Men's adventure magazines were a form of pulp publishing which flourished in 1950s and 1960s America, pandering to the cruelty and lust of young men with luridly illustrated stories of war, sleaze and savagery. They arose partly in response to the inauguration of the Comics Code in 1954, as a way of circumventing censorship by presenting material in a new, "adults-only" format. The prime years of the men's adventure magazine unleashed a visual and verbal deluge of exposed and tormented flesh, bloody mayhem and sexual delinquency, representing a unique cultural phenomenon in US publishing and art. SOFT NUDES FOR THE DEVIl'S BUTCHER is a new anthology which collects some prime examples of text and artwork from a range of men's adventure magazines published during the prime years of the genre. The book is divided into two main sections: FEATURES includes a selection of sensationalistic, semi-factual confessions and case histories on such subjects as rape in Soviet prisons, Hitler's secret sex life, prostitution, the persecution of witches, and other aberrations; and FICTION collects vivid examples of garishly illustrated short pulp fiction, with categories including war, white slavery, Nazi horror, jungle savagery, Red menace, Devil worship, torture, sadism and erotic carnage. The book also features numerous examples of interior art from classic men's magazines, and includes 35 features and stories, with more than 50 full-size illustrations, and 16 pages of full color, with work by such classic pulp artists as Norm Eastman, Norman Saunders and John Duillo. Features and stories include: I ESCAPED FROM THE SOVIET HELL CAMP; CHAINED NUDES FOR THE DEVIl'S DUNGEON; CRUSHED BY THE CONGO MONSTERS; VIRGIN BRIDES FOR SATAN'S LUST ORGIES; PASSION SLAVE OF THE WHIP GODDESS; NAZI MADHOUSE ZOO OF RAVAGED WOMEN; TEENAGE NAZI WEREWOLVES OF BERLIN; SECRET HORROR CAGES OF THE NAZI DWARF; HANDMAIDENS OF HORROR OF THE KEMPEITAI; 1,000 NAKED BEAUTIES FOR THE DEVIl'S PLAGUE; SOFT BODIES FOR THE NAZI'S HALL OF THE LIVING DEAD; and many others. Pulp Mayhem is a new illustrated book series of vintage pulp fiction, art and pop culture.

Men's adventure magazines were a form of pulp publishing which flourished in 1950s and 1960s America, pandering to the cruelty and lust of young men with luridly illustrated stories of war, sleaze and savagery. They arose partly in response to the inauguration of the Comics Code in 1954, as a way of circumventing censorship by presenting material in a new, "adults-only" format. The prime years of the men's adventure magazine unleashed a visual and verbal deluge of exposed and tormented flesh, bloody mayhem and sexual delinquency, representing a unique cultural phenomenon in US publishing and art. SOFT FLESH AND ORGIES OF DEATH is a new anthology which collects some prime examples of text and artwork from a range of men's adventure magazines published between 1955 and 1963. The Feature section includes a selection of semi-factual confessions and case histories on sensationalistic subjects ranging from psychotropic drugs, carnival freaks and nude gladiators to prostitution, devil worship and cannibal death cults; the Fiction section includes numerous examples of garishly illustrated short pulp fiction, with categories including war, white slavery, Nazi horror, jungle curses, pirates, Red menace, mobsters, torture, sadism, and erotic carnage. Cover art is also included, in full color and in detail. The book includes more than 30 features and stories, more than 100 illustrations, and 32 pages of full colour, with work by such classic pulp artists as Norm Eastman, Norman Saunders and John Duillo. Features and stories include: HANDMAIDENS OF HORROR FOR THE DEVILS BLOOD ORGIES; THE UNHOLY NAKED GERMAN WITCH CULTS; JUKEBOX GOONS EXPLODED MY GUTS ; DEATH ORGY OF THE LEOPARD WOMEN; SOFT FLESH FOR SATANS BUBBLING CAULDRON; HITLERS DEATH GAME; NYMPHO TIGER QUEEN OF LAOS; CHAINED NUDES FOR THE DEVILS SEAT IN HELL: LUST REVENGE OF THE DEPRAVED NAZI CAT MASTER; SHACKLED NUDES FOR THE BUTCHERS FLAYING KNIFE; SOFT BRIDE FOR THE SLITHERING MONSTER FROM HELL; and NUDE LUST SLAVES OF HITLERS RUSSIAN MONSTER. Pulp Mayhem is a new illustrated book series of vintage pulp fiction, art and pop culture.

Like music, art is a universal language. Although looking at works of art is a pleasurable enough experience, to appreciate them fully requires certain skills and knowledge." --Carol Strickland, from the introduction to The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern * This heavily illustrated crash course in art history is revised and updated. This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media. * Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible-even at a cursory reading. * From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.

Hèléne Cixous -- author, playwright and French feminist theorist -- is a key figure in twentieth-century literary theory. Stigmata brings together her most recent essays for the first time. Acclaimed for her intricate and challenging writing style, Cixous presents a collection of texts that get away -- escaping the reader, the writers, the book. Cixous's writing pursues authors such as Stendhal, Joyce, Derrida, and Rembrandt, da Vinci, Picasso -- works that share an elusive movement in spite of striking differences. Along the way these essays explore a broad range of poetico-philosophical questions that have become characteristic of Cixous' work: * love's labours lost and found * feminine hours * autobiographies of writing * the prehistory of the work of art Stigmata goes beyond theory, becoming an extraordinary writer's testimony to our lives and times.

The autobiography of the early radical leader and her participation in communist, anarchist, and feminist activities

Those Barren Leaves is a satirical novel by Aldous Huxley, published in 1925. The title is derived from the poem 'The Tables Turned' by William Wordsworth which ends with the words: Enough of Science and of Art; Close up those barren leaves; Come forth, and bring with you a heart That watches and receives. Stripping the pretensions of those who claim a spot among the cultural elite, it is the story of Mrs. Aldwinkle and her entourage, who are gathered in an Italian palace to relive the glories of the Renaissance. For all their supposed sophistication, they are nothing but sad and superficial individuals in the final analysis.

This is a print on demand edition of a hard to find publication. Examines terrorists¿ involvement in a variety of crimes ranging from motor vehicle violations, immigration fraud, and mfg. illegal firearms to counterfeiting, armed bank robbery, and smuggling weapons of mass destruction. There are 3 parts: (1) Compares the criminality of internat. jihad groups with domestic right-wing groups. (2) Six case studies of crimes includes trial transcripts, official reports, previous scholarship, and interviews with law enforce. officials and former terrorists are used to explore skills that made crimes possible; or events and lack of skill that the prevented crimes. Includes brief bio. of the terrorists along with descriptions of their org., strategies, and plots. (3) Analysis of the themes in closing arguments of the transcripts in Part 2. Illus.

In Mirrors, Galeano smashes aside the narrative of conventional history and arranges the shards into a new pattern, to reveal the past in radically altered form. From the Garden of Eden to twenty-first-century cityscapes, we glimpse fragments in the lives of those who have been overlooked by traditional histories: the artists, the servants, the gods and the visionaries, the black slaves who built the White House, and the women who were bartered for dynastic ends