The Andy Warhol Museum reunites approximately 300 objects from Warhol's personal collection (sold at the legendary 1988 Sotheby's auction) in order to examine one of the least-studied aspects of his oeuvre: collecting. The exhibition focuses on areas where Warhol maintained a deep, abiding interest, such as 19th-century American furniture and folk art, cookie jars and other collectibles, Art Deco furniture and objects, Native American art and artifacts and fine and costume jewelry.

We live in an age of obsession. Not only are we hopelessly devoted to our work, strangely addicted to our favorite television shows, and desperately impassioned about our cars, we admire obsession in others: we demand that lovers be infatuated with one another in films, we respond to the passion of single-minded musicians, we cheer on driven athletes. To be obsessive is to be American; to be obsessive is to be modern. But obsession is not only a phenomenon of modern existence: it is a medical category—both a pathology and a goal. Behind this paradox lies a fascinating history, which Lennard J. Davis tells in Obsession. Beginning with the roots of the disease in demonic possession and its secular successors, Davis traces the evolution of obsessive behavior from a social and religious fact of life into a medical and psychiatric problem. From obsessive aspects of professional specialization to obsessive compulsive disorder and nymphomania, no variety of obsession eludes Davis’s graceful analysis.

Aimee and Alan have unusual pasts and secrets they prefer to keep hidden. Aimee's deceased mother struggled with mental illness and hallucinations, and Aimee thinks it could be hereditary. After all, she sees a shadowy river man where there isn't one. And then there was that time she and her best friend Courtney tried to conjure a spirit with a Ouija board . . . Alan is Courtney's cousin. His family moved to Maine when Courtney's father went missing. It's not just Alan's dark good looks that make him attractive. He is also totally in touch with a kind of spiritual mysticism from his Native American heritage. And it's not long before Aimee has broken up with her boyfriend . . . But it's not Aimee or Alan who is truly haunted - it's Courtney. In a desperate plea to find her father, Courtney invites a demonic presence into her life. Together, Aimee and Alan must exorcise the ghost, before it devours Courtney - and everything around her.

Throughout the 19th century, American poetry was a profoundly populist literary form. It circulated in New England magazines and Southern newspapers; it was read aloud in taverns, homes, and schools across the country. Antebellum reviewers envisioned poetry as the touchstone democratic genre, and their Civil War–era counterparts celebrated its motivating power, singing poems on battlefields. Following the war, however, as criticism grew more professionalized and American literature emerged as an academic subject, reviewers increasingly elevated difficult, dispassionate writing and elite readers over their supposedly common counterparts, thereby separating “authentic” poetry for intellectuals from “popular” poetry for everyone else.\ Conceptually and methodologically unique among studies of 19th-century American poetry, Who Killed American Poetry? not only charts changing attitudes toward American poetry, but also applies these ideas to the work of representative individual poets. Closely analyzing hundreds of reviews and critical essays, Karen L. Kilcup tracks the century’s developing aesthetic standards and highlights the different criteria reviewers used to assess poetry based on poets’ class, gender, ethnicity, and location. She shows that, as early as the 1820s, critics began to marginalize some kinds of emotional American poetry, a shift many scholars have attributed primarily to the late-century emergence of affectively restrained modernist ideals. Mapping this literary critical history enables us to more readily apprehend poetry’s status in American culture—both in the past and present—and encourages us to scrutinize the standards of academic criticism that underwrite contemporary aesthetics and continue to constrain poetry’s appeal. Who American Killed Poetry? enlarges our understanding of American culture over the past two hundred years and will interest scholars in literary studies, historical poetics, American studies, gender studies, canon criticism, genre studies, the history of criticism, and affect studies. It will also appeal to poetry readers and those who enjoy reading about American cultural history.

A fierce war rages for your soul. Are you ready for battle? Like it or not, you are at war. You face a powerful enemy out to destroy you. You live on the battlefield, so you can’t escape the conflict. It’s a spiritual war with crucial consequences in your everyday life and its outcome will determine your eternal destiny. You must engage the Enemy. And as you fight, you need a Manual for Spiritual Warfare. This guide for spiritual warriors will help you recognize, resist, and overcome the Devil’s attacks. Part One, “Preparing for Battle,” answers these critical questions: • Who is Satan, and what powers does he have? • What are his typical strategies? • Who fights him alongside us in battle? • What spiritual weapons and armor do we possess? • How do we keep the Enemy out of our camp? Part Two, “Aids in Battle,” provides you these essential resources: • Teaching about spiritual warfare from Scripture and Church documents • Scripture verses for battle • Wisdom and inspiration from saints who fought Satan • Prayers for protection, deliverance, and victory • Rosary meditations, hymns, and other devotions for spiritual combat St. Paul urges us to “fight the good fight of the faith” (1 Tim 6:12). Take this Manual for Spiritual Warfare with you into battle. The beautiful Premium UltraSoft gift edition features sewn binding, ribbon marker and silver edges.

Portraits include: John Bartlett, Simon Doonan, Nanette Lepore, Isaac Mizrahi and Anna Sui among others.

“EVER EXPERIENCED DEMONIC INFLUENCE IN YOUR LIVE?” How demons oppress, obsess or ultimately possess believers. Learn how these three levels of demonic influence mean for born again children of God. In this volume you will get all the knowledge you need to identify demonic oppression, obsession or possession. You will understand how demons operate, opening of doors in the spirit. The fight is not against flesh and blood, but against principalities and powers of darkness. Understand more of how the devil works and overpower him. Pray strategic prayers and be equipped to minister deliverance to others.

"I knew with immediacy that this was an important moment in my life," said Adolf Hitler when he later recounted his first sight of the Spear: "And yet I could not divine why an outwardly Christian symbol should make such an impression upon me. I stood there quietly gazing upon it for several minutes. "The Spear of Destiny"- Trever Ravenscroft Destiny's Spear is a powerful historical send chronicling the lives of Adolf Hitler and General George Patton in their desperate pursuit of the Roman spear used in the crucifixion of Jesus Christ. According to legend, whoever possessed it could rule the world. Crusading armies wielded it victoriously in battle. Attila the Hun was undefeated with it. Charlemagne carried it through 47 successful battles but died once he dropped it. Napoleon sought it but never found it. Hitler stole it. Both Hitler and Patton live out their own mystic convictions about the legendary power behind the Longinus crossing dangerous paths of combat and conquest and spiritual paths of prophetic malevolence and sacrificial duty.