A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

Peasant girls don't mingle with dragons, princes, and beastly curses...or so Felicity thought Justin has become a beast. And even carefree Felicity couldn't look at him and like what she sees. Could she?

A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

After the death of Queen Eleanor, Beauty and Laurent are implored to take the throne and uphold the ways of complete sensual surrender that have made Eleanor's realm a legend.

At age seventeen, Gia Carangi was working the counter at her father's Philadelphia luncheonette, Hoagie City. Within a year, Gia was one of the top models of the late 1970's, gracing the covers of Cosmopolitan and Vogue, partying at New York's Studio 54 and the Mudd Club, and redefining the industry's standard of beauty. She was the darling of moguls and movie stars, royalty and rockers. Gia was also a girl in pain, desperate for her mother's approval—and a drug addict on a tragic slide toward oblivion, who started going directly from $10,000-a-day fashion shoots to the heroin shooting galleries on New York's Lower East Side. Finally blackballed from modeling, Gia entered a vastly different world on the streets of New york and Atlantic City, and later in a rehab clinic. At twenty-six, she became on of the first women in America to die of AIDS, a hospital welfare case visited only by rehab friends and what remained of her family. Drawing on hundreds of interviews with Gia's gamily, lovers, friends, and colleagues, Thing of Beauty creates a poignant portrait of an unforgettable character—and a powerful narrative about beauty and sexuality, fame and objectification, mothers and daughters, love and death.

Welcome to Nissera, land of three kingdoms and home to spectacular magic. Bristal, a sixteen-year-old kitchen maid, finds herself in a gritty fairy tale gone wrong when she discovers she has magic in her blood. She's descended from an ancient line of immortal sorcerers called elicromancers—a race that has all but died out in her world, but only two remain in Nissera after a bloody civil war. Bristal joins their ranks without knowing that one of them has a dark secret . . . Tamarice is plotting a quest to overthrow the realm's nobility and take charge herself. Together, Bristal and Brack must guard the three kingdoms of Nissera against Tamarice's black elicromancy. There are princesses to protect, royal alliances to forge, and fierce monsters to battle—all with the hope of preserving peace. With clever homages to Cinderella, Sleeping Beauty, and the Chinese legend of Hua Mulan, Hannah West makes a fast-paced, exciting, and wholly original debut. The Nissera Chronicles begin here and continue with Fields of Fire, a short story set against the events of Kingdom of Ash and Briars, and Realm of Ruins, a gripping companion novel. "One of the best books I've ever read."—C.J. Redwine, New York Times best-selling author of The Shadow Queen "A world both terrifying and wonderful."—Kirkus Reviews (starred review)

SOMETHING EVIL THIS WAY COMES 7 VENGEFUL SISTERS 7 FAIRYTALE KINGDOMS 7 DAUGHTERS OF EVILLE Everyone dreams of marrying a prince--except for me. I am nothing more than a pawn in my adoptive mother's diabolical plot against the seven kingdoms. I was the chosen tool, her sharpened blade that would cut the deepest into the heart of the Kingdom of Baist. But like all deadly weapons, my wedding is a two-edged sword that could cost me my soul. For I am Rosalie, one of the adopted daughters of Lady Eville, and it is my duty to enter into a loveless and hate-filled marriage with the narcissistic Crown Prince of Baist. My choices and heart are not my own to give. Yet even in the thick of dire situations, beastly vengeance can give way to beautiful attraction. THIS BOOK CAN BE READ AS A STANDALONE.

Thomas Schreiner, a respected scholar and a trusted voice for many students and pastors, offers a substantial and accessibly written overview of the whole Bible. He traces the storyline of the scriptures from the standpoint of biblical theology, examining the overarching message that is conveyed throughout. Schreiner emphasizes three interrelated and unified themes that stand out in the biblical narrative: God as Lord, human beings as those who are made in God's image, and the land or place in which God's rule is exercised. The goal of God's kingdom is to see the king in his beauty and to be enraptured in his glory.

A best book of the year from New York Public Library, NPR, the Financial Times, Book Riot, and the Sunday Times (London). A fascinating, revelatory portrait of the Metropolitan Museum of Art and its treasures by a former New Yorker staffer who spent a decade as a museum guard. Millions of people climb the grand marble staircase to visit the Metropolitan Museum of Art every year. But only a select few have unrestricted access to every nook and cranny. They’re the guards who roam unobtrusively in dark blue suits, keeping a watchful eye on the two million square foot treasure house. Caught up in his glamorous fledgling career at The New Yorker, Patrick Bringley never thought he’d be one of them. Then his older brother was diagnosed with fatal cancer and he found himself needing to escape the mundane clamor of daily life. So he quit The New Yorker and sought solace in the most beautiful place he knew. To his surprise and the reader’s delight, this temporary refuge becomes Bringley’s home away from home for a decade. We follow him as he guards delicate treasures from Egypt to Rome, strolls the labyrinths beneath the galleries, wears out nine pairs of company shoes, and marvels at the beautiful works in his care. Bringley enters the museum as a ghost, silent and almost invisible, but soon finds his voice and his tribe: the artworks and their creators and the lively subculture of museum guards—a gorgeous mosaic of artists, musicians, blue-collar stalwarts, immigrants, cutups, and dreamers. As his bonds with his colleagues and the art grow, he comes to understand how fortunate he is to be walled off in this little world, and how much it resembles the best aspects of the larger world to which he gradually, gratefully returns. In the tradition of classic workplace memoirs like Lab Girl and Working Stiff, All The Beauty in the World is a surprising, inspiring portrait of a great museum, its hidden treasures, and the people who make it tick, by one of its most intimate observers.

Aurelia has spent her entire life locked in a tower, her long hair a vessel in which her captor can store his magic. Now her biggest challenge is convincing herself she's strong enough to handle the truth behind the enchanter's behavior.