But as soon as he gets on campus, Ben finds out that Spy School is way more deadly than debonair. And given his total lack of coordination and failure to grasp even the most basic spying skills, Ben begins to wonder what he’s doing here in the first place.Luckily, through a series of hilarious misadventures, Ben realizes he could actually become a halfway decent spy…if he can survive all the attempts being made on his life!Ideal for newcomers to the series and loyal fans alike, this collection includes paperback editions of Spy School, Spy Camp, Evil Spy School, Spy Ski School, and Spy School Secret Service.

    Cornell's lyrical compositions combine found materials in ways that reflect a very personal exploration of art and culture and that represent his belief in art as an uplifting voyage into the imagination. This stunning book is published to accompany the first retrospective of the artist's work in twenty-six years.In her essay, Cornell scholar Lynda Roscoe Hartigan focuses on the seminal experiences and concepts that shaped Cornell's evolution as an American artist with a singular style of seeing. His transformation of found materials, distillation of far-flung ideas and traditions, and mingling of the vernacular and the erudite resonate with the spirit of synthetic innovation associated with American art and culture. Additionally, eight thematic sections (Navigating a Career, Cabinets of Curiosity, Dream Machines, Bouquets of Homage, Nature's Theater, Geographies of the Heavens, Crystal Cages, and Chambers of Time)explore the major ideas that recur in his work. The book also includes a bibliography, numerous illustrations of the artist's source material and previously unpublished works, and much more.

    These include films: The Irony of Fate, Moscow Does Not Believe in Tears, White Sun of the Desert, Sherlock Holmes and Dr Watson; a novel: The Twelve Chairs; animated cartoons: Hedgehog in the Mist and The Prostokvashino Three; the writer Mikhail Bulgakov; the singer-songwriter Vladimir Vysotsky; stand-up comedians Mikhail Zhvanestky and Mikhail Zadornov; and a character from a fairy tale, Yemelya the Simpleton. The subjects of the chapters were selected for their influence on Russian language and thinking, and also because they reflect Russian attitudes and perceptions. The author brings them to life through her own experiences of, and responses to, these modern icons. This book, though invaluable for students of Russian, is for everyone interested in Russian language and culture, and explains why certain references and attitudes continue to permeate everyday life. Olga Fedina grew up in Moscow in the turbulent late-Soviet and immediately post-Soviet years, graduating from the Department of Journalism of Moscow State University. She subsequently lived for a decade in London and is currently based in Valencia, Spain. She sometimes misses her homeland, and this book expresses some of the unique aspects of Russia and the Russians that she always carries with her.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    Galina’s artist father Mikhail has been kept away from the front to help save the treasures of the Hermitage. Its cellars could now provide a safe haven, provided Mikhail can navigate the perils of a portrait commission from one of Stalin’s colonels. Nearly 40 years later, Galina herself is a teacher at the Leningrad Art Institute. What ought to be a celebratory weekend at her forest dacha turns sour when she makes an unwelcome discovery. The painting she embarks upon that day will hold a grim significance for the rest of her life, as the old Soviet Union makes way for the new Russia and Galina’s familiar world changes out of all recognition. Warm, wise and utterly enthralling, Molly Gartland’s debut novel guides us from the old communist world, with its obvious terrors and its more surprising comforts, into the glitz and bling of 21st-century St. Petersburg. Galina’s story is at once a compelling page-turner and an insightful meditation on ageing and nostalgia.

    A powerful autobiography written in the grand Russian tradition telling the story of how Nina Markovna endured life under Stalin and the tumult of World War II, being tossed back and forth between the opposing German and Soviet armies.

    In this study, historian Richard Stites offers a vivid portrayal of revolutionary life and the cultural factors--myth, ritual, cult, and symbol--that sustained it, and describes the principal forms of utopian thinking and experimental impulse. Analyzing the inevitable clash between the authoritarian elements in the Bolshevik's vision and the libertarian behavior and aspirations of large segments of the population, Stites interprets the pathos of utopian fantasy as the key to the emotional force of the Bolshevik revolution which gave way in the early 1930s to bureaucratic state centralism and a theology of Stalinism.

    As he bent down to pick up his golf ball, something strange and massive happened inside his head; part of his brain seemed to unhinge, to split apart and float away. For an utterly inexplicable reason, a tiny blood vessel, thin as a thread, deep inside the folds of his gray matter had suddenly shifted ever so slightly, rubbing up against his acoustic nerve. Any noise now caused him excruciating pain. After months of seeking treatment to no avail, in desperation Sarkin resorted to radical deep-brain surgery, which seemed to go well until during recovery his brain began to bleed and he suffered a major stroke. When he awoke, he was a different man. Before the stroke, he was a calm, disciplined chiropractor, a happily married husband and father of a newborn son. Now he was transformed into a volatile and wildly exuberant obsessive, seized by a manic desire to create art, devoting virtually all his waking hours to furiously drawing, painting, and writing poems and letters to himself, strangely detached from his wife and child, and unable to return to his normal working life. His sense of self had been shattered, his intellect intact but his way of being drastically altered. His art became a relentless quest for the right words and pictures to unlock the secrets of how to live this strange new life. And what was even stranger was that he remembered his former self. In a beautifully crafted narrative, award-winning journalist and Pulitzer Prize finalist Amy Ellis Nutt interweaves Sarkin’s remarkable story with a fascinating tour of the history of and latest findings in neuroscience and evolution that illuminate how the brain produces, from its web of billions of neurons and chaos of liquid electrical pulses, the richness of human experience that makes us who we are. Nutt brings vividly to life pivotal moments of discovery in neuroscience, from the shocking “rebirth” of a young girl hanged in 1650 to the first autopsy of an autistic savant’s brain, and the extraordinary true stories of people whose personalities and cognitive abilities were dramatically altered by brain trauma, often in shocking ways. Probing recent revelations about the workings of creativity in the brain and the role of art in the evolution of human intelligence, she reveals how Jon Sarkin’s obsessive need to create mirrors the earliest function of art in the brain. Introducing major findings about how our sense of self transcends the bounds of our own bodies, she explores how it is that the brain generates an individual “self” and how, if damage to our brains can so alter who we are, we can nonetheless be said to have a soul. For Jon Sarkin, with his personality and sense of self permanently altered, making art became his bridge back to life, a means of reassembling from the shards of his former self a new man who could rejoin his family and fashion a viable life. He is now an acclaimed artist who exhibits at some of the country’s most prestigious venues, as well as a devoted husband to his wife, Kim, and father to their three children. At once wrenching and inspiring, this is a story of the remarkable human capacity to overcome the most daunting obstacles and of the extraordinary workings of the human mind.

    This full-length, exhaustively researched account of the thrash kings' career recaps and reevaluates the years guitar hero Jeff Hanneman and drum legend Dave Lombardo were in the group. Over the course of 59 chapters, 400 footnotes and three appendices, it profiles the members and presents dramatic scenes from 32 years in the Abyss: A fresh look at the group's early days. Reign in Blood tours. A European invasion. The Palladium riot. The seat cushion chaos concert. Newly unearthed details from Lombardo's turbulent history with the band. Historical artwork and photos never seen in public before. The entire diabolical discography. Hanneman’s hard times. The Big Four’s big year. Lombardo’s final exit. The top 11 Hanneman tributes. The mosh memorial service. Untold stories. Updates. And relevant digressions, including a contrasting look at other contemporaries and cutting-edge extreme bands. Over decades, Slayer experience triumph and loss, but never defeat, whether it's at the hands of rivals, peers, America's most infamous church, or the United States government itself. In addition to extensive archival material, this book features original content from the band, key affiliates, and firsthand witnesses, including Metal Blade CEO Brian Slagel, former tour manager Doug Goodman, engineer Bill Metoyer, former Metal Blade exec William "DJ Will" Howell, and cover artist Albert Cuellar (who went on to work with Tim Burton, Sublime, and Sir Mix-A-Lot). It also includes Jeff Hanneman's original diagram for the Live Undead picture disc (spoiler: it's a stick-figure sketch). Slayer fans will never see — or hear — the thrash metal champions the same way. 33 photos and 11 illustrations include lost artwork by Hell Awaits artist Albert Cuellar and stunning exclusive pictures by Harald Oimoen (of Murder in the Front Row renown). Written by D.X. Ferris, an Ohio Society of Professional Journalists Reporter of the Year and author of "Slayer's Reign in Blood," which is book no. 57 in Bloomsbury Academic's prestigious 33 1/3 series. The bargain-priced e-book edition features extensive interactive content, and can be read on any smart phone, tablet, computer, or portable communications device (with free Kindle software).

    By the time of the 1917 Bolshevik revolution, Fr Pavel had become a leading voice in Russia's great movement in religious philosophy, a movement whose roots lay in the rich ground of nineteenth-century Russian monasticism and whose branches included the work of Bulgakov, Berdiaev, and Solovyev. In the 1920s and 1930s the Soviets violently destroyed this splendor of Russian religious thought. In 1922, Fr Pavel was silenced, and, after a decade of forced scientific work for the regime, he was arrested on false charges, tried, imprisoned, and, in 1937, murdered by KGB directive. Aleksandr Solzhenitsyn honored Fr Pavel in The Gulag Archipelago. Iconostasis is Fr Pavel's final theological work. Composed in 1922, it explores in highly original terms the significance of the icon: its philosophic depth, its spiritual history, its empirical technique. In doing so, Fr Pavel also sketched a new history of both Western religious art and the Orthodox icon: a history under the direct operation of the Holy Spirit. The work is original, challenging and profoundly articulate. This translation is the first complete English version.

    Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries.

    Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, SITELESS is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he "didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction." What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published.The 1001 building forms in SITELESS include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing--and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. SITELESS presents an open-ended compendium of visual ideas for the architectural imagination to draw from. The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a "scale test," showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

    They don't know what the HELL is going on. Unfortunately many of these people are responsible for running THE COUNTRY. They don't know the difference between a PRECIOUS JEWEL and a piece of animal turd. Their ideas are MEANINGLESS, illustrated using RUBBISH imagery (often made by a computer). The stupid words they write are always in BAD FONTS.Yet still people HEED this nonsense. Maybe YOU are one of these people?It's alright. I am here to HELP you. I have a FULLY-COMPOSED WORLD VIEW. I have STRONG opinions about EVERYTHING. And my ideas are HAND-ILLUSTRATED and use REAL HANDWRITING that you can trust. I know exactly what's going on and am WILLING to share my thoughts with you. If you LISTEN to what I say then things will quickly improve. No more weak messages. No more bad situations. Shall we proceed?

    Lucian Freud: Eyes Wide Open is the first biography to assess Freud's work and life, showing how the two converge.   In Hoban's dramatic and fast-paced narrative, we follow Freud from his birthplace in Berlin to London, where he fled with his family in the 1930s, and then to Paris, where he mixed with Picasso and Giacometti. He led a dissolute life in Soho after the war, gambling and womanizing with fierce energy. He painted his wives nude, his children nude, himself nude. He married twice, had an uncountable number of children, and kept working through it all, painting everyone from close friend and rival Francis Bacon to Kate Moss and Queen Elizabeth. He sometimes spent years on a single painting, which could require hundreds of hours of sittings. However various his subjects, his intent was always the same: to find and reveal the character hidden within by means of his intense visual imagination.   Along with its startling biographical revelations, the great thrill of Lucian Freud: Eyes Wide Open is the way Hoban deconstructs the art itself—its influences, models, and technique—to show how Freud reproduced reality on the canvas while breaking down the illusion that what we see is real.

    Unlike any other book about a Kirkbride Building, a portion of all proceeds are used to preserve a 157 year old National Historic Landmark, the oldest and most intact Kirkbride in existence. The author Edward Gleason has worked as the Historian for Trans-Allegheny Lunatic Asylum since its purchase at auction in 2007. The Trans-Allegheny Lunatic Asylum, constructed between 1858 and 1881, is the largest hand-cut blue sandstone building in the Western Hemisphere and 2nd largest in the World.. This Gothic structure was the end of the line for West Virginia's insane for 130 years....