Gregory Crewsdon is known for his disarming photographs of suburban life.
Now, Crewsdon takes that approach to new heights -- literally -- in this book of aerial images of everyday American subdivisions. Shot from a crane, these works seem innocent enough on the surface, but reveal, upon closer investigation, a world strangely out of balance. A woman plants neat rows of plants down the middle of the street, a mysterious circle appears in a backyard: these incidents, and others like them, are captured in realistic black and white. A fascinating and memorable book, and an important addition to the artist's ouvre.
Since it was first published in Hebrew in 2000, this provocative book has been garnering acclaim and stirring controversy for its bold reinterpretation of the relationship between Judaism and Christianity in the Middle Ages, especially in medieval Europe. Looking at a remarkably wide array of source material, Israel Jacob Yuval argues that the inter-religious polemic between Judaism and Christianity served as a substantial component in the mutual formation of each of the two religions. He investigates ancient Jewish Passover rituals; Jewish martyrs in the Rhineland who in 1096 killed their own children; Christian perceptions of those ritual killings; and events of the year 1240, when Jews in northern France and Germany expected the Messiah to arrive.
Looking below the surface of these key moments, Yuval finds that, among other things, the impact of Christianity on Talmudic and medieval Judaism was much stronger than previously assumed and that a "rejection of Christianity" became a focal point of early Jewish identity. Two Nations in Your Womb will reshape our understanding of Jewish and Christian life in late antiquity and over the centuries.
When Nona Conklin brings him a painting by the great-grandfather she never knew, gallery owner Timothy Randolph knows he's found the project of a lifetime: curating a spectacular cache of folk art hidden for decades in the mountains of her home. "God never made a lazier man than Cecil Conklin. Never put a more slothful soul in a fella big enough to wrestle an ox to the ground." The Conklin Collection is haunted and haunting, powerful in its brutal simplicity.
What looks like the work of a fevered imagination begins to appear more and more like the desperate attempts of a man toiling at the edge of his limits to depict what cannot be depicted… An underlying order as old as the hills, its thousand throats concealed beneath the roots and rocks, between the streams and trees, deep in the besieged mountains of Appalachia. "My momma said it was their eighteenth summer when Cecil started shooting up like a weed again.
That ain't normal." But the most crucial painting of all is missing.
And the only place it could be is the last place that should be searched. "The rest, I think they always knew deep down Cecil was the one in trouble, that something was after him already. He never should've gone over the mountain." I'll Bring You the Birds From Out of the Sky is a tale of art and obsession, of a dying heritage and cosmic horror, brought to rustic life with full-color paintings by artist Kim Parkhurst.
Regional transformation has emerged as a major topic of research during the past few decades, much of it seeking to understand how a region changes into a zone of conflict or cooperation and how and why some regions remain in perpetual conflict. Although the leading theoretical paradigms of international relations have something to say about regional order, a comprehensive treatment of this subject is missing from the literature. This book suggests that cross-paradigmatic engagement on regional orders can be valuable if it can generate theoretically innovative, testable propositions and policy-relevant ideas. The book brings together scholars from the dominant IR perspectives aiming to explain the regional order issue through multidimensional and multi-causal pathways and seeking meeting points between them.
Using insights from IR theory, the contributors offer policy-relevant ideas which may benefit conflict-ridden regions of the world.
In Rue Saint Jacques, cultural discovery is weaved throughout a story of loss, intrigue and self-sacrifice. Young Tennessean Marie Doughten becomes fixated on discovering the secret behind her reclusive employer's forbidden, padlocked room in his 5th arrondissement apartment.
Marie's insatiable curiosity forces her to choose between placing her own life at risk to help the mysterious Charles-Henri de la Motte, or maintain her distance and suffer the consequences of her apathy.
This study explored the embodied teen experience of parent-teen conflict and argument using a hermeneutic-phenomenological approach. Teens self-identified as (a) living in a family with everyday conflict, (b) not seeing a psychologist or counselor, (c) not having been in any drug or alcohol treatment programs, (d) not knowing the researcher ahead of time, and (e) being between the ages of 13 to 19 at the time the interview took place. The following themes emerged: (a) feeling power, small, devalued, and oppressed; (b) experiencing irritation, frustration, hypocrisy, pettiness, and defiance; (c) wanting freedom and autonomy and the battle for control; and (d) needing safe space and "me" time. Each theme and the whole embodied essence of this experience were interpreted through teens' as well as the researcher's lenses. The interpretations provide insight for teens, parents, and parent educators that may help improve parent-teen relationships and provide strategies to use in the classroom setting.
One day she is Linda Farley, a senior in a San Diego high school, with a talent for art, an annoying younger brother, two loving parents, and a prospective boyfriend. Three days later, she is Lainie Foster, hiding with her mother and brother in Olympia, Washington. That's how fast things change after Linda's mother tells her that her father has been caught by the feds in a Mafia money laundering scheme and that the rest of the family has been placed in the Witness Protection Program. By the rules she's given, she must stay out of school, cut off contact with anyone back home, and never tell anyone what has happened. Linda -- now Lainie -- does her best, but in navigating her new life, she faces a number of questions. How could her father do something so contrary to her image of him? Why is her mother so familiar with their new city? How can she pursue a career in art without going to school? What must she do to save her brother from the worst effects of the upheaval? And who is that dark-haired woman she keeps spotting in front of the house? Then there's the biggest question of all: Is she Linda or is she Lainie? Because, in the end, is the choice really anyone's but hers? ///////////////////////////////////////////////// Anne L. Watson, a retired historic preservation architecture consultant, is the author of numerous novels, plus books on such diverse subjects as soapmaking and baking with cookie molds. She currently lives in Friday Harbor, Washington, in the San Juan Islands, with her husband and fellow author, Aaron Shepard.
///////////////////////////////////////////////// SAMPLE "Lainie," Mom said, her voice a little gentler, "we have to follow the rules, whether we like them or not." "The rules are nuts, Mom," I protested. "Like making us keep our old initials.
So the Mafia is too stupid to check the passenger lists for trains and planes leaving Southern California? You think they won't look for two A.
F.'s and an L.F. with one-way tickets to the same place?" Mom moved to the right to let a tailgating Jeep speed ahead. "That's one reason we're splitting up," she said. "WITSEC has never lost anyone who followed the rules," she said. "WITSEC?" I yelped. "Who the hell is that?" "The Witness Security Program. That's its other name." Sheesh. WITSEC. Like the FBI was such a buddy, we needed to give them a nickname. My face itched, and I rubbed it hard. "Don't do that," Mom said. "You'll rub off your makeup." "It feels like dirt. I don't know how you put up with it." "You get used to it.
Especially when you have more important things to worry about." Well, we had that, in spades. I'd just dumped someone I really wanted to go out with. I wouldn't be going to art school next year, because that's what Linda Farley would have done. I had to be someone else, probably forever. Compared to that, grease all over my face really was a detail.
I gave up and quit talking about it. Whining wasn't going to do any good. Mom kept quiet too, watching the traffic.
In the front seat, Alan sang some dumb song from a TV kids' show, over and over. But, as Mom had said, I had more important things to worry about. We took the Alameda Street exit and pulled into the train station. "What are you going to do with the car when you get to the airport?" I asked. "Leave it in a parking lot with the window down and the keys in the ignition." Even the Mafia wouldn't have a chance if she did that. The locals would have that car in a chop shop faster than the Godfather could blink.