'Masterful and beautifully written. Riveting and compellingly authentic. Grips you like a vice from the first page and never lets you go' Damien Lewis Two men are on the run. They have four hundred miles to go across hostile territory. Soldiers on the ground track them day and night, a helicopter circles above, life becomes a second-by-second fight for survival. Each muscle movement, drop of sweat, glance and instinct matters. Every second counts. Through long slogs across country, risky raids for supplies, moments of sheer panic, and under the intense pressure to survive, an unbreakable bond between two men is forged. This stunningly written, adrenaline-pumping novel is a little-known classic of its genre. SHORTLISTED FOR THE FIRST EVER BOOKER PRIZE IN 1969 ‘England's prose has the tough, spare elegance of steel scaffolding... a brilliant achievement’ The Times

The Sunday Times bestseller Paul Theroux collects a rich feast of his writing and essays - from travel to personal memoir - published all together here for the first time Drawing together a fascinating body of writing from over 14 years of work, Figures in a Landscape ranges from profiles of cultural icons (Oliver Sacks, Elizabeth Taylor, Robin Williams) to intimate personal remembrances; from thrilling adventures in Africa to literary writings from Theroux's rich and expansive personal reading. Collectively these pieces offer a fascinating portrait of the author himself, his extraordinary life, restless and ever-curious mind.

How did the United States become not only the leading contemporary art scene in the world, but also the leading market for art? The answer has to do not only with the talents of American artists or even the size of the American economy, but also--and especially--the skills and entrepreneurship of American art dealers. Their story has not been told...until now. Landscape with Figures is the first history of art dealing in the United States, following the profession from eighteenth-century portrait and picture salesmen in the colonies to the high-profile, jet-set gallery owners of today. Providing anecdotal and carefully researched biographies of the prominent dealers from more than two centuries of trade, author Malcolm Goldstein shows how magnanimous personalities and social networking helped to shape the way Americans have bought and valued art. These dealers range from Michael Paff, whose enthusiasm often overshadowed his expertise but nonetheless helped him sell faux Old Master paintings to major collectors in the early nineteenth century; to the imperious Joseph Duveen, dealer to magnates like Henry Clay Frick; to visionary Leo Castelli, who helped to usher in a revolution in modern art during the 1960s by showing such avant-garde artists as Jasper Johns, Robert Rauschenberg, and Andy Warhol. Goldstein also shows that the American art trade, while male-dominated, has been galvanized by female dealers, including the inimitable Edith Gregor Halpert, Peggy Guggenheim, and Mary Boone. Their fascinating stories unfold in the context of world art history, the rise of major art institutions like the Museum of Modern Art and the Whitney Museum, and the growing zeal of art collectors who would eventually pay millions for individual works of art. Unprecedented and critical to understanding today's art world, Landscape with Figures is a must for artists, art history students, and art lovers.

A new inclusiveness, a heady freedom, grounded in the facts of mortality, inform Gail Mazur’s recent poems, as if making them has served as both a bunker and a promontory, a way to survive, and to be exposed to, the profound underlying subject of this book: a husband’s approaching death. The intimate particulars of a shared life are seen from a great height—and then there’s the underlife of the bunker: endurance, holding on, life as uncompromising reality. This new work, possessed by the unique devil-may-care intensity of someone writing at the end of her nerves, makes Figures in a Landscape feel radiant, visionary, and exhilarating, rather than elegiac. Mazur’s masterly fusion of abstraction with the facts of a life creates a coming to terms with what Yeats called “the aboriginal ice.”

Figures in a Landscape, volume 9 in the landscape review Pages Paysages, features a critical investigation into the relationship between the body and space, laying particular emphasis on actions and interventions. Projects from France, Italy, England, USA, Germany and Japan are presented, highlighting the new possibilities and solutions in the area of international landscape architecture, such as the theatrical interventions of a French dance company with their swaying bodies, which contribute to enlivening public places. Pages Paysages is not a review one can read through hastily. Like a novel, it needs to be read slowly so that the impressions and the ideas sink in and stir up new questions that become the starting point for new explorations in landscape research and design.

High above the noise and traffic of metropolitan Phoenix, Native American rock art offers mute testimony that another civilization once thrived in the Arizona desert. In the city's South Mountains, prehispanic peoples pecked thousands of images into the mountains' boulders and outcroppings—images that today's hikers can encounter with every bend in the trail. Todd Bostwick, an archaeologist who has studied the Hohokam for more than twenty years, and Peter Krocek, a professional photographer with a passion for archaeology, have combed the South Mountains to locate nearly all of the ancient petroglyphs found in the canyons and ridges. Their years of learning the landscape and investigating the ancient designs have resulted in a book that explores this wealth of prehistoric rock art within its natural and cultural contexts, revealing what these carvings might mean, how they got there, and when they were made. Landscape of the Spirits is the first book to cover these ancient images and is one of the most comprehensive treatments of a rock art location ever published. It conveys the range of different rock art elements and compositions found in the South Mountains—animals, humans, and geometric shapes, as well as celestial and calendrical markings at key sites—through accurate descriptions, drawings, and photographs. Interpretations of the petroglyphs are based on Native American ethnographic accounts and consider the most recent theories concerning shamanism and archaeoastronomy. Written in a simple and accessible style, Landscape of the Spirits is an indispensable volume for anyone exploring the South Mountains, and for rock art enthusiasts everywhere who wish to broaden their understanding of the prehistoric world. It is both an authoritative overview of these ancient wonders and an unprecedented benchmark in southwestern rock art research at a single geographic location.

Geoff Kersey shows people who have never picked up a paintbrush how to paint convincing watercolour landscapes using just 3 colours, 3 brushes, a plastic palette and a watercolour pad. Only 3 affordable Students range watercolour paints are used: light red, cadmium yellow pale and ultramarine blue; yet from these, Geoff shows how 9 realistic watercolour scenes can be painted. There is no colour theory or long-winded mixing information to put off the first-time painter, but a practical absolute beginner's course that shows the three colours in action. Only 3 affordable brushes are needed: no. 10, no. 4 and no. 2 rounds in a synthetic range, to achieve all of the paintings shown. Starting from the simplest of scenes, Geoff Kersey builds skills through 9 easy exercises, resulting in landscapes to be proud of. Start with a simple sky and progress through a basic scene with a reflected sunset, to landscapes that include simple buildings and even a figure. Clear advice and step-by-step photographs show how to add a simple figure to a scene and how to trace and transfer the basic drawings from the finished paintings, which are shown full size in the book for this purpose. Readers have everything they need to get painting.

George Inness (1825-94), long considered one of America's greatest landscape painters, has yet to receive his full due from scholars and critics. A complicated artist and thinker, Inness painted stunningly beautiful, evocative views of the American countryside. Less interested in representing the details of a particular place than in rendering the "subjective mystery of nature," Inness believed that capturing the spirit or essence of a natural scene could point to a reality beyond the physical or, as Inness put it, "the reality of the unseen." Throughout his career, Inness struggled to make visible what was invisible to the human eye by combining a deep interest in nineteenth-century scientific inquiry—including optics, psychology, physiology, and mathematics—with an idiosyncratic brand of mysticism. Rachael Ziady DeLue's George Inness and the Science of Landscape—the first in-depth examination of Inness's career to appear in several decades—demonstrates how the artistic, spiritual, and scientific aspects of Inness's art found expression in his masterful landscapes. In fact, Inness's practice was not merely shaped by his preoccupation with the nature and limits of human perception; he conceived of his labor as a science in its own right. This lavishly illustrated work reveals Inness as profoundly invested in the science and philosophy of his time and illuminates the complex manner in which the fields of art and science intersected in nineteenth-century America. Long-awaited, this reevaluation of one of the major figures of nineteenth-century American art will prove to be a seminal text in the fields of art history and American studies.