The People of the Abyss (1903) is a book by Jack London about life in the East End of London in 1902. He wrote this first-hand account by living in the East End (including the Whitechapel District) for several months, sometimes staying in workhouses or sleeping on the streets. The conditions he experienced and wrote about were the same as those endured by an estimated 500,000 of the contemporary London poor.

Written when London arrived in England at the age of 25, this book gives a firsthand account of the poor, the menial workers, the homeless, and the perpetually unemployed among whom he lived in the slums of London's East End at the turn of the 20th century. It is a sensitive portrayal of daily life on the margins of society that culminates in a searing indictment of modern industrialism's mistreatment of workers and the poverty-stricken and its propensity for transferring wealth to the rich.

Mythologized as the era of the “good war” and the “Greatest Generation,” the 1940s are frequently understood as a more heroic, uncomplicated time in American history. Yet just below the surface, a sense of dread, alienation, and the haunting specter of radical evil permeated American art and literature. Writers returned home from World War II and gave form to their disorienting experiences of violence and cruelty. They probed the darkness that the war opened up and confronted bigotry, existential guilt, ecological concerns, and fear about the nature and survival of the human race. In Facing the Abyss, George Hutchinson offers readings of individual works and the larger intellectual and cultural scene to reveal the 1940s as a period of profound and influential accomplishment. Facing the Abyss examines the relation of aesthetics to politics, the idea of universalism, and the connections among authors across racial, ethnic, and gender divisions. Modernist and avant-garde styles were absorbed into popular culture as writers and artists turned away from social realism to emphasize the process of artistic creation. Hutchinson explores a range of important writers, from Saul Bellow and Mary McCarthy to Richard Wright and James Baldwin. African American and Jewish novelists critiqued racism and anti-Semitism, women writers pushed back on the misogyny unleashed during the war, and authors such as Gore Vidal and Tennessee Williams reflected a new openness in the depiction of homosexuality. The decade also witnessed an awakening of American environmental and ecological consciousness. Hutchinson argues that despite the individualized experiences depicted in these works, a common belief in art’s ability to communicate the universal in particulars united the most important works of literature and art during the 1940s. Hutchinson’s capacious view of American literary and cultural history masterfully weaves together a wide range of creative and intellectual expression into a sweeping new narrative of this pivotal decade.

These radiant images from the renowned 19th-century biologist and illustrator Ernst Haeckel, featuring marine microorganisms, will enthrall fans of his previous collections and garner renewed attention for Haeckel’s unparalleled artistry. From jewelry designers to scientists, graphic artists to naturalists, the range of people inspired by Ernst Haeckel’s illustrations continues to grow. Following up on Prestel’s books Art Forms in Nature and Art Forms from the Ocean, this new collection features startlingly beautiful images created by Haeckel for the report of the HMS Challenger expedition, which circumnavigated the world from 1872–76, discovering and cataloging nearly 5,000 new species from the depths of Earth’s oceans. Full-page reproductions bring these organisms colorfully to life, drawing readers into a world at once hypnotic and highly ordered. Divided into three sections— Siphonophores, Medusae, and Radiolarians—these illustrations display Haeckel’s remarkable artistic skill and understanding of the architecture of organic matter. The authors provide a brief history of the Challenger expedition, background on Haeckel’s scientific and artistic accomplishments, as well as informative texts on each group of organisms. A guide to the natural world and an inspiration to artists of every stripe, this collection of Haeckel’s work is a fitting tribute to a 19th-century genius.

The experiences related in this volume fell to me in the summer of 1902. I went down into the under-world of London with an attitude of mind, which I may best liken to that of the explorer. I was open to be convinced by the evidence of my eyes, rather than by the teachings of those who had not seen, or by the words of those who had seen and gone before. Further, I took with me certain simple criteria with which to measure the life of the under-world. That which made for more life, for physical and spiritual health, was good; that which made for less life, which hurt, and dwarfed, and distorted life, was bad. It will be readily apparent to the reader that I saw much that was bad. Yet it must not be forgotten that the time of which I write was considered "good times" in England. The starvation and lack of shelter I encountered constituted a chronic condition of misery, which is never wiped out, even in the periods of greatest prosperity. Following the summer in question came a hard winter. Great numbers of the unemployed formed into processions, as many as a dozen at a time, and daily marched through the streets of London crying for bread. Mr. Justin McCarthy, writing in the month of January 1903, to the New York Independent, briefly epitomises the situation as follows: - "The workhouses have no space left in which to pack the starving crowds who are craving every day and night at their doors for food and shelter. All the charitable institutions have exhausted their means in trying to raise supplies of food for the famishing residents of the garrets and cellars of London lanes and alleys. The quarters of the Salvation Army in various parts of London are nightly besieged by hosts of the unemployed and the hungry for whom neither shelter nor the means of sustenance can be provided." This book is fully illustrated with many pictures of the period."

Cassandra Leung’s been a sea monster trainer ever since she could walk, raising genetically engineered beast to defend ships crossing the NeoPacific ... until pirates snatch her from the blood-stained decks.

Vagrants were everywhere in Victorian culture. They wandered through novels and newspapers, photographs, poems and periodicals, oil paintings and illustrations. They appeared in a variety of forms in a variety of places: Gypsies and hawkers tramped the country, casual paupers and loafers lingered in the city, and vagabonds and beachcombers roved the colonial frontiers. Uncovering the rich Victorian taxonomy of nineteenth-century vagrancy for the first time, this interdisciplinary study examines how assumptions about class, gender, race and environment shaped a series of distinct vagrant types. At the same time it broaches new ground by demonstrating that rural and urban conceptions of vagrancy were repurposed in colonial contexts. Representational strategies circulated globally as well as locally, and were used to articulate shifting fantasies and anxieties about mobility, poverty and homelessness. These are traced through an extensive corpus of canonical, ephemeral and popular texts as well as a variety of visual forms.

These fascinating, never-before-published early diaries of Count Harry Kessler—patron, museum director, publisher, cultural critic, soldier, secret agent, and diplomat—present a sweeping panorama of the arts and politics of Belle Époque Europe, a glittering world poised to be changed irrevocably by the Great War. Kessler’s immersion in the new art and literature of Paris, London, and Berlin unfolds in the first part of the diaries. This refined world gives way to vivid descriptions of the horrific fighting on the Eastern and Western fronts of World War I, the intriguing private discussions among the German political and military elite about the progress of the war, as well as Kessler’s account of his role as a diplomat with a secret mission in Switzerland. Profoundly modern and often prescient, Kessler was an erudite cultural impresario and catalyst who as a cofounder of the avant-garde journal Pan met and contributed articles about many of the leading artists and writers of the day. In 1903 he became director of the Grand Ducal Museum of Arts and Crafts in Weimar, determined to make it a center of aesthetic modernism together with his friend the architect Henry van de Velde, whose school of design would eventually become the Bauhaus. When a public scandal forced his resignation in 1906, Kessler turned to other projects, including collaborating with the Austrian writer Hugo von Hofmannsthal and the German composer Richard Strauss on the opera Der Rosenkavalier and the ballet The Legend of Joseph, which was performed in 1914 by the Ballets Russes in London and Paris. In 1913 he founded the Cranach-Presse in Weimar, one of the most important private presses of the twentieth century. The diaries present brilliant, sharply etched, and often richly comical descriptions of his encounters, conversations, and creative collaborations with some of the most celebrated people of his time: Otto von Bismarck, Paul von Hindenburg, Hugo von Hofmannsthal, Richard Strauss, Igor Stravinsky, Sergei Diaghilev, Vaslav Nijinsky, Isadora Duncan, Ruth St. Denis, Sarah Bernhardt, Friedrich Nietzsche, Rainer Marie Rilke, Paul Verlaine, Gordon Craig, George Bernard Shaw, Harley Granville-Barker, Max Klinger, Arnold Böcklin, Max Beckmann, Aristide Maillol, Auguste Rodin, Edgar Degas, Éduard Vuillard, Claude Monet, Edvard Munch, Ida Rubinstein, Gabriele D’Annunzio, Pierre Bonnard, and Walther Rathenau, among others. Remarkably insightful, poignant, and cinematic in their scope, Kessler’s diaries are an invaluable record of one of the most volatile and seminal moments in modern Western history.

Examines the photography of the famed American author, from his photojournalist exploits in London, Veracruz, and the South Seas to his documentation of the 1906 San Francisco Earthquake.

In this companion to Initiation in the Aeon of the Child, now available in paperback, author J. Daniel Gunther provides detailed and cohesive analysis of the two major spiritual crises in the career of the aspirant in the Aeon of the Child--the Knowledge & Conversation of the Holy Guardian Angel and the Crossing the Abyss between the divine realms and the human. Expounding on the sublime Formulas of Initiation confronting those who would aspire to these Mysteries, the author draws deeply from Jungian psychology, world mythology and religion, and the doctrines of the classic Mystery traditions, explaining how the revelations of Thelema apply to the individual. The Angel & The Abyss is written in clear, precise language that will aid those students who seek to navigate the difficult terrain of this advanced stage of the Spiritual quest. More knowledgeable students will find tantalizing clues to serve as guideposts and eventual confirmations of their direct experience. The book offers copious illustrations including some in full color and numerous diagrams. It features detailed references that encompass ancient Egyptian hieroglyphic texts, the Old and New Testaments, the Apocrypha, Greek philosophy, alchemy, hermetic qabalah, and tarot, as well as the writings of Carl Jung, Eric Neumann and Aleister Crowley.