This outlaw turned Texas Ranger was one of the favorite protagonists of master storyteller Louis L’Amour, appearing in a total of nineteen short stories bursting with unforgettable heroics and harrowing action. They’re all here in this eBook bundle, together forming an epic portrait of a man standing at the crossroads between good and evil:   McNelly Knows a Ranger • A Job for a Ranger • Bowdrie Rides a Coyote Trail • A Trail to the West • The Outlaws of Poplar Creek • Bowdrie Follows a Cold Trail • More Brains Than Bullets • The Road to Casa Piedras • Bowdrie Passes Through • Where Buzzards Fly • South of Deadwood • Too Tough to Brand • Case Closed—No Prisoners • The Killer from the Pecos • A Ranger Rides to Town • Rain on the Mountain Fork • Down Sonora Way • Strange Pursuit • Strawhouse Trail   The name is Bowdrie. It was a name that caused the most hardened gunmen to break out in a cold sweat. Chick Bowdrie. He could have ridden the outlaw trail, but the Texas Rangers recruited him because they didn’t want to have to fight against him. Pursuing the most wanted men in the Southwest, he knew all too well the dusty trails, the bitter cattle feuds, the desperate killers, and the quiet, weather-beaten, wind-blasted towns that could explode into action with the wrong word. He had sworn to carry out the law, but there were times when he had to apply justice with his fists and his guns. They called in the Rangers to handle the tough ones, and there was never a Ranger tougher or smarter than Bowdrie.

    Its youthful faults were exposed by him in the brilliant 'Attempt at a Self-Criticism' which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down thru the Victorian era. It sounded themes developed in the 20th century by classicists, existentialists, psychoanalysts & others. The Case of Wagner (1888) was one his last books & his wittiest. In attitude & style it's diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects & deal with art & culture, as well as the problems of the modern age generally. Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished new translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom & the vitality of his style. Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, &, for the 1st time in any edition, an extensive index to each book.

    Casual yet insightful, Duchamp reveals himself as a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself. Those interviews have never been edited and made public, until now. "The Afternoon Interviews," which includes an introductory interview with Tomkins reflecting on Duchamp as an artist, guide and friend, reintroduces the reader to key ideas of his artistic world and renews Duchamp as a vital model for a new generation of artists.Calvin Tomkins was born in 1925 in Orange, New Jersey. He joined the New Yorker as a staff writer in 1960. His many profiles include John Cage, Robert Rauschenberg, Merce Cunningham, Leo Castelli, Damien Hirst, Richard Serra, Bruce Nauman, Cindy Sherman and Jasper Johns. Tomkins is the author of 12 books, including "The Bride and the Bachelors" (1965), "Living Well Is the Best Revenge" (1971), "Lives of the Artists" (2008) and "Duchamp: A Biography" (1996).

    The first part deals with the subject of our aesthetic sensibility; we respond to certain natural phenomena as beautiful, says Kant, when we recognize in nature a harmonious order that satisfies the mind's own need for order. The second half of the critique concentrates on the apparent teleology in nature's design of organisms. Kant argues that our minds are inclined to see purpose and order in nature and this is the main principle underlying all of our judgments. Although this might imply a super sensible Designer, Kant insists that we cannot prove a supernatural dimension or the existence of God. Such considerations are beyond reason and are solely the province of faith.

    The book explores the influences that have affected the photo story, such as key twentieth century events and the life of photographic magazines such as Newsweek, Time, and Paris Match, all of which have helped to define the genre.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    The Hall of Uselessness forms the most complete collection yet of Leys’ fascinating essays, from Quixotism to China, from the sea to literature.Leys feuds with Christopher Hitchens, ponders the popularity of Victor Hugo and analyses the posthumous publication of Nabokov’s unfinished novel. He offers valuable insights into Mao’s Cultural Revolution and the Khmer Rouge, and discusses Orwell, Waugh and Confucius. He considers the intertwined nature of Chinese art, culture and history alongside the joys and difficulties of literary translation. The Hall of Uselessness is an illuminating compendium from a brilliant and highly acclaimed writer – a long-time resident of Australia who is truly a global citizen.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    In this collection of interviews, articles, and editorials, Vladimir Nabokov ranges over his life, art, education, politics, literature, movies, and modern times, among other subjects. Strong Opinions offers his trenchant, witty, and always engaging views on everything from the Russian Revolution to the correct pronunciation of Lolita.

    He follows the changing trends in the making and significance of art in different cultures, and explains why the art of the day looked and functioned as it did. Key images and objects-some of them familiar works of art; others, less known but equally crucial to the story-act as landmarks on the journey, focal points around which the discussion always centers. Along the way, Bell answers fundamental questions such as "What is art and where does it start?" and "Why do humans make it and how does it serve them?"Previous histories tended to focus only on the masterpieces of Western art, in the process excluding the work of women or non-Western artists, or else considering developments around the world as separate, unrelated phenomena. Bell's achievement is to take a global perspective, bringing the distinct stories together in one convincing narrative. He draws insightful and inspired connections between different continents and cultures and across the millennia, which results in a rich and seamless introduction to the world of visual creativity.Hundreds of carefully selected illustrations show how artists from different ages and societies often shared the same formal, technical, and aesthetic concerns, while others took divergent paths when their vision dictated it.Julian Bell, himself a well-known painter, is the grandson of Vanessa and Clive Bell, key members of the celebrated Bloomsbury group of writers and artists. His books include What is Painting?.

    And, for better or worse, I jotted them down. It was only later, when perhaps I received an angry letter from someone, that it struck me: Hey! Someone's been reading my diary! -- Gary Larson, from the preface to The Complete Far Side Originally published in hardcover in 2003, The Complete Far Side was a New York Times bestseller. Now it's back as a paperback set with a newly designed slipcase that will delight Far Side fans. Revered by its fans as the funniest, most original, most What the ... ?&nspiring cartoon ever, The Far Side debuted in January 1980 and enjoyed an illustrious 14 years on the world's comics pages until Gary Larson's retirement in 1994. The Complete Far Side celebrates Larson's twisted, irreverent genius in this ultimate Far Side book. A masterpiece of comic brilliance, The Complete Far Side contains every Far Side cartoon ever syndicated--over 4,000 if you must know--presented in (more or less) chronological order by year of publication, with more than 1,100 that had never before appeared in a book. Also included are additional Far Side cartoons Larson created after his retirement: 13 that appeared in the last Far Side book, Last Chapter and Worse, and six cartoons that periodically ran as a special feature in the New York Times Science Times section as The Far Side of Science. Creator Gary Larson offers a rare glimpse into the mind of The Far Side in quirky and thoughtful introductions to each of the 14 chapters. Complaint letters, fan letters, and queries from puzzled readers appear alongside some of the more provocative or elusive panels. Actor, author, and comedian Steve Martin offers his sagacious thoughts in a foreword, and Larson's former editor describes what it was like to be the guy who could explain every Far Side cartoon. During its 14-year run, The Far Side was syndicated internationally to over 1,900 daily newspapers. It spawned 23 books and has been translated into 17 different languages. Copyright 2014 by FarWorks, Inc. All Rights Reserved. The Far Side and Tales from The Far Side are registered trademarks of FarWorks, Inc.

    

    The Office constructs propositions and documents for the advancement of a natural history of civic surface. Three books of Robertson's poetry have been published: XEclogue (Tsunami Editions, 1993, reissued by New Star, 1999) Debbie: An Epic (1997, nominated for the Governor General's Award for Poetry) and The Weather (2001) (both co-published by New Star in Canada and Reality Street in the U.K.). Her prose has appeared in Cabinet, Front, Jacket, Mix, Collapse, Nest magazine, and many art catalogs and monographs.

    David Nolan's 'I Swear I Was There' describes the early days of the Sex Pistols, their first gig at the Manchester Free Trade Hall in 1976 and the long-term effects of that first concert.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.