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'Till Death Do Us Part: Love, Marriage, and the Mind of the Killer Spouse, by Robi Ludwig Matt Birkbeck

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From Publishers Weekly

Capitalizing on America's fascination with spousal murder, psychotherapist Ludwig details 10 "motivations and triggers," and uses real-life examples (some more famous than others) to illustrate her theories about why husbands and wives off one another. And after a slow first chapter on the history of marriage ("Why Marry?"), it's off to the homicidal races. Each chapter begins with a brief overview of the murder profile's hallmarks before delving into case studies, the first of which details a woman running over her cheating husband. That Ludwig loads her book with profiles of seemingly ordinary marriages gone violently wrong lends credence to her insistence that "most of us, whether we admit it or not, sometimes have violent, even homicidal thoughts toward our spouse." Her case studies stick to the facts and don't dwell on or sensationalize the crimes, which are told in a straightforward fashion uncommon in true crime books. An intelligent and timely book, this will please true crime readers as much as those interested in psychology.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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Product details

Hardcover: 256 pages

Publisher: Atria; 1st Atria Books Hardcover Ed edition (March 28, 2006)

Language: English

ISBN-10: 074327508X

ISBN-13: 978-0743275088

Product Dimensions:

6.3 x 1 x 9.4 inches

Shipping Weight: 12.8 ounces (View shipping rates and policies)

Average Customer Review:

3.4 out of 5 stars

31 customer reviews

Amazon Best Sellers Rank:

#8,744 in Books (See Top 100 in Books)

I will purchase further Books by this thought provoking Author!! Very Good Book and Eye opening!!! I highly recommend!

It's such a good read!

In February of 2004, my ex wife went out into the cold winter night and met with a second 'hit man' seeking my death. By a miracle, this second hit man was actually an undercover sheriff's deputy and Patricia is serving three years.Patricia planned my murder in the family home with the children present and as potential victimsI sought this book in my search for answers and I found some. This is an importnat topic and an excellent breakthrough popular work on the subject.In an area so galvanized by gender, I found Dr. Ludwig's work free of gender bias. The victims, male or female, are victims enganged in complicated relationships with their killers. These are crimes of passion and crimes planned. This is an excellent start for examining this issue.

Plan on finishing this book once you start reading it. Not only are you given a factual account of the crime, you are also presented with the psychological analysis for the motivation. Each chapter chronicles a different psychosis, providing the reader with a clinical view of the criminal's state of mind.Incredibly insightful and compelling.

Great book! Very insightful! The characters really pop. Loved the story line. Really gets into the minds of the spousal Kilker.

SO-SO

I found the book very riveting, fascinating, , interesting, and helping, both ad a pastor, and as a spouse who has been in abusive situations.Rev. Connie Correia

I hoped this book would show how the killers seemed normal, everyday people and what some of the clues to see through this would be. Instead the author gave us a murderer and crime and why it happened. Not what I was looking for.

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PDF Ebook Maria Merian's Butterflies, by Kate Heard

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Maria Merian's Butterflies, by Kate Heard

PDF Ebook Maria Merian's Butterflies, by Kate Heard

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About the Author

Kate Heard is senior curator of prints and drawings, Royal Collection Trust, and deputy editor of the Journal of the History of Collections.

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Product details

Hardcover: 192 pages

Publisher: Royal Collection Trust (April 15, 2016)

Language: English

ISBN-10: 1909741310

ISBN-13: 978-1909741317

Product Dimensions:

6 x 1 x 7.5 inches

Shipping Weight: 1.3 pounds (View shipping rates and policies)

Average Customer Review:

4.6 out of 5 stars

5 customer reviews

Amazon Best Sellers Rank:

#520,398 in Books (See Top 100 in Books)

A well printed, nice collection; largely of details from her various series.

Pretty little book about a subject of great interest to me. Great service - thanks!

Fantastic!

Great for your Botanical Library

beautiful. a treasure

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Download Ebook , by Maria Laurino

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, by Maria Laurino

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Product details

File Size: 891 KB

Print Length: 224 pages

Publisher: W. W. Norton & Company; Reprint edition (June 17, 2001)

Publication Date: November 28, 2011

Language: English

ASIN: B0067LS67A

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Maybe we're all searching for ourselves now; maybe that's why genealogy has become so popular, because we're all trying to figure out what it means to be who we are. Whatever the reason, I've amassed a collection of books relating to the Italian-American experience, and along with Alfred Lubrano's working-class manifesto "Limbo," this is one of the best.Books about Italian-American life seem to fall into one of three categories, none good or helpful:1) Saccharine false memories2) Racist mob/guido garbage3) Self-abnegating junk by Italian-American academics trying to apologize for their heritage to their white tenure committeesThis book manages to avoid all of this and present a candid view of the experience, warts and all, and the kinds of confusion it can bring to be not-quite-white in a country where race, culture, and ethnicity is only allowed to come in a very limited crayon-color palette.There are a lot of books on this topic that should be avoided, and a few that should be thrown out as far as you can throw them. This one, however, is a keeper.

As my son is a fourth generational Italian American who has assimilated into the American mainstream with a much greater and unconscious ease than the generations that came before him, he has the luxury of taking a look at the past without getting beleagured by it. I purchased this book to help him understand how what he calls his difference from other Americans of European descent will help him understand himself and better define his dreams and desires. I grew up on Long Island where many of my peers were also Italian American--certainly the melting pot of Irish, Italian, and Polish middle to upper middle class groupings has little to do with the more mainstream America in which my son matured. My first foray into the canyons of Wall Street quickly altered my sheltered definition of American society. Suddenly, ethnicity was not something you declared as easily as your name in an introduction. On the contrary, your surname, ending with that telltale vowel, relegated you to a second ranking of sorts--nothing that was actually said in so many words, but indeed felt. Not my idea of the American Dream.The title of Maria Laurino's book of essays addresses just this issue. Were you always an Italian? I'd have to say 'yes', but I didn't go out of my way to share my culture with anyone that was not of the fold. I don't think Laurino did either; she speaks knowledgeably of her 'difference', at first speaking of personal differences of food and clothing choices and then citing Harvard sociological studies on the Southern Italian mentality on issues like family, community versus the individual and distrust of outsiders. She corrects the mistake that many Italian Americans make when they visit 'the homeland' for the first time, erroneously thinking that Florence, Milan and Rome are synonymous with Naples, Corsenza and Palermo. Her study of dialect borders on the hilarious---this is strictly an Italian American viewpoint--no other ethnic group is going to get a kick out of hearing the dialect words compared to their Tuscan Italian equivalents and hear the Naples linguist explain their significance. Eventually, Laurino's own quest for an understanding of her own ethnic identity takes her to earthquake-torn Calabria where she embraces cousins she never knew she even had.Laurino's book for the most part is a personal journey of ethnic discovery and acceptance for the Italian American who breeches the gap between the immigrant and full-fledged American. Her particular issues don't always reflect my own, but there is a thread running through each of the individual chapters that resonates some deep chord within me that I thought I'd forgotten.Bottom Line: I enjoyed this book immensely. I recommend it with the same reservation I made to my son: use it as a kickboard to your own voyage of discovery, don't expect it to answer your specific ethnic assimilation quandries---you're better off speaking to an older relative and actually writing down what this elder statesman tells you so that your adult mind can see what your child's mind wanted to forget.

I just love Maria's experience. My ancestors came from Southern Italy, I came out of the Italian ghetto of East Harlem at a time Purto Ricans were migrating into the neighborhood. My parents moved out in my early teens and that is when I started to notice the prejudice of others to Italians at that point my identity of being Italian was firmly established and the barbs of others didn't bother me as much as Maria when she was growing up. I found most interesting the derogatory terms Northern Italians used towards those from the south. Great companion piece to the recent PBS documentary. I too like Maria am troubled when I see the overt racism Italians portray in their neighborhoods.

Good read

I really enjoyed Maria's book. She grew up in the same eraas myself, but she grew up isolated in the 'burbs, while I grewup in a largely italian area. The difference of her experienceas well as her reactions to it were fascinating. Well written, interesting and informative. A good read, and explains a lot about the "mobster mentality" that is erroneously associatedwith Italian americans

This is an excellent book

Male or Female, 1st, 2nd, or 3rd generation this book is a must read. I think I might be a little older than the author having grown up in the late 40's and in the 50's. I also come from New Jersey (Trenton) and initially raised by my grandmother gravitated between the burbs my parents had moved to and the Italian section known as the burg. I basically grew up in both worlds, the old and the new. I never really thought much about who I was, but an experience I encountered in the 1990's with a section of the Navy rattled that foundation resulting in a search for my Italian heritage. Having read "Were you always an Italian?" has helped in making me understand myself. It has shown me that the choice's made and the direction traveled is not unique. A must read for every Italian-American.

A STORY ABOUT A WOMAN, WHO GREW UP ASHAMED OF BEING ITALIAN ... BECAUSE OF THE WAY SHE AND HER FAMILY WERE TREATED ...IT IS A FUN ACCOUNT OF HER LIFE,AND HOW SHE CHANGED HER MIND ABOUT BEING ITALIAN AND DECIDED IT WAS GREAT TO GROW UP IN HER HOME.

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Download PDF Seeing into Tomorrow: Haiku by Richard Wright

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Seeing into Tomorrow: Haiku by Richard Wright

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From School Library Journal

K-Gr 3—This book collects 12 of Wright's outstanding haiku, written 50 years ago and still available in the anthology, Haiku: The Last Poems of an American Icon. The poems offer a view of the world through the lens of his experience, but the appreciation of nature and the emotions felt in such moments have a universal appeal. Crews uses photo collage to illustrate each scene. She explains, "I photographed African American boys for this book, because I wanted the reader to imagine the world through a young brown boy's eyes." Crews shows familiar scenes of boys playing on a shady porch, walking a dog, or writing in snow with a mittened finger. Her chosen medium emphasizes how haiku creates snapshots of single instances or feelings. The final poem ends with the phrase "seeing into tomorrow," which inspired the book's title. On the page, readers will see a young boy gazing up into a brilliant blue sky as if he can glimpse the future. An archival photo of Wright reading to his young daughter accompanies the introduction, and a brief biography of Wright along with a list for further reading is included in the back matter. VERDICT A must for all children's collections. These verses are an introduction to haiku as well as an entry point into Wright's work; they can be read aloud to younger children or enjoyed independently by older readers.—Suzanne Costner, Fairview Elementary School, Maryville, TN

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Review

"Crews pairs sweeping photocollages with a dozen haiku written by Native Son author Wright during the final year of his life (he wrote some 4,000 haiku in total, 800 of which were later published, explains Crews in biographical notes). Candid images show African-American boys in fields and forests, docks and porches, in scenes that echo Wright's musings. 'As my delegate,/ My shadow imitates me/ This first day of spring,' he writes as a boy chases his shadow across snow-spattered grass. Elsewhere, a boy and an elderly man observe a patchwork freight train: 'Empty railroad tracks:/ A train sounds in the spring hills/ And the rails leap with life.' The clustered, overlapping photographs scatter and dissipate at the edges of the spreads, subtly reflecting the evanescence of the moments Wright describes."―Publishers Weekly (Journal)"Award-winning illustrator Crews breathes new life into the poetry of the late Wright, who found solace and wonder in the traditional Japanese haiku form before he died. Wright is world-renowned as a master of language and chronicler of the African-American experience whose works remain discussed and relevant today. As his health began to fail him in 1959, Wright took to haiku as a way to try something new and to teach his teenage daughter about the natural wonders he remembered growing up among in the American South. In her photo-collage illustrations, Crews accents the haiku through the perspective of African-American boys, positioning readers to imagine the everyday sights and sounds of plants and animals, forests and farms through a young brown boy's eyes. Overlapping images fragment the landscapes but never the humans depicted, underscoring the longevity and permanence of the African-American people. Following that formula, the illustration for the titular haiku shows a young black boy with stick in hand and eye to the sky, which is so many blue squares, white space underneath promising a world without limits. The verse offers a warm natural optimism that may show an aging Wright's renewed hope: 'A spring sky so clear / That you feel you are seeing / Into tomorrow.' This loving, welcoming introduction to one of the most important American writers of the 20th century centers young black boys as supreme observers and interrogators of the natural wonders that surround them."―starred, Kirkus Reviews (Journal)"'Just enough of snow / For a boy's finger to write / His name on the porch.' This first haiku of 12 (selected from more than 4,000 haikus written by author Wright in his lifetime) is overlaid across the image of a child's gloved hand writing 'Richard' in the snow. The rest of the book follows the same pattern, with one haiku per spread alongside a related image of African American boys engaging with nature. Using her distinct, trademark style of realistic photo collage with child models, Crews deliberately photographed only black boys for this book because she 'wanted the reader to imagine the world through a young brown boy's eyes' as a tribute to Wright's determination that readers recognize and understand the African American experience. Supported by a short Wright biography in the back matter, the result is a strong, simple, relatable, immersive introduction to the traditional haiku and a poet who may not yet be familiar to young readers as well a gentle visual tribute to the young black male experience."―Booklist (Journal)"This book collects 12 of Wright's outstanding haiku, written 50 years ago and still available in the anthology, Haiku: The Last Poems of an American Icon. The poems offer a view of the world through the lens of his experience, but the appreciation of nature and the emotions felt in such moments have a universal appeal. Crews uses photo collage to illustrate each scene. She explains, 'I photographed African American boys for this book, because I wanted the reader to imagine the world through a young brown boy's eyes.' Crews shows familiar scenes of boys playing on a shady porch, walking a dog, or writing in snow with a mittened finger. Her chosen medium emphasizes how haiku creates snapshots of single instances or feelings. The final poem ends with the phrase 'seeing into tomorrow,' which inspired the book's title. On the page, readers will see a young boy gazing up into a brilliant blue sky as if he can glimpse the future. An archival photo of Wright reading to his young daughter accompanies the introduction, and a brief biography of Wright along with a list for further reading is included in the back matter. A must for all children's collections. These verses are an introduction to haiku as well as an entry point into Wright's work; they can be read aloud to younger children or enjoyed independently by older readers."―starred, School Library Journal (Journal)

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Product details

Age Range: 5 - 10 years

Grade Level: Kindergarten - 4

Lexile Measure: 650L (What's this?)

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Library Binding: 32 pages

Publisher: Millbrook Press TM (February 1, 2018)

Language: English

ISBN-10: 151241865X

ISBN-13: 978-1512418651

Product Dimensions:

11 x 0.2 x 9 inches

Shipping Weight: 13.8 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

2 customer reviews

Amazon Best Sellers Rank:

#580,028 in Books (See Top 100 in Books)

I buy many books and rarely review, but I decided to review this one because I love it so much. The haiku are gorgeous as are the photo collages. Simply magnificent. I would use this book with all age students including through middle school. I bought on the kindle, but will also be purchasing a paper copy. Lovely. Lovely. Lovely.

I hate that phrase, “A picture’s worth a thousand words”. It’s trite. Simplistic. And horrendously true. Pictures have power. Take the story that’s been handed to us about African-Americans for decades. The images that appear in our news all tell stories of black violence, crime, and poverty. Stories that people buy into because, after all, can’t you believe your eyes? Children’s books could be a respite from that kind of misrepresentation were it not for the fact that they’re often little better. If you’re a black boy looking for some kind of representation in your books of brown-skinned American boys that aren’t (A) Slaves (B) Former slaves or (C) Living during the Civil Rights Era, good luck to you. And photographs? I mean, finding children’s books with photos to begin with is hard these days. Oh, there was a time back in the 50s and 60s when you might find a book like “J.T.” by Jane Wagner and Gordon Parks, but in spite of the fact that the printing costs of photos in picture books is cheaper than ever, the publishing industry generally treats photography as an embarrassing art form that’s only good for accompanying nonfiction texts. Enter Nina Crews, one of the few photographers working today that regularly includes photographic images of contemporary black kids in her children’s books. She’s paired her work with poetry in the past, though it’s usually of the nursery rhyme variety. Now with “Seeing Into Tomorrow” she tries something new. The haikus of the great author Richard Wright are paired with image after image of black boys running, walking, riding, and just generally staring into a natural world that is this close to showing them the future. A tomorrow that we would all like to see more of.It’s becoming a good year for the great African-American writers of the 20th century. James Baldwin’s only book for children “Little Man, Little Man” is being reprinted, there’s a novel of a boy discovering the world of Langston Hughes in “Finding Langston” by Lesa Cline-Ransome on the horizon, and now Richard Wright has his very first collection of haikus in a form for young readers. Originally published after his death in 1998 in the collection “Haiku: This Other World”, Nina Crews has selected a svelte twelve from a possible four thousand. With each poem she constructs squares of photographed images of nature. Forests rise, skies are pieced together, and the poems are featured alongside brown boys that help to embody everything Wright is implying. A brief biography of Richard Wright appears at the back of the book alongside A Note On the Illustrations and well-curated suggestions for Further Reading.Let’s head off at the pass the whole “what is haiku?” question right here and now, if we can. As far as I can ascertain, there are several ways to tackle that question. You’ve got the folks that adhere to the strict 5-7-5 syllable style, and do not think much about the subject matter. Then you have the folks that point out that the 5-7-5 style is a Western construct. In fact some children’s books (like Jon J. Muth’s “Hi, Koo”) don’t adhere to it at all. Then there’s the subject matter, which, in traditional haiku focuses on nature and how we, as humans, relate to it. In the case of this particular book, Mr. Wright adheres to the 5-7-5 format and he also makes certain that even a poem about the railroad feels a part of nature (after all, trains are experienced by most folks in an outdoor setting). Ms. Crews for her part has selected a wide variety of types of nature, all the better to accompany with her images.Out of curiosity, I wanted to see if anyone had ever collected Wright’s haikus for kids before. To my astonishment (or was it sadness?) I found that anytime Wright’s haiku comes up in a children's book, he’s just one of many poets in an anthology. There was the “National Geographic Book of Poetry”, “Firefly July”, “African American Poetry” (the one edited by Arnold Rampersad and Marcellus Blount), and a few others. Good books, sure and certainly, but why has no one ever rated Wright’s haikus worthy on their own merits for young readers? Why indeed. Perhaps no one felt equal to the task. Haiku, after all, is difficult to display in a children’s book format unless you know how to tackle the material in an interesting way. And photographs are, to my mind, mighty interesting.Years ago I organized a panel of photographers working in the field of children’s literature. And, since this was New York after all, I had to make sure that Nina Crews was included. You simply can’t think of artists that illustrate children’s books with photographs (or can you even call it “illustration” at all?) without thinking of Ms. Crews. She was one of the first artists unafraid of Photoshop, producing books like “The Neighborhood Mother Goose”, working with large publishers. I always enjoyed her work, but I felt like I was waiting for something. Something on a grander scale or something. Turns out, I was waiting for “Seeing Into Tomorrow”. Because it isn’t just her selection of the twelve Wright poems that deserves notice. Look how she’s changed her own style to match. First off, there’s the fact that she’s placing her subjects in nature. Because she lives in Brooklyn, so much of Ms. Crews’ work has been set in the city. And, to be honest, it still is sometimes. If I’m not much mistaken the poem of the boy walking the dog looks an awful lot like Prospect Park.Still, there are true moments of nature beyond the borders of NYC. Her Photoshop work has grown more natural over the years. But most interesting to me was how the backgrounds are cut into overlapping squares and rectangles. I thought long and hard about why she chose to illustrate the book in this way. Then I noticed how well the haikus fit into the blank spaces inside or beside or under the photographs. Haiku, should anyone ask, is supremely difficult to make visually interesting. I’ve seen librarians discount haiku collections where the design overwhelmed the subject matter. Not so here. Here, the font is large and the presentation cool and clear and calming. As for the photos, what could come off as disjointed instead becomes an extension of nature itself. The boys featured here are both part and not part of the backgrounds. And why just black boys? As she explains in her “Note On the Illustrations”, after learning about Mr. Wright’s own youth, she wanted, “the reader to imagine the world through a young brown boy’s eyes. A boy, like Richard Wright, who found wonder in the world around him.”There is also the occasional in-joke for die-hard children’s literature fans. It was my co-worker who pointed out to me what was going on with one particular poem. The text reads, “Empty railroad tracks: / A strain sounds in the spring hills / And the rails leap with life.” The picture features a freight train coming from wooded hills while a boy and his grandfather watch. I don’t suppose it ever occurred to me to wonder who that older man might be. I had forgotten that Nina Crews is part of a longstanding children’s book legacy. Her mother was Ann Jonas, perhaps best known for the picture book "Round Trip". Her father? None other than Donald Crews, the genius behind that picture book / board book standard “Freight Train”. And there he is in this photograph, big as life, with Nina’s own son, watching a real life freight train chugging on past.I’m trying to think of books to compare this one to. Trying to think of books about black boys that give them their proper due. A couple years ago I tried counting all the middle grade novels about African-American boys printed in a given year. I came up with five. That number’s slightly higher these days, but black boy pride is still too rare. Maybe things are looking up, though. Last year the Derrick Barnes/Gordon C. James picture book “Crown: Ode to a Fresh Cut” won a Caldecott Honor and a Newbery Honor. This year Tony Medina’s “13 Ways of Looking at a Black Boys” (another book of poetry) is getting rave reviews. With “Seeing Into Tomorrow” these books make a trifecta. It’s not enough. Let’s fill the shelves with strong black boy characters. Let’s make them so prevalent and common that people start arguing with one another over which one is their favorite. And to start? Let’s read “Seeing Into Tomorrow”. A book with a foot in the past and a strong future ahead of it.For ages 6 and up.

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Free Download , by Bridget Quinn

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Product details

File Size: 33191 KB

Print Length: 185 pages

Publisher: Chronicle Books LLC (March 7, 2017)

Publication Date: March 7, 2017

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B01N6CJWVB

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Amazon Best Sellers Rank:

#136,930 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

As an art historian I am delighted to see these extraordinary women artists presented and Quinn does add new insight into the lives and works of several of the artists. However, I think Quinn ruins her approach by trying to be "too cool" and by using the f-word and other base observations not appropriate for serious research. She has paired well done writing with lowering herself to use expletives. Is this what we have to do today to appeal to readers ? I think it is a disservice to those women being presented. I also think the book centers too much on her and is often plain silly as to how she relates herself to studying these women.

Five stars means I love it - but not unconditionally! Quinn's initial quest for information on Lee Krasner led her to Janson's History of Art and then Artemisia Gentileschi. "By the time I hit the back cover, I had a list of sixteen women, one of them Lee Krasner. In more than 800 pages, this was all "official" art history could offer." Slowly, Quinn moved on and discovered other female artists like "Rosa Bonheur, a swaggering animal painter from the nineteenth century..." or "Edmonia Lewis, who was part Chippewa, part African American" In another class Quinn made use of her French language skills and studied Adelaide Labille-Guiard. I admit, I had never heard of either Lewis or Labille-Guiard before - Quinn's breezy tone made it easy to continue."You may well be asking: What the hell?" and off she goes describing the Gentileschi painting. Yes, the one were Judith assisted by her maid severs the head of Holofernes. "They could be Julia Child and Alice Waters deboning a turkey." It is so funny, so cutting, and so disturbing because we/I have never read anything translating this gruesome scene to something very contemporary, performed by modern women. Beyond describing the artists' most well-known works, Quinn tells of their life - what made them painters/sculptures, why were they successful or not, how did they live? Throughout the book Quinn offers stories from contemporary movies or novels that make for very easy reading and understanding of the heroine's (artist's) predicaments - compare Judith Leyster to Frans Hals via the Da Vinci Code. Then there are paintings who were first attributed to male masters, in fact being star attractions and then quietly put into storage and rediscovered, Quinn loves those. Throughout the book she seems to chuckle every time there is something along the lines of the Rosa Bonheur quote "the fact is, in the way of males, I only like the bulls I paint." Sometimes it is just too much levity and I could have done without it. The chapters on Edmonia Lewis, Vanessa Bell, Alice Need, Ruth Asawa and Ana Mendieta introduce these barely acknowledged artists - I am grateful to Quinn for introducing them to me.

I bought this book as a gift for an older woman who is an accomplished artist and a good friend. The primary subjects she portrays are women (usually in woodcut prints), so I thought this book would interest her. This may be the only book I've ever returned for reasons other than shipping damage. There are three basic things I don't like about this book: 1) The overall writing style is appallingly slangy, sloppy, and otherwise, undisciplined [believe me, I'm no prude, but on page 52, for example, in the space of about six sentences, the author uses major obscenities three times (Amazon rejected this review the first time because I quoted from the book), so be careful about who you give this to!], 2) The watercolor illustrations (these are the author's portraits of the artists she writes about] are overly sentimentalized, not particularly well done, and really detract from the impact of the book, especially given the high quality of the artists inside; and 3) The text font is uncomfortably small. This book might be appropriate for someone who has zero knowledge about art or the equivalent of a high school education, though I wouldn't give it to a youngster because of the vulgar language. Most of the artists in this book (Alice Neel, Ruth Asawa, etc.) are very well-known in the art world, so there weren't too many surprises for me. The only positive things I can say about this book are that women artists need greater recognition for their role in art history, so this book may be one tiny step forward in raising awareness about them; the technical quality of color reproductions is good; and the layout is nicely done, with the exception of the type, which, as I mentioned above, is very small. Now, getting really picky, I hated the choice in paper for the cover, kind of a fake-looking, cloth textured paper that looked rather tacky. There are many other better written and more comprehensive books on the same subject out there.

A lively, richly detailed introduction to fifteen fine artists who have been needing more ink for a long time. Bridget Quinn could have written yet another collection of biographies of the usual suspects -- Mary Cassatt, Berthe Morisot, Georgia O'Keefe, Frida Kahlo -- but instead she introduces us to some lesser known names. Written in a chatty style laced with a lot of autobiography, "Broad Strokes" is aimed more at the general public than art historians. She clearly loves great art, and she makes that love contagious. "Broad Strokes" makes you want to high-tail it to the nearest art museum.

As my daughter, a toddler, begins to experiment with art, I wonder: what female artists can inspire her? Enter Broad Strokes, a delightfully personal and intimate view into the lives and work of some of the world's most influential female artists. This book is monumental and so needed in a world where women's art and creative work is repeatedly marginalized. I cannot wait to read it to my daughter, for her to engage with such critical discourse and images of art that will surely provide her with the needed space and support to continue to explore creativity and feminism.

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Free PDF Shanghai: A Novel by Yokomitsu Riichi (Michigan Monograph Series in Japanese Studies)

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Product details

Series: Michigan Monograph Series in Japanese Studies (Book 33)

Paperback: 248 pages

Publisher: U of M Center For Japanese Studies; First edition edition (June 18, 2001)

Language: English

ISBN-10: 1929280017

ISBN-13: 978-1929280018

Product Dimensions:

6 x 0.8 x 9 inches

Shipping Weight: 13.3 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

1 customer review

Amazon Best Sellers Rank:

#1,089,780 in Books (See Top 100 in Books)

What a book. The story packs a punch!! It is certainly not dated even though written in 1928 (story takes place in 1925 Shanghai). Written by a Japanese writer with a very modern voice. It is an "outsider" type novel in all respects. Japanese in China; Japanese alienated from Japanese, Japanese alienated from Chinese, Japanese alienated from time and place. It helps to be aware of sino-Japanese politics and economy tied to the period, but not essential. Very stark story in which the Japanese protagonist expresses the need for China to ally with Japan in a political and economic sense as opposed to allying with the Western powers, yet his contempt for the Chinese underlies his emotional response to circumstances involving the Chinese. He falls in love with a Chinese revoluntionary which comes to nothing. I recommend this excellent book unreservedly. Also has a short piece on the author which showcases his philosophy and life.

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Download Ebook Transmetropolitan Vol. 8: Dirge (New Edition) (Transmetropolitan - Revised)

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Product details

Series: Transmetropolitan - Revised (Book 8)

Paperback: 144 pages

Publisher: Vertigo; Reprint edition (September 14, 2010)

Language: English

ISBN-10: 1401229360

ISBN-13: 978-1401229368

Product Dimensions:

6.6 x 0.4 x 10.2 inches

Shipping Weight: 4.2 ounces (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

10 customer reviews

Amazon Best Sellers Rank:

#267,240 in Books (See Top 100 in Books)

This one is really good. I lied in my previous review; THIS one is where it really gets dark. This book is awesome, and I'll say it again for emphasis - dark. We learn the cause of Spider's failing health here, and his timeframe on life is revealed. Also there is a sniper and a large-scale conspiracy that is shrouded in mystery for most of the book.This collection more or less discards the three-off story plus filler and goes towards straight up dedication to storyline, which I think is great, especially as the end of the series draws ominously near. Expect to read it in one sitting, it's really good.Definitely not for first-timers; start, if not from the beginning, definitely earlier than this. This is drawing towards the wrap-up but still rising action type of storytelling. I also recommend this series highly to anyone looking to get started in comics who has a slightly darker side, or the interest in a slightly darker, ever so slightly dystopian vision of the future.

Ellis' has real narrative and thematic clarity by this time in the arc, the violence and paranoia increases starkly but unlike in prior volumes, the stakes seem real and the farce goes away for more subtle satire. Spider's morality seems very real and "the Smiler" seems more than a figure of farce, but an outright dangerous man. Robinson's artistic texturing is great here.

This is a review for the series as a whole not the individual volume. I have heard about Transmetropolitan for years and a few months ago I finally started reading it. Wow, just wow. Even though the last issue came out over 10 years ago it's a story that still remains relevant today (unfortunately, read it and you'll get what I mean). All in all the characters, the main arc of the story, and the relationships are just amazing. As for the main character, make no mistake Spider Jerusalem is not a good person, but he does have principles. The Truth, no matter what. Why are you still reading this. Read the first volume, if you aren't hooked I don't know what to tell you. All I can say is I'm glad I bought all 10 and wish I had done it sooner.

Warren Ellis writing a novel about Hunter S Thompson in a cyberpunk future.That's really all my friend had to say.

All hail Spider Jerusalem, his filthy assistants and that crazy bastard Warren Ellis. We are all the new filth. Get in to it.

Dirge is the volume where Transmet confirms its heading for the end. All good things must come to an end, and transmet seems determined to be named the greatest comic book ever written.It all starts out with Darrick Robertson's highlight reel. A sniper has taken up a perch in the print district, which means a ton splashy violent pages of fantastic action. After that, spider decides that he has had enough of president Callahans shenanigans and sets in motion his plan to dispose of him once and for all. The volume is packed with emotional punches, kicks, a neck-snaps. No sane person could find a reason to be disappointed in it.

Warren Ellis has written the series so far with 3-issue bursts of a linear story with a couple of one shot issues that either expand the world or are side stories to the overall story arc but with "Dirge" he ditches this arrangement and goes straight out for the story arc. A sniper is picking off innocents in the Print District at the same time the police have "blue flu" and decide to call in sick, en masse. Something's up and Spider's on the case. If the carnage wreaked by the sniper weren't enough, a ruinstorm (like a tsunami) hits the east coast turning the City into a disaster zone. And if that weren't enough for a bad day, Spider gets the medical verdict on his recent health problems..."Dirge" takes what was already an insanely addictive storyline and turns it up to 11. From the opening shots of the sniper to the crescendo of the disaster weather, Ellis doesn't let up on the throttle for a moment, careening the reader from one maniacal scene to another. He brings it down slowly for Spider to find out he has a brain disease and a limited amount of time before it destroys his mind, and then sends Spider into the penultimate confrontation between himself and the Smiler.This book is a roller-coaster journey for fans of the series and only serves to whet the reader's appetite for more. Masterful storytelling from Ellis, art from Darick Robertson which is the best work he's done on the series yet, this is a must-read for any fans of the series and an example of how comics can be more interesting than movies, TV, or the internet when it's this good.

This series started really strong, but it became kind of a hit-and-miss over time. This one here has a competent overarching plot that ties-in to earlier volumes and actual development that matters in the big picture. It's competent and fun to read, but once again Spider doesn't use the system to make the Smiler's life miserable and we're left with a standard cyberpunk thriller that rides its own reputation. DIRGE is a better volume than SPIDER'S TRASH, but it's still not up to par with the early material that made TRANSMETROPOLITAN great. I hope the ending doesn't disappoint me.

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Transmetropolitan Vol. 8: Dirge (New Edition) (Transmetropolitan - Revised) PDF

Transmetropolitan Vol. 8: Dirge (New Edition) (Transmetropolitan - Revised) PDF

Transmetropolitan Vol. 8: Dirge (New Edition) (Transmetropolitan - Revised) PDF

Transmetropolitan Vol. 8: Dirge (New Edition) (Transmetropolitan - Revised) PDF

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