In the 1940s, a bored heiress began creating dollhouse crime scenes depicting murders, suicides, and accidental deaths. Known as the “Mother of Forensic Science,” she revolutionized the field of what was then called legal medicine. In the aftermath of the Manson Family murders, a young woman moved into Sharon Tate’s guesthouse and, over the next two decades, entwined herself with the Tate family. In the mid-nineties, a landscape architect in Brooklyn fell in love with a convicted murderer, the supposed ringleader of the West Memphis Three, through an intense series of letters. After they married, she devoted her life to getting him freed from death row. And in 2015, a teenager deeply involved in the online fandom for the Columbine killers planned a mass shooting of her own.Each woman, Monroe argues, represents and identifies with a particular archetype that provides an entryway into true crime. Through these four cases, she traces the history of American crime through the growth of forensic science, the evolving role of victims, the Satanic Panic, the rise of online detectives, and the long shadow of the Columbine shooting. In a combination of personal narrative, reportage, and a sociological examination of violence and media in the twentieth and twenty-first century, Savage Appetites scrupulously explores empathy, justice, and the persistent appeal of violence.

    It was first published in 1789 by his brother Benjamin. It has been continuously in print since then, with nearly 300 editions up to 2007

    So she put together a climbing kit: she sewed a harness from an old seat belt, gathered hundreds of feet of rope, and found a tool belt for her pencils and rulers. Up she went, into the trees. Forty years later, Lowman remains one of the world’s foremost arbornauts, known as the “real-life Lorax.” She planned one of the first treetop walkways and helps create more of these bridges through the eighth continent all over the world.With a voice as infectious in its enthusiasm as it is practical in its optimism, The Arbornaut chronicles Lowman’s irresistible story. From climbing solo hundreds of feet into the air in Australia’s rainforests to measuring tree growth in the northeastern United States, from searching the redwoods of the Pacific coast for new life to studying leaf eaters in Scotland’s Highlands, from conducting a BioBlitz in Malaysia to conservation planning in India and collaborating with priests to save Ethiopia’s last forests, Lowman launches us into the life and work of a field scientist, ecologist, and conservationist. She offers hope, specific plans, and recommendations for action; despite devastation across the world, through trees, we can still make an immediate and lasting impact against climate change.A blend of memoir and fieldwork account, The Arbornaut gives us the chance to live among scientists and travel the world—even in a hot-air balloon! It is the engrossing, uplifting story of a nerdy tree climber—the only girl at the science fair—who becomes a giant inspiration, a groundbreaking, ground-defying field biologist, and a hero for trees everywhere.Includes black-and-white illustrations

    It seeks to answer a simple question: why is there such a thing as style? The question may be simple but there is no easy answer, and Professor Gombrich's brilliant and wide-ranging exploration of the history and psychology of pictorial representation leads him into countless crucial areas. Gombrich examines, questions and re-evaluates old and new ideas on such matters as the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression: all of which reveal that pictorial representation is far from being a straightforward matter. First published more than 40 years ago, Art and Illusion has lost none of its vitality and importance. In applying the findings of experimental science to a nuanced understanding of art and in tackling complex ideas and theoretical issues, Gombrich is rigorous.Yet he always retains a sense of wonder at the inexhaustible capacity of the human brain, and at the subtlety of the relationships involved in seeing the world and in making and seeing art. With profound knowledge and his exceptional gift for clear exposition, he advances each argument as an hypothesis to be tested. The problems of representation are forever fundamental to the history of art: Art and Illusion remains an essential text for anyone interested in understanding the complexities of art. For the sixth edition Professor Gombrich has written an entirely new 12-page preface, in which he makes use of the distinction between an image and a sign, so as to clarify his intentions in writing the book in the first place.

    The monetary value is estimated at over half a billion dollars. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and frank interviews, Felch and Frammolino give us a fly-on-the-wall account of the inner workings of a world-class museum and tell the story of the Getty’s dealings in the illegal antiquities trade. The outlandish characters and bad behavior could come straight from the pages of a thriller—the wealthy recluse founder, the cagey Italian art investigator, the playboy curator, the narcissist CEO—but their chilling effects on the rest of the art world have been all too real, as the authors show in novelistic detail. Fast-paced and compelling, Chasing Aphrodite exposes the layer of dirt beneath the polished façade of the museum business.

    The author argues for the preservation of the time and space in which to walk in an ever more car-dependent and accelerated world.

    When she was a child, the border zone was rumored to be an easier crossing point into the West than the Berlin Wall, and it swarmed with soldiers and spies. On holidays in the “Red Riviera” on the Black Sea, she remembers playing on the beach only miles from a bristling electrified fence whose barbs pointed inward toward the enemy: the citizens of the totalitarian regime.Kassabova discovers a place that has been shaped by successive forces of history: the Soviet and Ottoman empires, and, older still, myth and legend. Her exquisite portraits of fire walkers, smugglers, treasure hunters, botanists, and border guards populate the book. There are also the ragged men and women who have walked across Turkey from Syria and Iraq. But there seem to be nonhuman forces at work here too: This densely forested landscape is rich with curative springs and Thracian tombs, and the tug of the ancient world, of circular time and animism, is never far off.Border is a scintillating, immersive travel narrative that is also a shadow history of the Cold War, a sideways look at the migration crisis troubling Europe, and a deep, witchy descent into interior and exterior geographies.

    She began keeping a journal in 1927, when, after years of her work being derided and ignored, came unexpected vindication and triumph when the Group of Seven accepted her as one of them and encouraged her to overcome the years of despair when she stopped painting. Hundreds and Thousands is the sixth of seven books by Emily Carr to be published by Douglas McIntyre in a completely redesigned edition, each with an introduction by a noted Canadian writer or an authority on Emily Carr and her work.

    In a gripping narrative bursting with big names--from St Augustine and Attila the Hun to the Prophet Muhammad and Eleanor of Aquitaine--Dan Jones charges through the history of the Middle Ages. Powers and Thrones takes readers on a journey through an emerging Europe, the great capitals of late Antiquity, as well as the influential cities of the Islamic West, and culminates in the first contact between the old and new worlds in the sixteenth century.The medieval world was forged by the big forces that still occupy us today: climate change, pandemic disease, mass migration, and technological revolutions. This was the time when the great European nationalities were formed; when our basic Western systems of law and governance were codified; when the Christian Churches matured as both powerful institutions and the regulators of Western public morality; and when art, architecture, philosophical inquiry and scientific invention went through periods of massive, revolutionary change. At each stage in this story, successive western powers thrived by attracting--or stealing--the most valuable resources, ideas, and people from the rest of the world.The West was rebuilt on the ruins of an empire and emerged from a state of crisis and collapse to dominate the region and the world. Every sphere of human life and activity was transformed in the thousand years of Powers and Thrones. As we face a critical turning point in our own millennium, the legacy and lessons of how we got here matter more than ever.

    Its aftermath lives on to this day.Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences.When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II.In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.

    Gabrielle Walker, author, consultant to New Scientist and regular broadcaster with the BBC has written a book unlike any that has ever been written about the continent. Antarctica weaves all the significant threads into an intricate tapestry, made up of science, natural history, poetry, epic history, what it feels like to be there and why it draws so many different kinds of people back there again and again. It is only when all the parts come together that the underlying truths of the continent emerge. Antarctica is the most alien place on Earth, the only part of our planet where humans could never survive unaided. It is truly like walking on another planet. And yet, in its silence, its agelessness and its mysteries lie the secrets of our past, and of our future.

    This title tells the story of the development of ideas about natural history as seen through the lives, observations and discoveries of nearly 40 great naturalists, from classical times to the end of the 19th century.

    Along the way, author Jonathan Wilson, an erudite and detailed writer who never loses a sense of the grand narrative sweep, takes a look at the lives of the great players and thinkers who shaped the game, and discovers why the English in particular have proved themselves so “unwilling to grapple with the abstract.” This is a modern classic of soccer writing that followers of the game will dip into again and again.

    And that’s almost all he knew about them—his father rarely spoke of their family history or heritage. But when he passed away, and Simon received his father’s old papers, a story began to emerge.The Gutmanns, as they were known then, rose from a small Bohemian hamlet to become one of Germany’s most powerful banking families. They also amassed a magnificent, world-class art collection that included works by Degas, Renoir, Botticelli, Guardi, and many, many others. But the Nazi regime snatched from them everything they had worked to build: their remarkable art, their immense wealth, their prominent social standing, and their very lives.Simon grew up in London with little knowledge of his father’s efforts to recover their family’s prized possessions. It was only after his father’s death that Simon began to piece together the clues about the Gutmanns’ stolen legacy and the Nazi looting machine. He learned much of the collection had gone to Hitler and Hermann Goering; other works had been smuggled through Switzerland, sold and resold to collectors and dealers, with many works now in famous museums. More still had been recovered by Allied forces only to be stolen again by heartless bureaucrats—European governments quietly absorbed thousands of works of art into their own collections. Through painstaking detective work across two continents, Simon has been able to prove that many works belonged to his family, and successfully secure their return.With the help of his family, Simon initiated the first Nazi looting case to be settled in the United States. They also brought about the first major restitution in The Netherlands since the post-war era.Goodman’s dramatic story, told with great heart, reveals a rich family history almost obliterated by the Nazis. It is not only the account of a twenty-year long detective hunt for family treasure, but an unforgettable tale of redemption and restoration.

    Now award-winning writer Carl Zimmer takes us on a fantastic voyage into the secret parasite universe we actually live in but haven't recognized. He reveals not only that parasites are the most successful life-forms on Earth, but that they triggered the development of sex, shape ecosystems, and have driven the engine of evolution. In mapping the parasite universe, Zimmer makes the astonishing observation that most species are parasites, and that almost every animal, including humans, will at one time or another become the home of a parasite. Zimmer shows how highly evolved parasites are and describes the frightening and amazing ingenuity these commando invaders use to devour their hosts from the inside and control their behavior. The sinister Sacculina carcini makes its home in an unlucky crab and proceeds to eat everything but what the crab needs to put food in its mouth, which Sacculina then consumes. When Sacculina finally reproduces, it places its young precisely where the crab would nurture its own progeny, and then has the crab nurture the foster family members. Single-celled Toxoplasma gondi has an even more insidious role, for it can invade the human brain. There it makes men distrustful and less willing to submit to social mores. Women become more outgoing and warm-hearted. Why would a parasite cause these particular personality changes? It seems Toxoplasma wants its host to be less afraid, to be more prone to danger and a violent end -- so that, in the carnage, it will be able to move on to another host. From the steamy jungles of Costa Rica to the fetid parasite heaven of rebel-held southern Sudan, Zimmer tracks the genius of parasitic life and its impact on humanity. We hosts have developed remarkable defenses against the indomitable parasite: our mighty immune system, our culturally enforced habit of keeping clean, and, perhaps most intriguingly, sex. But this is not merely a book about the evil power of parasitism and how we must defend against it. On the contrary, Zimmer concludes that humankind itself is a new kind of parasite, one that preys on the entire Earth. If we are to achieve the sophistication of the parasites on display here in vivid detail, if we are to promote the flourishing of life in all its diversity as they do, we must learn the ways nature lives with itself, the laws of Parasite Rex.