'Cries', artistic representations of the various denizens of London's streets including prostitutes, beggars and tinkers, were produced between 1580 and 1900. This study analyses the representation behind the art of the 'Cries' in a social, cultural and historical context.

This lavishly illustrated volume, featuring 170 images, offers a comprehensive and original survey of a fascinating collection of images of the lower orders of London. The London Cries is a body of graphic art produced between the sixteenth and nineteenth centuries that provided continually changing representations of the tradesmen and street hawkers that roamed London from its beginnings right up to the present. Analyzing prints, drawings, lithographs, and paintings done during this time period, Sean Shesgreen traces portraits of ordinary men and women who made their living on the streets of this bustling city; characters include milkmaids, cheapjacks, beggars, prostitutes, Merry Andrews, religious fanatics, and other colorful figures of their stripe. Images of the Outcast examines the Cries in relationship to the historical actualities of street trading, bourgeois attitudes toward the poor, and other forms of art. Through a lively discussion of the prints, drawings, sketches and oils of artists, from the anonymous craftsmen of the sixteenth century to Theodore Gericault and others, Shesgreen provides an important overview of this significant genre. Many of the riveting images the author discusses have never been published or analyzed before.

Continually occupied by its indigenous peoples, as well as a siren to waves of pioneers, the Northwest has long fostered a sense of isolation and opportunity. Alice Wheeler's subjects embody both. Internationally known for her photographs of Nirvana, Bikini Kill, and the punk-feminist bands of Riot Grrl, Wheeler is drawn to people and landscapes that possess unique strength and beauty. Hers are the lesser-seen realities of Seattle's history over the last three decades: not the incessant rain and coffeehouse earnestness represented in films and sitcoms, but the glory of the drag scene; the devastation of AIDS; the freedom of choice celebrated at Hempfest and protest rallies; brilliant sunsets and radiant clouds; and a music scene that for decades has captivated devotees internationally. This is her first monograph.

The village was asleep, with all the people behind the walls and through the windows and up the stairs of the little houses blind and deaf in their beds while anything might happen. Lewis headed down the middle of the road and he kept falling and had to remember to get back on his feet. He reached the churchyard and stood in the dark with the church even darker above him. –from The Outcast by Sadie Jones It’s 1957. Nineteen-year-old Lewis Aldridge is returning by train to his home in Waterford where he has just served a two-year prison term for a crime that shocked the sleepy Surrey community. Wearing a new suit, he carries money his father Gilbert sent — to keep him away, he suspects — and a straight razor. No one greets him at the station. Twelve years earlier, seven-year-old Lewis and his spirited mother Elizabeth are on the same train, bringing Gilbert home from war. Waterford is experiencing many such reunions, alcohol lubricating awkward homecomings and community gatherings. The most oppressive of these are the mandatory holiday parties hosted by the town’s leading industrialist Dicky Carmichael, Gilbert’s employer. With the Carmichael estate backing onto the Aldridge property, the attractive and popular Tamsin Carmichael and her precocious kid sister Kit are Lewis’s playmates, along with a gaggle of neighbourhood boys who (like Lewis) are fascinated by Tamsin. The children play thrilling and cruel games, mirroring the adults’ inebriated dysfunction. Though pleased to be reunited with Elizabeth, Gilbert is appalled by the coddling his son has received in his absence. No longer permitted to skip church for picnics by the river, Elizabeth and Lewis are steered back under the ever-judgmental gaze of Waterford society. Lewis continues to flourish, a naturally capable golden child. But iconoclastic Elizabeth, disappointed by Gilbert’s insistence on conformity, seeks refuge in the bottle. Then a sunny riverside picnic ends with Elizabeth dead and ten-year-old Lewis the only witness. A shattered Gilbert is incapable of providing comfort to his young son and the community of Waterford turns away from the traumatized child, now rendered a pariah by tragedy. Lewis is sent to boarding school, summoned home only for holidays. Gilbert remarries five months later to Alice, a compliant beauty who is not up to the task of parenting a damaged child. Years pass and Lewis, now a troubled teenager, is lost in dangerous and self-harming behaviours. When an incident with a local bully causes Lewis to be even further estranged from the community, Gilbert and Alice stand idly by as Lewis is tormented by the tyrannical Dicky. Enraged, Lewis commits a shocking crime against the whole of Waterford and is sent to prison. Two years later, upon his shamed return, the town continues to treat Lewis as an outcast. Only Tamsin’s little sister Kit, now a young woman, sees in him the golden boy he once was. She had become infatuated with Lewis years earlier when he had casually protected her from bullies and broken bicycle chains. But she now faces a much darker and more dangerous sort of bullying at the hands of her father. It is up to Lewis once again to rescue her, redeeming himself through tremendous courage and terrible sacrifice. And perhaps Kit holds the power to rescue him, too. Winner of the Costa First Novel Award and a finalist for the prestigious Orange Prize, Sadie Jones’s The Outcast introduces us to a clear and brave new voice in British fiction. The novel is a clarion call to us all, daring us to stand up to the bullies of our world, in whatever form they may take and — above all else — to love our children.

The thrilling prequel to the New York Times–bestselling Summoner series! When stable boy Arcturus accidentally summons a demon and becomes Hominum's first common summoner, he becomes the key to a secret that the powerful overlords would do anything to keep hidden. Whisked away to Vocans Academy so he can be kept watch over, Arcturus finds himself surrounded by enemies. But he has little time to settle in before his life is turned upside down once again, for Hominum Empire is in turmoil. Rebellious intent simmers among the masses, and it will not be long before it boils over. Arcturus must choose a side . . . or watch an Empire crumble. The Summoner Trilogy The Novice The Inquisition The Battlemage Also in the Summoner series The Outcast (Summoner: The Prequel) The Summoner’s Handbook (Fall 2018) A Fine Welcome: Othello’s Journey (A Summoner Short Story)

Hurles's photographs vibrate with self-assurance and dangerous sexuality. "Outcast" tells two fascinating stories--that of a determined gay artist who pioneered the dark mirror image of the artistic male nude and a mosaic portrait of underground America.

This engaging book is the first full study of the satirical print in seventeenth-century England from the rule of James I to the Regicide. It considers graphic satire both as a particular pictorial category within the wider medium of print and as a vehicle for political agitation, criticism, and debate. Helen Pierce demonstrates that graphic satire formed an integral part of a wider culture of political propaganda and critique during this period, and she presents many witty and satirical prints in the context of such related media as manuscript verses, ballads, pamphlets, and plays. She also challenges the commonly held notion that a visual iconography of politics and satire in England originated during the 1640s, tracing the roots of this iconography back into native and European graphic cultures and traditions. Published for the Paul Mellon Centre for Studies in British Art

As the Byzantine and German emperors plot war against each other, Venice's future rests in the hands of three unwilling individuals: The newly knighted Sir Tycho. He defeated the Mamluk navy but he cannot make the woman he loves love him back. Tortured by secrets, afraid of the daylight, he sees no reason to save a city he hates. The grieving Lady Giulietta. Virgin. Mother. Widow. All she wants is to retire from the poisonous world of the Venetian court to mourn her husband in peace. But her duty is to Venice: both emperors want her hand in marriage and an alliance with Europe's richest city. She must choose, knowing that whichever suitor she rejects will become Venice's bitterest enemy. Lastly, a naked, mud-strewn girl who crawls from a paupers' grave on an island in the Venetian lagoon and begins by killing the men who buried her. Between them, they will set the course of history.