A short book detailing: The most terrifying missions: The first mission to Balikpapan, an important Japanese fuel depot, and why it was considered impossible to achieve. Coping with boredom and fear: How joking and calculating survival odds helped deal with the realities. The snafus: The time a temporary Group Commander tried to bomb the US Seventh Fleet. True stories from a man who was there--as dictated toward the end of his life.

    This exposed an ecosystem that had been hidden from the sun for over 120,000 years. Imbedded deep in the ice shelf was an object. The object was carrying a deadly virus that killed most of the world's population. A group of strangers, bound by circumstance, embark on an epic adventure to develop a vaccine to save what is left of the human race. In the sequel, Akureyri Gateway, one of the three individuals that is immune from the deadly virus visits a cave in Akureyri, Iceland. This cave holds the key to unlocking the mystery surrounding the origins of the worldwide pandemic. The adventure continues with Biogenic Convergence, the third installment in this series.

    While Midas and Cassidy enjoy a small getaway, Sierra and Joshua take the lead on this ghost hunt. A skeletal apparition terrorizes anyone who invades its territory. A black mist tries to smother a terrified client. Phantom mirrors break at Brady Hall and an otherworldly, palpable and paralyzing fear plagues the team. Will they be able to suppress their fear and help the volunteers of this historic Mobile, Alabama landmark? Or will this mean the doors close at Brady Hall forever? If you enjoy southern gothic stories with a modern twist and immersive ghost hunting, you'll love this episode of M.L. Bullock's Gulf Coast Paranormal. Grab a flashlight and your copy of The Spirits of Brady Hall now! Visit M.L. Bullock's website at www.mlbullock.com. Join her Facebook fan page at www.facebook.com/AuthorMLBullock

    In "Caterpillars in Their Usual Hurry", an alcoholic businessman whose girlfriend has walked out on him decides to make more money, only to discover that his future and past can’t coexist. "The Window at the End of the Street" is the story of Anita, a recently widowed woman, whose return to her parents’ home becomes the cause of both her mother’s death and Anita’s incurable attraction to her neighbour. "Nude Man at the Window" is the second-person narrative of an egoist millionaire who is accused of murdering a prostitute after she claims to have fallen in love with him. "Why I Don’t Lock up My Wife Anymore" is about a man who accidentally discovers his wife in bed with a total stranger and decides to do the unthinkable. "Unloved in Nude Town" is about three friends, one of whom falls in love with a stranger named Mona and pays a price he could never have imagined. With its delicate wit and a strong sense of place, "Long Way from Home" is the story of a gigolo who falls in love for the first time. A second-person narrative, "All You Need Is One Good Shot", is the story of a young police officer who is kidnapped by his wife, who he thinks still loves him.

    Drawing on a rich range of sources, from inventories and guild regulations topoetry and chronicles, it examines everything from panel paintings to carved altarpieces.While many little-known works are foregrounded, Susie Nash also presents new ways of viewing and understanding the more familiar, such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling, by considering the social and economic context of their creation and reception.Throughout, Nash challenges the perception that Italy was the European leader in artistic innovation at this time, demonstrating forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.

    

    Thaw, and the hailstorm of publicity that surrounded "the trial of the century"--has proven irresistable to generations of novelists, historians, and biographers. The premier neoclassical architect of his day, White's legacy to the world were such masterpieces as New York's original Madison Square Garden, the Washington Square Arch, and the Players, Metropolitan, and Colony clubs. He was also responsible for the palaces of such clients as the Whitneys, Vanderbilts, and Pulitzers, the robber barons of the Gilded Age whose power and dominance shaped the nation in its heady ascent at the turn of the century.As the century rolled on, however, the story of Stanford White and Evelyn Nesbit came to be viewed as glamorous and romantic, the darker narrative of White's out-of-control sexual compulsion obscured by time. Indeed, White's wife Bessie and his son Larry remained adamantly silent about the matter for the duration of their lives, a silence that reverberated through the next four generations of their extended family.Suzannah Lessard is the eldest of Stanford White's great grandchildren. It was only in her 30's that she began to sense the parallels between the silence about her great-grandfather's life and the silence about her own perilous experience as a little girl in her own home. Thus she became drawn to the remarkable history of her family in order to uncover its hidden truths, and in so doing to liberate herself from its enclosure at last. The result is a multi-layered memoir of astonishing elegance and power, one that, like a great building, is illumined room by room, chapter by chapter, until the whole is clearly seen.

    

    Ambushed and left for dead, he has even more cause to be grateful when the bridge-builder saves his life. Shay’s savior turns out to be a mysterious young woman with extraordinary skills. More importantly, she’s a strong ally when he and a few other men are forced to defend themselves and their ranches against a power hungry rich man. Marvin Hammel seems determined to own everything in their small valley, his intention to gobble up not only their homes and their livelihoods, but the water that flows through the land. January Schutt just wants to be left alone to hide her scars. She’s rebuilt the bridge that crosses the river onto her property, and lives like a hermit in a rundown old barn. All that changes when she takes in a wounded Shay Billings. Now she’s placed in the middle of a war over water rights. But has she picked the winning side?

    Treasured by the ancient Mexicans, cochineal was sold in the great Aztec marketplaces, where it attracted the attention of the Spanish conquistadors in 1519. Shipped to Europe, the dye created a sensation, producing the brightest, strongest red the world had ever seen. Soon Spain's cochineal monopoly was worth a fortune. Desperate to find their own sources of the elusive dye, the English, French, Dutch, and other Europeans tried to crack the enigma of cochineal. Did it come from a worm, a berry, a seed? Could it be stolen from Mexico and transplanted to their own colonies? Pirates, explorers, alchemists, scientists, and spies—all joined the chase for cochineal, a chase that lasted more than three centuries. A Perfect Red tells their stories—true-life tales of mystery, empire, and adventure, in pursuit of the most desirable color on earth.

    Published on the occassion of an exhibition at the Danish Architecture Centre, Copenhagen, 21 February - 31 May 2009.

    Like its highly successful companion volumes, Art in Theory, 1815–1900 and Art in Theory, 1900–1990, its primary aim is to provide students and teachers with the documentary material for informed and up-to-date study. Its 240 texts, clear principles of organization and considerable editorial content offer a vivid and indispensable introduction to the art of the early modern period.Harrison, Wood, and Gaiger have collected writing by artists, critics, philosophers, literary figures, and administrators of the arts, some reprinted in their entirety, others excerpted from longer works. A wealth of material from French, German, Italian, Spanish, Dutch, and Latin sources is also provided, including many new translations.Among the major themes treated are early arguments over the relative merits of ancient and modern art, debates between the advocates of form and color, the beginnings of modern art criticism in reviews of the Salon, art and politics during the French Revolution, the rise of landscape painting, and the artistic theories of Romanticism and Neo-classicism.Each section is prefaced by an essay that situates the ideas of the period in their historical context, while relating theoretical concerns and debates to developments in the practice of art. Each individual text is also accompanied by a short introduction. An extensive bibliography and full index are provided.

    Holl reveals his working methods in this book, part treatise, part manifesto, and part, as Holl writes, "liner notes" to fifteen of his projects. Parallax traces Holl's ideas on topics as diverse as the "chemistry of matter" and the "pressure of light," and shows how they emerge in his architectural work: "criss-crossing" at the Kiasma Museum of Contemporary Art in Helsinki, "duration" in the Palazzo del Cinema in Venice, "correlational programming" in the Makuhari housing in Japan. The result is a book that provides a personal tour of the work of one of the world's most esteemed architects. Parallax is designed by Michael Rock of the award-winning design firm 2x4.

    Because they could be mass produced, ukiyo-e works were often used as designs for fans, New Year's greeting cards, single prints, and book illustrations, and traditionally they depicted city life, entertainment, beautiful women, kabuki actors, and landscapes. The influence of ukiyo-e in Europe and the USA, often referred to as Japonisme, can be seen in everything from impressionist painting to today's manga and anime illustration. This reprint is made from one of the finest complete original set of woodprints belonging to the Ota Memorial Museum of Art in Tokyo.

    Her lifelong friend, Ingrid, has asked her to do the impossible -- authenticate the painting from a photograph. The photograph in question was passed down to Ingrid by her grandfather, Klaus Rettke a key member of the German Einsatzstab Reichsleiter Rosenberg, the Nazi organization appointed to confiscate art from the Jews. Obscure references in Klaus Rettke's diary convince Maggie that Rettke stole the painting from the Nazis. Now she must use science to verify that the painting in the photo is genuine, something that has never been done before. From the National Gallery of Art in Washington, D.C. to the Musee du Jeu de Paume in Paris, Maggie searches for answers. Finally, she confronts the possibility that there is not one painting, but the original and several forgeries. With tens of millions of dollars at stake and a killer at large, she is determined to find the authentic Van Gogh. To do so, Maggie must stay alive . . . something that's proving difficult to do.