The three-day session yielded nearly 2,600 pictures-fashion, portrait, and nude studies-of indescribable sensual and human vibrancy, of which no more than 20 were published. And yet these few photographs ineradicably shaped our image of Marilyn Monroe.This book presents the complete set of 2,571 photos. The monumental body of work by the master photographer and the Hollywood actress marks a climax in the history of star photography, both in quantity and quality. It is a unique affirmation of the erotic dimension of photography and the eroticism of taking photos, and it is the world's finest and largest tribute to Marilyn Monroe.In front of the camera, Marilyn was known to possess an incredible chameleon-like ability to transform herself into whatever role she was meant to play. In these pages she is goddess, siren, child, woman, femme fatale and dream date. Yet there is an air of desperation about these photos as well. In his fascinating foreword to the book. Bert Stern looks back on that momentous sitting, offering a revealing, naked portrait of Marilyn the person -- of a vulnerable, confused woman who although at the apex of her career, had relinquished control of her life -- and of the fashion world of the early 1960s, with its new openness towards drugs, sex, and art.From the glamorous, sophisticated photos which Vogue would publish in a black-and-white "memorial" spread, to the less restrained color shots which Stern coaxed out of Marilyn during an intense, exhausting session, this collection covers nearly every aspect of modern photography: portraiture, fashion-driven, erotic, and artistic. But more than a comprehensive display of Stern's immeasurable talents, these photographs combine to create an homage to America's first goddess. A woman we invented, but whom we could never really know.

    Over the past decade, artist Rachel Sussman has researched, worked with biologists, and traveled the world to photograph continuously living organisms that are 2,000 years old and older. Spanning from Antarctica to Greenland, the Mojave Desert to the Australian Outback, the result is a stunning and unique visual collection of ancient organisms unlike anything that has been created in the arts or sciences before, insightfully and accessibly narrated by Sussman along the way. Her work is both timeless and timely, and spans disciplines, continents, and millennia. It is underscored by an innate environmentalism and driven by Sussman’s relentless curiosity. She begins at “year zero,” and looks back from there, photographing the past in the present.  These ancient individuals live on every continent and range from Greenlandic lichens that grow only one centimeter a century, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, Caribbean brain coral, to an 80,000-year-old colony of aspen in Utah. Sussman journeyed to Antarctica to photograph 5,500-year-old moss; Australia for stromatolites, primeval organisms tied to the oxygenation of the planet and the beginnings of life on Earth; and to Tasmania to capture a 43,600-year-old self-propagating shrub that’s the last individual of its kind. Her portraits reveal the living history of our planet—and what we stand to lose in the future. These ancient survivors have weathered millennia in some of the world’s most extreme environments, yet climate change and human encroachment have put many of them in danger. Two of her subjects have already met with untimely deaths by human hands. Alongside the photographs, Sussman relays fascinating – and sometimes harrowing – tales of her global adventures tracking down her subjects and shares insights from the scientists who research them. The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future.

    Building on research that has only recently confirmed that the world endured a 500year cold snap, renowned archaeologist Brian Fagan shows how the increasing cold influenced familiar events from Norse exploration to the settlement of North America to the Industrial Revolution. This is a fascinating book for anyone interested in history, climate, and how they interact.

    Since the mid-1970s, however, the urban economy has rapidly deteriorated, leaving workers scrambling to get by. Expectations of Modernity explores the social and cultural responses to this prolonged period of sharp economic decline. Focusing on the experiences of mineworkers in the Copperbelt region, James Ferguson traces the failure of standard narratives of urbanization and social change to make sense of the Copperbelt's recent history. He instead develops alternative analytic tools appropriate for an "ethnography of decline."Ferguson shows how the Zambian copper workers understand their own experience of social, cultural, and economic "advance" and "decline." Ferguson's ethnographic study transports us into their lives—the dynamics of their relations with family and friends, as well as copper companies and government agencies.Theoretically sophisticated and vividly written, Expectations of Modernity will appeal not only to those interested in Africa today, but to anyone contemplating the illusory successes of today's globalizing economy.

    Find your favourite pop-culture character in this collection of silhouettes from well-known movie, television, comics and video game characters!

    Traversing past and present, Belonging charts a cyclical journey in which hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home. hooks has written provocatively about race, gender, and class; and in this book she turns her attention to focus on issues of land and land ownership. Reflecting on the fact that 90% of all black people lived in the agrarian South before mass migration to northern cities in the early 1900s, she writes about black farmers, about black folks who have been committed both in the past and in the present to local food production, to being organic, and to finding solace in nature. Naturally, it would be impossible to contemplate these issues without thinking about the politics of race and class. Reflecting on the racism that continues to find expression in the world of real estate, she writes about segregation in housing and economic racialized zoning. In these critical essays, hooks finds surprising connections that link the environment and sustainability to the politics of race and class that reach far beyond Kentucky.With characteristic insight and honesty, Belonging offers a remarkable vision of a world where all people--wherever they may call home--can live fully and well, where everyone can belong.

    While on set, Mark met the women of Ward 81, the only locked hospital security ward for women in the state: the inmates were considered dangerous to themselves or to others. In February of 1976, just before the ward closed (it ceased to exist in November of 1977, when it became the female section of a coeducational treatment ward), Mark and Karen Folger Jacobs, a writer and social scientist, were given permission to make a more extended stay, living on the ward in order to photograph and interview the women. They spent 36 days on Ward 81, photographing and documenting. Jacobs recalls their slow, inevitable assimilation: "We felt the degeneration of our own bodies and the erosion of our self-confidence. We were horrified at the thought of what we might become after a year or two of confinement and therapy on Ward 81." This new hardcover edition adds 10 new pictures to the original. Ward 81 is a sobering investigation into the lives and treatment of the mentally ill.

    A stressed-out New York men's magazine editor gets posted to the UK and realises happiness is more easily achieved by adopting the British attitude to life - expecting the worst and going to the pub.

    The story spans more than forty years, following the fate of a magnificent sand dune on Lake Michigan and the people who care about it. Author and narrator Heather Shumaker shares the remarkable untold stories behind protecting land and creating new nature preserves. Written in a compelling narrative style, the book is intended in part as a case study for landscape-level conservation and documents the challenges of integrating economic livelihoods into conservation and what it really means to "preserve" land over time.This is the story of a small band of determined townspeople and how far they went to save beloved land and endangered species from the grip of a powerful corporation. Saving Arcadia is a narrative with roots as deep as the trees the community is trying to save, something set in motion before the author was even born. And yet, Shumaker gives a human face to the changing nature of land conservation in the twenty-first century. Throughout this chronicle we meet people like Elaine, a nineteen-year-old farm wife; Dori, a lakeside innkeeper; and Glen, the director of the local land trust. Together with hundreds of others they cross cultural barriers and learn to help one another in an effort to win back the six-thousand-acre landscape taken over by Consumers Power that is now facing grave devastation. The result is a triumph of community that includes working farms, local businesses, summer visitors, year-round residents, and a network of land stewards.A work of creative nonfiction, Saving Arcadia is the adventurous tale of everyday people fighting to reclaim the land that has been in their family for generations. It explores ideas about nature and community, and anyone from scholars of ecology and conservation biology to readers of naturalist writing can gain from Arcadia's story.

    Hiroki Azuma's 'Otaku' offers a critical, philosophical, and historical inquiry into the characteristics and consequences of this consumer subculture.

    Recollections of Farrar's father are prominent throughout the stories. Ultimately, it is music and musicians that are given the most space and the final word since music has been the creative impetus and driving force for the past 35 years of his life.In writing these stories, he found a natural inclination to focus on very specific experiences; a method analogous to the songwriting process. The highlights and pivotal experiences from that musical journey are all represented as the binding thread in these stories, illustrated throughout with photography from his life. If life is a movie, then these stories are the still frames.

    Told by a geologist with a novelist's sense of language and narrative, Sand examines the science—sand forensics, the physics of granular materials, sedimentology, paleontology and archaeology, planetary exploration—and at the same time explores the rich human context of sand. Interwoven with tales of artists, mathematicians, explorers, and even a vampire, the story of sand is an epic of environmental construction and destruction, an adventure in staggering scales of time and distance, yet a tale that encompasses the ordinary and everyday. Sand, in fact, is all around us—it has made possible our computers, buildings and windows, toothpaste, cosmetics, and paper, and it has played dramatic roles in human history, commerce, and imagination. In this luminous, kinetic, revelatory account, we do indeed find the world in a grain of sand.

    The rewarding result is a multicultural portrait in words and images that illuminates the hopes, dreams, sorrows, and joys of women around the world. 375 color photos.

    The book told the story of how 1492 sparked the movement of organisms, both large and small, in both directions across the Atlantic. This Columbian exchange, between the Old World and the New, changed the history of our planet drastically and forever.The book The Columbian Exchange changed the field of history drastically and forever as well. It has become one of the foundational works in the burgeoning field of environmental history, and it remains one of the canonical texts for the study of world history. This 30th anniversary edition of The Columbian Exchange includes a new preface from the author, reflecting on the book and its creation, and a new foreword by J. R. McNeill that demonstrates how Crosby established a brand new perspective for understanding ecological and social events. As the foreword indicates, The Columbian Exchange remains a vital book, a small work that contains within the inspiration for future examinations into what happens when two peoples, separated by time and space, finally meet.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.