I cannot promise the reader that at any point he will shake his sides with laughter, but I can promise him a wry pleasure to be derived from the skilful dissection of folly.” Bertrand Russell Professor Mmaa’s Lecture, given to a packed auditorium, deals with the habits, mentality and culture of Homo sapiens. But both the professor and his entire audience are termites; the whole story is set inside a termite mound.Naturally, Themerson’s attempt to comprehend humankind by examining how they would have been understood by insects is very funny. Termites have no sight, just a sense of smell, and can only explain their surroundings and lives through their insects’ angle on the world. The closing scene of the novel reveals what the termites have been researching and what has happened to their mound, giving the whole story an ironic twist.But this novel has much more to offer. Themerson’s heightened expertise and instinct for parodying the language and methods of scholarship, and the morals and manners of the academic world, produces a merciless and comical survey of philosophical views and attitudes. He pillories religion, language, reason and scholarship, as insect thinkers with suspiciously familiar names scuttle through the pages of the novel. A great many cases of dogmatic thinking and narrow-mindedness are exposed to ridicule. The only path that seems to earn the author’s approval is pluralism of ideas. You can see just why Bertrand Russell calls this novel a useful gospel for sceptics.Professor Mmaa’s Lecture is in the tradition of philosophical satire, whose most famous proponents are Voltaire and Swift, and is a rare incidence of light yet deep prose that can be read with great pleasure on several levels.

    In the early Christmas traditions of Europe, the Krampus was St. Nicholas' dark servant-a hairy, horned, supernatural beast whose pointed ears and long slithering tongue gave misbehavers the creeps! Whereas St. Nicholas would reward children who'd been good all year, those that had behaved badly were visited by the Krampus. This NEW and IMPROVED edition includes an introduction, a historical survey of the character, and over 180 lavish pre-World War 1 Krampus postcards. KRAMPUS: The Devil of Christmas is a lush, hair-raising collection guaranteed to give even Stephen King the creeps!

    HOLIDAYMAKER FIGHTS OFF AFRICAN LION IN WELSH HOTEL ROOMMAN SWALLOWS MOUSE AND DIESWIFE DRIVEN MAD BY HUSBAND TICKLING FEETPALLBEARER KILLED BY COFFIN IN GRAVEYARDLIBERALS EAT DOGFrom the newspaper archives of the British Library, Jeremy Clay has unearthed the long-lost stories that enthralled and appalled Victorian Britain.Within these pages are the riotous farces and tragedies of 19th-century life, a time when life was hard, pleasures short-lived, and gloating over other people’s misfortune a thoroughly acceptable form of entertainment.Deliciously appalling and deliriously funny, The Burglar Caught by a Skeleton will have you, one way or another, in tears …

    Shows how to create abstract paintings within the rules of realism through a list of tools and materials, lessons on applying traditional elements to abstract art, and projects with instructions and color illustrations.

    Much of it is drawn from the oral testimony of countrymen (including poachers) still living when the book was written.'Here, from stubble to stewing pot, are all the facts that can be assembled; science, literature, mythology, superstition, semantics, venery, and a rich swathe of countryman's talk . . . This delightful book.' Observer

    He creates these majestic sepia and blue-tone photoscontrasting moments of quintessential stillness with bursts of dramatic actionby engaging with these creatures on an exceptionally intimate level, without the customary use of a telephoto lens. Evocative of classical art, from dignified portraits to sweeping natural tableaux, Brandt's images artfully and simply capture animals in their natural states of being. With a foreword by Alice Sebold and an introduction by Jane Goodall, On This Earth is a gorgeous portfolio of some of the last wild animalsand a heartfelt elegy to a vanishing world.

    It tells the story of one man drifting through America, east coast to west, main stem to side street, endlessly searching for "three hots and a flop"--food and a place to sleep. Kromer scans, in first-person voice, the scattered events, the stultifying sameness, of "life on the vag"--the encounters with cops, the window panes that separate hunger and a "feed," the bartering with prostitutes and homosexuals.In "Michael Kohler," Kromer's unfinished novel, the harsh existence of coal miners in Pennsylvania is told in a committed, political voice that reveals Kromer's developing affinity with leftist writers including Lincoln Steffens and Theodore Dreiser. An exploration of Kromer's proletarian roots, "Michael Kohler" was to be a political novel, a story of labor unions and the injustices of big management. Kromer's other work ranges from his college days, when he wrote a sarcastic expose of the bums in his hometown titled "Pity the Poor Panhandler: $2 an Hour Is All He Gets," to the sensitive pieces of his later life--short stories, articles, and book reviews written more out of an aching understanding of suffering than from the slick formulas of politics.Waiting for Nothing remains, however, Kromer's most powerful achievement, a work Steffens called "realism to the nth degree." Collected here as the major part of Kromer's oeuvre, Waiting for Nothing traces the author's personal struggle to preserve human virtues and emotions in the face of a brutal and dehumanizing society.

    With Brian Blomerth’s Bicycle Day, the artist has produced his most ambitious work to date: a historical account of the events of April 19, 1943, when Swiss chemist Albert Hofmann ingested an experimental dose of a new compound known as lysergic acid diethylamide and embarked on the world’s first acid trip. Featuring an introduction from renowned ethnopharmacologist, Dennis McKenna, Brian Blomerth’s Bicycle Day combines an extraordinary true story told in journalistic detail with the artist’s gritty, timelessly Technicolor comix style that is a testament to mind expansion, and a stunningly original visual history.

    Originating in the wild imagination of French poet and playwright Alfred Jarry and his schoolmates, resisting clear definition, purposefully useless, and almost impossible to understand, 'pataphysics nevertheless lies around the roots of Absurdism, Dada, futurism, surrealism, situationism, and other key cultural developments of the twentieth century. In this account of the evolution and influence of 'pataphysics, Andrew Hugill offers an informed exposition of a rich and difficult territory, staying aloft on a tightrope stretched between the twin dangers of oversimplifying a serious subject and taking a joke too seriously. Drawing on more than twenty-five years' research, Hugill maps the 'pataphysical presence (partly conscious and acknowledged but largely unconscious and unacknowledged) in literature, theater, music, the visual arts, and the culture at large, and even detects 'pataphysical influence in the social sciences and the sciences. He offers many substantial excerpts (in English translation) from primary sources, intercalated with a thorough explication of key themes and events of 'pataphysical history. In a Jarryesque touch, he provides these in reverse chronological order, beginning with a survey of 'pataphysics in the digital age and working backward to Jarry and beyond. He looks specifically at the work of Jean Baudrillard, Georges Perec, Italo Calvino, J. G. Ballard, Asger Jorn, Gilles Deleuze, Roger Shattuck, Jacques Pr?vert, Antonin Artaud, Ren? Clair, the Marx Brothers, Joan Mir?, Max Ernst, Marcel Duchamp, James Joyce, Flann O'Brien, Raymond Roussel, Jean-Pierre Brisset, and many others.

    Add Drawing Autism to your wish list, tell your friends about it, and show it to your kids on the spectrum."-- Autism/Asperger's Digest "Mullin, a behavior analyst, brings together fascinating works by 40 artists on the spectrum with their answers to her questions about their process."-- The Boston Globe "Editor Jill Mullin has collected artwork from a host of painters and other graphic artists who are all somewhere on the spectrum. The fascinating and often lovely reprints in Drawing Autism help provide another perspective on the capabilities of people with autism."-- Time Out New York "Mullin's clinical background in Applied Behavior Analysis, combined with more than a decade helping individuals with ASD, serve her well as the book’s curator."-- The Portland Phoenix "[Editor Jill Mullin] has put together a beautiful and stimulating exhibition-in-a-book."--Story Circle Book Reviews"Drawing Autism is absolutely wonderful in its entirety."--Brain Pickings"Jill Mullin embraces the full range and spectrum of autism and artistic expression...Rich and varied images."--BookTrib"This book is like a key to opening doors across educational and medical landscapes. But perhaps even more importantly, the fact that many of the artists are able to explain what they were feeling at the time of their drawings will surely help this book find solid footing among parents, caregivers, and extended family members who have, up to this point, struggled to understand the inner workings of their precious loved one’s autistic mind."--New York Journal of Books"A book of astonishing beauty."-- BOOKS (France)"What is the actual experience of living with autism in a deep-felt sense, beyond the social stereotypes and headline-worthy superskills? Drawing Autism, a celebration of the artistry and self-expression found in artwork by people diagnosed with autism, explores just that. The stunning volume features works by more fifty international contributors, from children to established artists, that illustrate the rich multiplicity of the condition."-- The Atlantic Over the last decade autism spectrum disorder (ASD) has become an international topic of conversation, knowing no racial, ethnic, or social barriers. Behavior analyst and educator Jill Mullin has assembled a staggering array of work from established artists like Gregory Blackstock and Jessica Park to the unknown but no less talented. Their creations, coupled with artist interviews, comprise a fascinating and compelling book that serves to educate and inspire anyone who knows someone diagnosed with ASD. Mullin's introduction and the foreword by best-selling author Temple Grandin provide an overview of autism and advocate for nurturing the talents, artistic and otherwise, of autistic individuals.

    European mercenaries were brought into a variety of conflicts in Africa in the 60s and 70s; this is the personal account of the most famous of the mercenary leaders.

    "The work is deeply felt...Bernstein has been there and brought it back. Bernstein is a writer." [William S. Burroughs]

    Not for the faint-hearted. Adults only.

    Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold spreads. In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques. Michael Bonesteel puts Darger's life in the context of his work and selects key texts to accompany the illustrations. The book also includes for the first time the text of Darger's History of My Life, A" the artist's autobiography. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master

    People literally put themselves into the skin of the "savage," in masquerades that stretch back centuries. By becoming a bear, a goat, a stag, a wild boar, a man of straw, a devil, or a monster with jaws of steel, these people celebrate the cycle of life and seasons. The costumes amaze with their extraordinary diversity and prodigious beauty. Work on this project took leading French photographer Charles Fréger to eighteen European countries in search of the mythological figure of the Wild Man.