He takes cricket fans through all the seismic events in cricket’s tragicomic history, from its accidental birth to its run-in with death. Lords, maharajahs and refugees have all played the game that has survived many wars, corruption and terrorism to still be standing – still be captivating – today. Cricket has been dented by history, evolved by nature, grown entire nations and had to fight just to remain. This is not just the story of the people who played the game; this is Test cricket’s story.

    The time before the First Fleet is usually treated as a preface to the main story, a brief interlude that starts 50,000 years before the present and ends as sails are seen on an eastern horizon. But in 1787 the peoples of Australia were not simply living in a timeless ‘Dreamtime’, following the seasons, and waiting for colonisation by Britain in 1788.In 1787, Nick Brodie uses the sailors, writers, scientists, and other visitors to our shores to reassess neglected chapters of Australia’s early history, and place Australia and its peoples into the great story of human history. He turns the narratives of ‘exploration’ and ‘discovery’ around to take a closer look at the Indigenous peoples, the broader regional scene, and what these encounters collectively tell. 1787 does not stand for a year—it stands for an idea. This is the sweeping story of Greater Australasia and its peoples, a long-overdue challenge to the myth that Australia’s story started in 1788.Dr Nick Brodie is an historian, archaeologist, and writer. Nick’s previous book Kin was published to critical acclaim in 2015.

    That the man in the coffin had a few things to say.’Imagine you are dying with a secret. Something you’ve never had the courage to tell your friends and family. Or a last wish – a task you need carried out before you can rest in peace. Now imagine there’s a man who can take care of all that, who has no respect for the living, who will do anything for the dead.Bill Edgar is the Coffin Confessor – a one-of-a-kind professional, a man on a mission to make good on these last requests on behalf of his soon-to-be-deceased clients. And this is the extraordinary story of how he became that man.Bill has been many things in this life: son of one of Australia’s most notorious gangsters, homeless street-kid, maximum-security prisoner, hard man, family man, car thief, professional punching bag, philosopher, inventor, private investigator, victim of horrific childhood sexual abuse and an activist fighting to bring down the institutions that let it happen. A survivor.As a little boy, he learned the hard way that society is full of people who fall through the cracks – who die without their stories being told. Now his life’s work is to make sure his clients’ voices are heard, and their last wishes delivered: the small-town grandfather who needs his tastefully decorated sex dungeon destroyed before the kids find it. The woman who endured an abusive marriage for decades before finding freedom. The outlaw biker who is afraid of nothing . . . except telling the world he is in love with another man. The dad who desperately needs to track down his estranged daughter so he can find a way to say he's sorry, with one final gift.Confronting and confounding, heartwarming and heartbreaking, The Coffin Confessor is a compelling story of survival and redemption, of a life lived on the fringes of society, on both sides of the law – and what that can teach you about living your best life . . . and death.

    A talented violinist as well as a painter, Klee drew much of the inspiration for his abstract art from musical rhythms and structure. Like a composer, he developed and harmonized pictorial themes, weaving a complex series of signs and symbols into his painting. Art historian Hajo Duchting focuses his study primarily on Klee's decade-long tenure at the Bauhaus, where the artist's theories and practice first merged, and where he was to develop his Color Spectrum, Square and Polyphone painting series. Illustrated throughout with full-color reproductions of Klee's paintings and etchings, as well as entries from his diaries, this unique study sheds light on an important aspect of Klee's work while providing insights into his development as an abstract artist.

    In this, we are rich. We begin with abundance. But while much is written about our city these hard days, it is typically meant to explain Detroit to those who live elsewhere. Much of this writing is brilliant, but our anthology, this anthology, is different: it is a collection of Detroit stories for Detroiters. Through essays, photographs, poetry, and art, this anthology collects the stories we tell each other over late nights at the pub and long afternoons on the porch. We share them in coffee shops, at church social hours, in living rooms, and while waiting for the bus. These are stories addressed to the rhetorical “you”—with the ratcheted up language that comes with it—and these are stories that took real legwork to investigate. We may be lifelong residents, newcomers, or former Detroiters; we may be activists, workers, teachers, artists, healers, or students. But a common undercurrent alights our work that is collected here: we are a city moving through the fire of transformation. We are afire.Featuring essays, photographs, poetry, and art by Terry Blackhawk, Grace Lee Boggs, John Carlisle, Desiree Cooper, dream hampton, francine j. harris, Steve Hughes, Jamaal May, Tracie McMillan, Ken Mikolowski, Marsha Music, Shaka Senghor, Thomas J. Sugrue, and many others.

    A largely Australian force, commanded by the brilliant Sir John Monash, fought what has been described as the first modern battle - where infantry, tanks, artillery and planes operated together as a coordinated force.Monash planned every detail meticulously, with nothing left to chance. Integrated use of tanks, planes, infantry, wireless (and even carrier pigeons!) was the basis, and it went on from there, down to the details: everyone used the same maps, with updated versions delivered by motorbike despatch riders to senior commanders, including Monash. Each infantry battalion was allocated to a tank group, and they advanced together. Supplies and ammunition were dropped as needed from planes. The losses were relatively few. In the words of Monash: 'A perfected modern battle plan is like nothing so much as a score for an orchestral composition, where the various arms and units are the instruments, and the tasks they perform are their respective musical phrases.'Monash planned for the battle to last for 90 minutes - in the end it went for 93. What happened in those minutes changed for the rest of the war the way the British fought battles, and the tactics and strategies used by the Allies.Peter FitzSimons brings this Allied triumph to life, and tells this magnificent story as it should be told.

    On 15 January 1688 - almost 100 years to the day before Captain Arthur Phillip arrived in Botany Bay as commander of the First Fleet - another English ship, the sixteen-gun Cygnet, was running downwind on a gentle breeze while closing on the coast of the same continent. Cygnet, however, was 2000 miles to the north-west of where Phillip would anchor HMS Sirius and go ashore to finally establish the first British colony in the Great South Land. To get to this point, Cygnet had crossed the Pacific from the coast of Mexico to the East Indies with a 140-man crew comprising a bunch of unruly seafarers, young and old ... and pirates all.

    They did not know that the war they were fleeing had in fact ended—25 years earlier. Corinne Purtill was one of the first journalists to meet the families upon their incredible return to society. Years later she returned to Cambodia to learn the truth about their time on the run. What she found was a darker and more complicated tale than the one they first shared, a story of terror, isolation, fierce loyalty, appalling choices and murder. The result is a story that examines the unyielding human need for family and connection and the meaning of survival. Corinne Purtill is a journalist who has reported around the world for publications including Quartz, GlobalPost, CNN, Salon and the Cambodia Daily. She lives in California with her family. Cover design by Hannah Perrine Mode

    From his studio in London, he starts by travelling to three "white hills" - sites in China, Germany and England that are key to porcelain's creation. But his search eventually takes him around the globe and reveals more than a history of cups and figurines; rather, he is forced to confront some of the darkest moments of twentieth-century history.Part memoir, part history, part detective story, The White Road chronicles a global obsession with alchemy, art, wealth, craft and purity. In a sweeping yet intimate style that recalls The Hare with Amber Eyes, de Waal gives us a singular understanding of "the spectrum of porcelain" and the mapping of desire.

    It avoids the typical encyclopedic approach of surveys in favor of examining selected but highly representative works in greater depth and from an enlarged spectrum of critical discourse. Organized along chronological lines, topics explore the ideas, forms, events, artists, and works with each chapter devoted to a style, movement, or decade from Cezanne, Seurat, Gauguin, and Van Gogh through Minimalism and the general reaction known as Post-Modernism. Ideal for readers with a "general" interest in art. "

    The book contains the crazy, funny and sometimes horrifying anecdotes musicians have told about a lifestyle both invigorating and at times self-destructive. The metal genre has always been populated by colorful individuals who have thwarted convention and lived by their own rules. For many, vice has been virtue, and the opportunity to record albums and tour has been an invitation to push boundaries and open a Pandora ’s Box of wild experiences. Even before they joined bands, the urge for metalheads to rebel and a seemingly contradictory need to belong was ingrained in their DNA. Whether they were oddballs who didn’t fit in or angry kids from troubled backgrounds, metal gave them a sense of identity and became more than a form of music. From the author of the classic collection of Metal music-making tales Louder Than Hell comes a collection that goes behind the music with the lead singers, guitarists, bassists, drummers, stage hands, roadies, groupies, fans, and more. These are the stories of the parties, the tours, the rage, the joy, . . . the Heavy Metal life!

    Like her father, she came to love the Galapagos and to dream of having a life there. Her experience was filled with the perils and incomparable pleasures of living on the Galapagos.

    Now, in The Forest Lover she traces the courageous life and career of Emily Carr, who, more than Georgia O'Keeffe or Frida Kahlo, blazed a path for modern women artists. Overcoming the confines of Victorian culture, Carr became a major force in modern art by capturing an untamed British Columbia and its indigenous peoples just before industrialization changed them forever. From illegal potlatches in tribal communities to artists studios in pre World War I Paris, Vreeland tells her story with gusto and suspense, giving us a glorious novel that will appeal to lovers of art, native cultures, and lush historical fiction.

    Decades later she has written a deeply personal, profoundly intimate reflection on love and female creativity, and what happens when the two collide in a man's world.Dissolve is a conversation. A conversation with the young women of Gemmell's teenage daughter's generation, and of course with men.'Reading this memoir is like therapy for the soul' ArtsHub'one of the most enriching, yet debilitating reads I've experienced... tremendous, moving writing' Jessie Tu, Women's Agenda'Nikki Gemmell wrote this book for me, and I suspect there will be many women who feel the same way... Each page is imbued with startling self-awareness and profound wisdom... Vulnerable, honest and raw' Better Reading

    This volume, prepared by an expert in the field, is devoted exclusively to just that. With its clear, concise text, its almost 200 excellent illustrations, and its overall life-drawing approach, the book provides valuable guidelines on how best to portray faces, features, and heads. There is probably no better instructor to turn to than George B. Bridgman. He brings to the subject both his expertise as an artist and his fifty years' experience as lecturer and teacher at the Art Students League of New York. Throughout the book, he places as much emphasis on perspective and planes as on anatomy. In this way, you'll develop a more precise understanding of each feature, the head and face in general, the relationship between features, and the relationship between a specific feature and the face or head. Mr. Bridgman's consideration of the head includes such topics as the head at eye level and below eye level; planes of the head; and round and square forms. Four features — eye, nose, mouth, ear — are dealt with in detail. Sections on light and shade, comparative measurements, and principles of cube and oval construction further enhance the scope of the book. The finely executed drawings complement the textual material, illustrating all important concepts.  Of special value is the author's inclusion of the work of famous portrait artists. Vermeer, Hals, Rembrandt, Reynolds, Louise Elisabeth LeBrun — these are the people who made portraiture a master art; and you'll be able to study, up close and at your leisure, the qualities that let their work achieve the status it did.