When she sees a job posting for a new international school in Bali, she convinces her schoolteacher husband Victor to apply. Six weeks after his interview, Lisa, Victor, and their six-year-old daughter, Loy, move halfway around the world to paradise. But instead of luxuriating in ocean breezes, renewed passion, and first-rate schooling, what Lisa and her family find are burning corpses, biting ants, and a millionaire founder who cares more about selling bamboo furniture than educating young minds. Not to mention Lisa’s fear that one morning she might see the Dengue Fever rash on her young daughter. RASH is an unfiltered, sharply-written memoir about a woman who goes looking for happiness on the Island of the Gods, and nearly destroys her marriage in the process. For anyone who has ever dreamed of starting over in an exotic locale, this is a poignant reminder that no matter where you go, there you are. "In this stingingly satisfying memoir, Kusel uses her wicked wit to explore the flip side of starting over in a new country. RASH got under my skin starting on page one and felt like Calamine lotion for my own restless soul." ~Nancy Stearns Bercaw, author of Dryland: One Woman's Swim to Sobriety "Raw, honest and funny: in RASH, Lisa Kusel captures perfectly the reality of living in a tropical Indonesian jungle, trying to hold on to a semblance of normal family life while dealing with the physical and emotional challenges that adapting to such a different lifestyle and culture brings. RASH will make you feel the heat and smell the smoke - and have you scratching at imaginary insect bites as you turn the pages. A healthy dose of reality for daydreamers and those who believe the grass is always greener on the other side." ~Emma Bamford, author of Casting Off and Untie the Lines. "A richly narrated, decidedly wistful, soul-searching travel memoir. Open and honest, Lisa ruminates on quiet insights of the reality behind the ever-present mosquito net. After finishing RASH, I wanted her to be my new best friend." ~Elizabeth Fournier, author of The Green Reaper: Memoirs of an Eco-Mortician "While it might sound good on paper, running away from home doesn’t always lead to salvation. In this bitingly frank and funny tale, Kusel takes us on a journey from her safe and semi-satisfied life in California to her unexpectedly pandemonic time in Bali. I was delighted to go along for the ride with this smart, charming woman who writes with such verve and intimacy. RASH is a must read for all those who are in search of their own patch of greener grass." ~Sarah Alderson, author of Can We Live Here?: Finding a Home in Paradise

    In this autobiography, E.H. Shepard describes a classic Victorian childhood. Shepard grew up in the 1880s in Saint John's Wood with his brother and sister. He was surrounded by domestic servants and maiden aunts, in a an age when horse-drawn buses and hansom cabs crowded the streets. Recalling this time with charm and humour, Shepard illustrates these scenes in his own distinctive style.

    His memoirs, originally scattered through his story collections, are among the most thrilling evocations of growing up in the New York of the 1950s and '60s—and of continuing to grow up, in the cultural turmoil of the '70s and '80s, as a writer, teacher, lover, and reader. The same honesty and excitement shine in Michaels's highly personal commentaries on culture and art. Whether he's asking what makes a story, reviewing the history of the word "relationship," or reflecting on sex in the movies, he is funny, penetrating, surprising, always alive on the page.The Essays of Leonard Michaels is the definitive collection of his nonfiction and shows, yet again, why Michaels was singled out for praise by fellow writers as diverse as Susan Sontag, Larry McMurtry, William Styron, and Charles Baxter. Beyond autobiography or criticism, it is the record of a sensibility and of a style that is unmatched in American letters.

    "Going to the Potty handles a sensitive subject with the same quiet candor and respect for young audiences that are the hallmark of his Mister Rogers' Neighborhood TV show."--Publishers WeeklyParent and child may read together about the way children develop in the experience of eliminating waste products from their body and about the positive aspects of using the toilet.

    She is perhapsas well known for her tantalizing brand of Southern Gothic humor as she is for her Catholicism. That these tendencies should be so happily married in her fiction is no longer a surprise. The real surprise is learning that this much beloved icon of American literature did not set out to be a fiction writer, but a cartoonist. This seems to be the last well-kept secret of her creative life. Flannery O'Connor: The Cartoons, the first book devoted to the author's work in the visual arts, emphasizes O'Connor's most prolific period as a cartoonist, drawing for her high school and college publications in the early 1940s. While many of these images lampoon student life and the impact of World War II on the home front, something much more is happening. Her cartoons are a creative threshing floor for experimenting and trying out techniques that are deployed later with such great success in her fiction. O'Connor learns how to set up and carry a joke visually, how to write a good one-liner and set it off against a background of complex visual narration. She develops and asserts her taste for a stock set of character types, attitudes, situations, exaggerations, and grotesques, and she learns how to present them not to distort the truth, but to expose her vision of it.She worked in both pen & ink and linoleum cuts, and her rough-hewn technique combined with her acidic observations to form a visual precursor to her prose. Fantagraphics is honored to bring the early cartoons of this American literary treasure to a 21st century readership.

    illustrated, B&W

    A native of nineteenth-century New Orleans, George Herriman came of age as an illustrator, journalist, and cartoonist in the boomtown of Los Angeles and the wild metropolis of New York. Appearing in the biggest newspapers of the early twentieth century—including those owned by William Randolph Hearst—Herriman’s Krazy Kat cartoons quickly propelled him to fame. Although fitfully popular with readers of the period, his work has been widely credited with elevating cartoons from daily amusements to anarchic art.Herriman used his work to explore the human condition, creating a modernist fantasia that was inspired by the landscapes he discovered in his travels—from chaotic urban life to the Beckett-like desert vistas of the Southwest. Yet underlying his own life—and often emerging from the contours of his very public art—was a very private secret: known as "the Greek" for his swarthy complexion and curly hair, Herriman was actually African American, born to a prominent Creole family that hid its racial identity in the dangerous days of Reconstruction.Drawing on exhaustive original research into Herriman’s family history, interviews with surviving friends and family, and deep analysis of the artist’s work and surviving written records, Michael Tisserand brings this little-understood figure to vivid life, paying homage to a visionary artist who helped shape modern culture.

    Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    Now brought together for the first time in a single volume, these works show the many forms—fiction, poetry, philosophical and historical speculation, autobiography—in which Adams gave expression to his vision of the meaning of the unsettling changes in American life and values.Each of the two novels, Democracy and Esther, chooses a woman on whom to center the effects of social change. In Democracy, Madeleine Lee, an emancipated and idealistic young widow, moves to Washington to learn the nature of political power and is disillusioned upon discovering the intrigues of rampant corruption. The free-thinking heroine in Esther, caught in the warfare between science and religion, finds that she cannot surrender her moral independence, even to marry a clergyman.Adams, though a man of the modern world, remained in temperament a child of the eighteenth century, his political ideals shaped by his presidential ancestors, great-grandfather John Adams and grandfather John Quincy Adams. The failure of those ideals to withstand the challenges of an industrialized America drove him to seek refuge in the study of the medieval age of faith in France. Out of it came his skeptic’s “Prayer to the Virgin of Chartres.” Her presence dominates the book that followed—Mont Saint Michel and Chartres. In evocative and sensitive prose Adams moves from the architecture, sculpture, and stained glass of Chartres to the religion, literature, politics, social order, and crusades of the eleventh, twelfth, and thirteenth centuries. Adams translates the poetry of courtly love and recounts the drama of Eleanor of Aquitaine’s life and the timeless love of Abelard and Heloise. The narrative rises at the end to the brilliantly re-enacted drama of St. Thomas Aquinas’ victory over the rival philosophers.If Mont Saint Michel portrayed a world unified by a common faith, The Education of Henry Adams portrayed a world irresistibly moving toward chaos. The world once unified by the Virgin was now ruled by the impersonal Dynamo and was already confronted by the “metaphysical bomb” of radium and the prospect of infinite energy for man’s use. Adams balances, with extraordinary urbanity and wit, the rival claims he found as much in himself as in modern civilization. Together, these two works still pose an urgent question: can the human mind ultimately control the monstrous aggregates of power which it has wrung from nature?

    Thirty-six stories by the Nobel Prize winner, including some of his most famous such as "Zlateh the Goat," "Mazel and Shlimazel," and "The Fools of Chelm and the Stupid Carp."Stories for Children is a 1984 New York Times Book Review Notable Children's Book of the Year.

    The series first appeared in The Lady's Magazine. The full title is: Our Village: Sketches of Rural Character and Scenery. The vivid series was based upon life in Three Mile Cross, a hamlet in the parish of Shinfield (south-east of Reading in Berkshire), where she lived.

    Her journey took her through the states of Utah, Nevada, New Mexico, Arizona, and Texas. It also took her through the states of anxiety, drunkenness, disorientation, and heat exhaustion. Spiral Jetta is a chronicle of this journey.A lapsed art historian and devoted urbanite, Hogan initially sought firsthand experience of the monumental earthworks of the 1970s and the 1980s—Robert Smithson’s Spiral Jetty, Nancy Holt’s Sun Tunnels, Walter De Maria’s Lightning Field, James Turrell’s Roden Crater, Michael Heizer’s Double Negative, and the contemporary art mecca of Marfa, Texas. Armed with spotty directions, no compass, and less-than-desert-appropriate clothing, she found most of what she was looking for and then some.

    The poster has now become a postcard and e-mail blast, leaving many to long for the lost age when posters were not only major promotional vehicles, but also artwork worthy of framing.Some of the world's best designers just could not stand idle while the poster fell by the wayside. They turned to the poster for personal expression and as an outlet from more restrictive mediums.This book showcases their breathtaking artwork, which has proven that the poster can still serve as a worthy communications tool. In doing so, they've brought the poster back to prominence. In this book, the author has compiled the world's finest new work at the height of this rebirth. There is currently no book on the market that can claim it features a "definitive" poster collection.

    0-8109-4964-4$60.00 / Harry N. Abrams, Inc.

    IdeaIs There a Good Abstract Idea Underlying the Picture?What Details Could be Eliminated to Strengthen the Composition?Does the Painting “Read”?Could You Finish Any Part of the Painting?ShapesAre the Dominant Shapes as Strong and Simple as Possible?Are the Shapes Too Similar?ValueCould the Value Range be Increased?Could the Number of Values be Reduced?LightIs the Subject Effectively Lit?Is the Light Area Big Enough?Would the Light Look Stronger with a Suggestion of Burnout?Do the Lights Have a Continuous Flow?Is the Light Gradated?ShadowsDo the Shadow Shapes Describe the Form?Are the Shadows Warm Enough?DepthWould the Addition of Foreground Material Deepen the Space?Does the Background Recede Far Enough?Are the Halftones Properly Related to the Background?SolidityIs the underlying Form Being Communicated?Is the Symmetry in Perspective?ColorIs There a Color Strategy?Could a Purer Color Be Used?Do the Whites Have Enough Color in Them?Are the Colors Overblended on the Canvas?Would the Color Look Brighter if it Were Saturated into its Adjacent Area?PaintIs Your Palette Efficiently Organized?Is the Painting Surface Too Absorbent?Are You Using the Palette Knife as Much as You Could?Are You Painting Lines When You Should Be Painting Masses?Are the EdgesDynamic Enough?Is There Enough Variation in the Texture of the Paint?