Around the world there are thousands of pet statues and memorials with fascinating stories behind them. Some reveal insights into our social history, such as the little brown dog in Battersea that was a focus of suffragette riots. Others have wonderfully quirky origins, like the twenty-three cats of York: sculptures added to buildings designed by a cat-loving architect. Many more reveal tales of courage, loyalty, myth, and legend. From Egyptian cat goddesses and the heroic dogs of war, to search-and-rescue canines on 9/11 and Tombili the Turkish moggy who became an Internet sensation, this book brings together a selection of the most surprising, amusing and illuminating stories, complete with dozens of full-colour photographs. Anyone with an appreciation of pets, the varied roles they play in our lives, and the ways in which our relationships with them have evolved over time, will find much of interest in this book.

Excerpt from The Monumental News, Vol. 14: A Monthly Journal of Monumental Art; January 1902 The sculpture in general, while still incomplete at this early date, gives promise of showing prog ress in individuality and originality of treatment. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

A portrait of the newspaper proprietress shares details of her high-profile family life, her famous merger of the "Washington Herald" and "Washington Times, " and her considerable role in influencing period politics and society.

The enormous task of preserving the world's heritage in the face of war, natural disaster, vandalism, neglect, and technical obsolescence. The monuments—movable, immovable, tangible, and intangible—of the world's shared cultural heritage are at risk. War, terrorism, natural disaster, vandalism, and neglect make the work of preservation a greater challenge than it has been since World War II. In The Monumental Challenge of Preservation Michèle Cloonan makes the case that, at this critical juncture, we must consider preservation in the broadest possible contexts. Preservation requires the efforts of an increasing number of stakeholders. In order to explore the cultural, political, technological, economic, and ethical dimensions of preservation, Cloonan examines particular monuments and their preservation dilemmas. The massive Bamiyan Buddhas, blown up by the Taliban in 2001, are still the subject of debates over how, or whether, to preserve what remains, and the U. S. National Park Service has undertaken the complex task of preserving the symbolic and often ephemeral objects that visitors leave at the Vietnam Veterans Memorial—to take just two of the many examples described in the book. Cloonan also considers the ongoing genocide and cultural genocide in Syria; the challenges of preserving our digital heritage; the dynamic between original and copy; efforts to preserve the papers and architectural fragments of the architect Louis Sullivan; and the possibility of sustainable preservation. In the end, Cloonan suggests, we are what we preserve—and don't preserve. Every day we make preservation decisions, individually and collectively, that have longer-term ramifications than we might expect.

Confederate monuments figure prominently as epicenters of social conflict. These stone and metal constructs resonate with the tensions of modern America, giving concrete definition to the ideologies that divide us. Confederate monuments alone did not generate these feelings of aggravation, but they are far from innocent. Rather than serving as neutral objects of public remembrance, Confederate monuments articulate a narration of the past that forms the basis for a normative vision of the future. The story, told through the character of a religious mythos, carries implicit sacred convictions; thus, these spires and statues are inherently theological. In Cut in Stone, Ryan Andrew Newson contends that we cannot fully understand or disrupt these statues without attending to the convictions that give them their power. With a careful overview of the historical contexts in which most Confederate monuments were constructed, Newson demonstrates that these "memorials" were part of a revisionary project intended to resist the social changes brought on by Reconstruction while maintaining a romanticized Southern identity. Confederate monuments thus reinforce a theology concerning the nature of sacrifice and the ultimacy of whiteness. Moreover, this underlying theology serves to conceal inherited collective wounds in the present. If Confederate monuments are theologically weighted in their allure, then it stands to reason that they must also be contested at this level--precisely as sacred symbols. Newson responds to these inherently theological objects with suggestions for action that are sensitive to the varying contexts within which monuments reside, showing that while all Confederate monuments must come under scrutiny, some monuments should remain standing, but in redefined contexts. Cut in Stone represents the first detailed theological investigation of Confederate monuments, a resource for the larger collective task of determining how to memorialize problematic pasts and how to shape public space amidst contested memory.