explores how YBA lost its critical immunity in the new millennium, and looks at the ways in which figures such as Hirst, Emin, Wearing and Landy have altered their work in recent years.

    The truth is more complex . . . and dangerous. Ten years ago, something that happened here brought about her father's ruin and subsequent death—and Althea intends to clear her disgraced parent's name and finally lay a dark past to rest. But there are some mysteries best left buried in the shifting sands, and a devoted daughter's search for answers is stirring up forgotten memories almost too painful to endure, that propel her onward among ancient tombs, legendary treasures, miraculous discoveries . . . and ever-closer to her own threatened doom.

    Being adopted is a fact of life in the McLane household: fourteen-year-old Lizzie, as well as her older brother and sister were adopted as infants. But dry facts rarely encompass feelings, and what it feels like to be adopted is something Lizzie never dares openly discuss with her loving parents--let alone with outsiders. More and more Lizzie yearns to confide in others, especially her boyfriend, Peter. But something stops her. Will Peter think she is less because her birthmother gave her away? Would telling be disloyal to her adoptive parents? Told entirely through the poems Lizzie writes for herself, this intimate, moving story gives voice to the thoughts Lizzie cannot utter aloud. Lizzie transforms relationships and events in her daily life--family dinners, the school dance, hanging out with friends--into blues poems, list poems, sonnets, sestinas, and free verse that delve into her secret wishes and her fears. Often Lizzie feels like two people: the person everyone knows, and the one known to precious few. But when a tragic accident occurs, Lizzie finds the courage to say who she truly is and to set off on a new path of self-discovery and truth. In an Afterword the author discusses her own experience as an adopted child and how writing can help make sense of one's life. Also included are a Guide to Poetic Forms and an Appendix of Poems (poems referred to in the novel, by Lucille Clifton, Hayden Carruth, Anne Sexton, Donald Hall, and others).

    The universal human impulse to seek order and rhythm in space and time can be seen in children's play and in poetry, dance, music and architecture, and its prevalence in our every activity calls for an explanation in terms of our biological heritage.

    America's top military leaders are scrutinized as Puryear ponders what prepared our generals for the terrible responsibilities they bore during World War II, Korea, Vietnam, the Gulf War and on to today.

    Stephen (The 101 Best Graphic Novels) Weiner takes us on a historical tour of this format with a bit of background on comics as a whole.

    Some were adopted by loving families; others were not as fortunate. In recent years, some of the riders have begun to share their stories. Andrea Warren alternates chapters about the history of the orphan trains with the story of Lee Nailling, who in 1926 rode an orphan train to Texas when he was nine years old.

    The author describes how she came to own the well-known Chincoteague pony and their subsequent experiences together.

    Her journey takes readers from the great cities of Europe and America to Egypt, Turkey, Greece, and Italy, as these countries face down the Louvre, the Metropolitan Museum, the British Museum, and the J. Paul Getty Museum. She also introduces a cast of determined and implacable characters whose battles may strip these museums of some of their most cherished treasures.For readers who are fascinated by antiquity, who love to frequent museums, and who believe in the value of cultural exchange, Loot opens a new window on an enduring conflict.

    Focusing on art before 1520, this edition organizes the material chronologically. It now incorporates considerable new material on the history of music and theatre, and updates scholarship on ancient art.

    Even today remembered primarily as the mentor and lover of Robert Mapplethorpe, the once infamous photographer, Wagstaff, in fact, had an incalculable—and largely overlooked—influence on the world of contemporary art and photography, and on the evolution of gay identity in the latter part of the twentieth century.  Born in New York City in 1921 into a notable family, Wagstaff followed an arc that was typical of a young man of his class. He attended both Hotchkiss and Yale, served in the navy, and would follow in step with his Ivy League classmates to the "gentleman's profession," as an ad executive on Madison Avenue. With his unmistakably good looks, he projected an aura of glamour and was cited by newspapers as one of the most eligible bachelors of the late 1940s. Such accounts proved deceiving, for Wagstaff was forced to live in the closet, his homosexuality only revealed to a small circle of friends. Increasingly uncomfortable with his career and this double life, he abandoned advertising, turned to the formal study of art history, and embarked on a radical personal transformation that was in perfect harmony with the tumultuous social, cultural, and sexual upheavals of the 1960s.Accordingly, Wagstaff became a curator, in 1961, at Hartford's Wadsworth Atheneum, where he mounted both "Black, White, and Gray"—the first museum show of minimal art—and the sculptor Tony Smith's first museum show, while lending his early support to artists Andy Warhol, Ray Johnson, and Richard Tuttle, among many others. Later, as a curator at the Detroit Institute of Arts, he brought the avant-garde to a regional museum, offending its more staid trustees in the process.After returning to New York City in 1972, the fifty-year-old Wagstaff met the twenty-five-year-old Queens-born Robert Mapplethorpe, then living with Patti Smith. What at first appeared to be a sexual dalliance became their now historic lifelong romance, in which Mapplethorpe would foster Wagstaff's own burgeoning interest in contemporary photography and Wagstaff would help secure Mapplethorpe's reputation in the art world. In spite of their profound class differences, the artistic union between the philanthropically inclined Wagstaff and the prodigiously talented Mapplethorpe would rival that of Stieglitz and O’Keefe, or Rivera and Kahlo, in their ability to help reshape contemporary art history.Positioning Wagstaff's personal life against the rise of photography as a major art form and the simultaneous formation of the gay rights movement, Philip Gefter's absorbing biography provides a searing portrait of New York just before and during the age of AIDS. The result is a definitive and memorable portrait of a man and an era.