The Fondation Louis Vuitton by Frank O. Gehry rises from the Bois de Boulogne as a new landmark in the Parisian skyline. Gehry’s dynamic architecture is both glittering and multifaceted: is it a sailing vessel, an iceberg, or a sea monster? It fascinates with its wealth of references and, at the same time, escapes any clear-cut definition. Three outstanding representatives of different generations of art history, James S. Ackerman (†), Irving Lavin, and Horst Bredekamp have together paid a visit to the Fondation Louis Vuitton. They explore the building in three richly illustrated essays that try to fathom the floating architecture of the "magician" Gehry in the context of both art and architectural history.

Edwin B Massey Jr's GOODSHIP LOLLIPOP is a compelling compendium of powerful and richly profound poetry, spanning 1989-1996, composed by an exceptionally powerful free-form poet of extraordinary depth, vision and voice. Writing in free verse-in incredibly intimate yet ever truthful terms-Edwin traverses the vast length and breadth of art, history, literature, music and even mythology in speaking poetry that's as humanistic as it is majestic in its simplicty. He is and remains the true poetic MINSTREL of the San Francisco East Bay community, who so prodigiously yet unspeakably expounds more upon the spoken than the written word, leaving his readers struck with wonder and craving devouringly for more -Joseph Covino Jr, Publisher, Epic Press

Electronic Literature considers new forms and genres of writing that exploit the capabilities of computers and networks – literature that would not be possible without the contemporary digital context. In this book, Rettberg places the most significant genres of electronic literature in historical, technological, and cultural contexts. These include combinatory poetics, hypertext fiction, interactive fiction (and other game-based digital literary work), kinetic and interactive poetry, and networked writing based on our collective experience of the Internet. He argues that electronic literature demands to be read both through the lens of experimental literary practices dating back to the early twentieth century and through the specificities of the technology and software used to produce the work. Considering electronic literature as a subject in totality, this book provides a vital introduction to a dynamic field that both reacts to avant-garde literary and art traditions and generates new forms of narrative and poetic work particular to the twenty-first century. It is essential reading for students and researchers in disciplines including literary studies, media and communications, art, and creative writing.

(Applause Books). Shirley Temple was a phenomenon, a child star whose talent and personality earned her a permanent place in Hollywood history. The extraordinary six-year-old entertainer struck a chord with audiences all over the globe. Her career sparked a marketing sensation, spurring the production of anything and everything bearing her image-from dolls to tin whistles-in all corners of the globe, both authorized and unauthorized. Despite the decades-long interest in everything Temple, never before has there been a lavishly illustrated art book examining the phenomenon that was Shirley Temple as a child star in the 1930s. Many of the rare and unusual Shirley Temple collectibles have never been featured in print. Along with an informal, concise history of the childhood career of Ms. Temple (featuring film stills, many never-before-seen photographs, and personal snapshots of Shirley as well as several taken by her), this book is a visual treat befitting the magic of the most famous child star of all time, as well as the Golden Age of Hollywood.

Rubina has been invited to her first birthday party, and her mother, Ami, insists that she bring her little sister along. Rubina is mortified, but she can't convince Ami that you just don't bring your younger sister to your friend's party. So both girls go, and not only does Sana demand to win every game, but after the party she steals Rubina's prized party favor, a red lollipop. What's a fed-up big sister to do? Rukhsana Khan's clever story and Sophie Blackall's irresistible illustrations make for a powerful combination in this fresh and surprising picture book.

Two one-act plays provide a double feature more hilarious than any presented in Hollywood's heyday: the first, a salute to the Golden Age of film musicals; the second, a rambunctious Marx Bros. farce. -- Publisher's description.

When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of ’song careers’, referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term ’cover’ in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when ’Police on My Back’ was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, ’Johnny Reggae’, originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny’s identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but

The Old Testament readings in the lectionary are often neglected during the Advent, Christmas, and Epiphany seasons in favor of the more direct and easier-to-preach New Testament passages. William Self brings his creative imagination to these scriptural passages and gives them new life for the preacher. The sermons of this veteran preacher are written with the pew in mind. They are for people who hurt, for people who wait, for people who face defining moments, and for churches that struggle to proclaim the Gospel. Amply illustrated from life and literature, these sermons can be read for inspiration by lay persons and clergy alike. William L. Self has a national reputation as a gifted preacher, pastor, author, lecturer, motivational speaker for corporate America, and innovator in church growth. He achieved considerable acclaim during his 26-year pastorate at the Wieuca Road Baptist Church in Atlanta. His leadership and substantial influence have brought Johns Creek Baptist Church in Alpharetta, Georgia, a burgeoning suburb north of Atlanta, to the vanguard of fast-growing congregations. Dr. Self is a graduate of Stetson University, Southeastern Baptist Theological Seminary (B.D.), and Candler School of Theology (S.T.D.). He has received honorary degrees from Stetson University, Mercer University, and Han Yang University in Seoul, Korea. The McAfee School of Theology at Mercer University has established the William L. Self Preaching Lectureship in his honor.

When Los Angeles superhero Melvin Beederman starts receiving mysterious, threatening emails, he and Candace, his partner in uncrime, must figure out who is out to get him and then do something about it.

Best remembered for the iconic classics Gone with the Wind (1939) and The Wizard of Oz (1939) to the silver screen, Victor Fleming also counted successful films such as Red Dust (1932), Captains Courageous (1937), Test Pilot (1939), Dr. Jekyll and Mr. Hyde (1941), and the groundbreaking Joan of Arc (1948) among his more than forty directing credits. One of the most sought-after directors in Hollywood's golden age, Fleming (1889--1949) was renowned for his ability to make films across a wide range of genres. In Victor Fleming: An American Movie Master, author Michael Sragow paints a comprehensive portrait of the talented and charismatic man who helped create enduring screen personas for stars such as Clark Gable, Spencer Tracy, and Gary Cooper.