"Berkeley Breathed's Bloom County debuted in late 1980 and ran until August 1989. Featuring an exceedingly quirky cast of characters, including the sweetly naive Opus the penguin, the flea-bitten Bill the cat, womanizing attorney Steve Dallas, Milo Bloom, Cutter John, and many others, Bloom County soon became one of the most popular comic strips in history, appearing in over 1200 newspapers. Then, at the peak of its popularity, Berkeley Breathed did something unprecedented... he walked away" --

A subversive, hilarious, dark-but-uplifting collection of comics skewering the commercial figures, Disney stories, and pop cultural touchstones that Millennials and Gen X-ers grew up with in the '80s and '90s. Ben Zaehringer's versatile art styles and wicked curveballs are sharp, clever and accessible, prompting many readers to comment that the author is "ruining their childhood" in the most delightful way possible.

The Pulitzer Prize-winning creator of the hilarious "Bloom County" comic strip is back! To help celebrate, here is the first ever Bloom County picture book, featuring fan-favorite Bill the Cat in an origin story. (Ack ack!) The perfect gift for Bloomers old and new. An Amazon Best Book of the Year and NY Times bestseller! Almost thirty-five years ago Berkeley Breathed launched a little-known yet laugh-inducing comic strip called "Bloom County" that was full of characters who instantly entered the public consciousness--none more so than Opus (the penguin) and Bill the Cat. Bloom County's popularity soared, it was soon syndicated nationally, had millions of daily readers, and before long its creator was awarded a Pulitzer Prize. Then, nine years later, "Bloom County" sadly came to a close. It had simply ceased being fun for Berkeley Breathed. Now, more than twenty-five years after it ended, "Bloom County" has returned in full force and humor online, with an ever-growing fanbase every bit as zealous as it was in the strip's heyday. For the comic's youngest fans, and for those who never stopped wishing for its return, here is an all-new, kid-friendly story for anyone who ever wanted to know the origin story of Bill the Cat. "Bloom County" has never been more fun! Praise for The Bill the Cat Story "The illustrations, a mixture of cartoons, eye-popping virtual paintings, and pencil sketches, will pull inquisitive audiences of all ages into the story."--Booklist "[E]xtravagantly rendered artwork in luscious color."--Publishers Weekly

A supplemental textbook for middle and high school students, Hoosiers and the American Story provides intimate views of individuals and places in Indiana set within themes from American history. During the frontier days when Americans battled with and exiled native peoples from the East, Indiana was on the leading edge of America’s westward expansion. As waves of immigrants swept across the Appalachians and eastern waterways, Indiana became established as both a crossroads and as a vital part of Middle America. Indiana’s stories illuminate the history of American agriculture, wars, industrialization, ethnic conflicts, technological improvements, political battles, transportation networks, economic shifts, social welfare initiatives, and more. In so doing, they elucidate large national issues so that students can relate personally to the ideas and events that comprise American history. At the same time, the stories shed light on what it means to be a Hoosier, today and in the past.

This book describes the living-room artifacts, clothing styles, and intellectual proclivities of American classes from top to bottom.

Four volume set spanning years 1985 to 1995.

Building on experience from 60 countries worth of independent travel, the author takes you on three journeys to places you may never have considered visiting, although you probably should and you definitely could. Learn about a low-budget cruise to Antarctica, understand what the Trans-Siberian Railway really is like, enjoy the natural wonders of Southern Africa. The book is a fun read, but you will also learn about far-away destinations and about how to travel independently anywhere. It's not a travel guide or a travel journal, it's both!More details, including free downloads, available from http://bjornfree.com/

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.

A novel about the frightfulness and ruthlessness of being in love, from the author of the Booker Prize-winning novel The Sea, The Sea Martin Lynch-Gibson believes he can possess both a beautiful wife and a delightful lover. But when his wife, Antonia, suddenly leaves him for her psychoanalyst, Martin is plunged into an intensive emotional reeducation. He attempts to behave beautifully and sensibly. Then he meets a woman whose demonic splendor at first repels him and later arouses a consuming and monstrous passion. As his Medusa informs him, “this is nothing to do with happiness.” A Severed Head was adapted for a successful stage production in 1963 and was later made into a film starring Claire Bloom, Lee Remick, Richard Attenborough, and Ian Holm.