In this widely praised follow-up to her National Book Award-winning first volume of memoirs, An Unfinished Woman, the legendary playwright Lillian Hellman looks back at some of the people who, wittingly or unwittingly, exerted profound influence on her development as a woman and a writer. The portraits include Hellman's recollection of a lifelong friendship that began in childhood, reminiscences that formed the basis of the Academy Award-winning film Julia.

Over two days in 1982, Jim Lommasson photographed the strange and beautiful paintings that decorated the center column of the historic carousel at Oaks Amusement Park in Portland, Oregon. The original carousel images - painted by German and Italian immigrants around 1912 - were an exotic assortment of Edwardian pastoral scenes featuring western explorers, Native Americans, an Arab riding a camel, and idealized women. When these paintings began to show signs of wear in the 1940s, two itinerant artists brothers from Vashon Island, Washington - were hired to paint over the eighteen panels with depictions of such local landmarks as the Columbia River Highway, Mount Hood, Multnornah Falls, and scenes from the Oregon coast. Eventually, the surfaces of these new paintings also began to flake and fade, revealing parts of the original images in unusual and unexpected ways. The resulting double exposures or "pentimentos" included a ghostly sailboat gliding through a forest, an Indian chief looming over the Columbia River Gorge, and a parasoled woman with the road to Crown Point emerging from her loins. Each new image created a completely accidental, even surreal, story about the juxtaposition of two generations of paintings. Just three years after Jim Lommasson captured these images on film, the original paintings were restored and the mysterious double exposures disappeared under yet another layer of paint. Oaks Park Pentimento preserves these haunting photographs and also includes an appreciation by art historian Prudence Roberts and a look at Oaks Park, past and present, by journalist Inara Verzemnieks.

"The modern regulations and pervading attitudes that control native rights in the Americas may appear unrelated to the European colonial rule, but traces of the colonizers' cultural, religious, and economic agendas remain. Patricia Seed likens this situation to a pentimento - a painting in which traces of older compositions become visible over time -and shows how the exploitation begun centuries ago continues today. Seed examines how the goals of European colonialist in the Americas. The English appropriated land, while the Spanish and Portuguese attempted to eliminate "barbarous" religious behavior and used indigenous labor to take mineral resources. Ultimately, each approach denied native people distinct aspects of their heritage. Seed argues that their differing effects persist, with natives in former English colonies fighting for land rights, while those in former Spanish and Portuguese colonies fight for human dignity." -- Book jacket.

He claimed to be “the plainest kind of fellow you can find. There isn’t a single thing I’ve done, or experienced,” said Grant Wood, “that’s been even the least bit exciting.” Wood was one of America’s most famous regionalist painters; to love his work was the equivalent of loving America itself. In his time, he was an “almost mythical figure,” recognized most supremely for his hard-boiled farm scene, American Gothic, a painting that has come to reflect the essence of America’s traditional values—a simple, decent, homespun tribute to our lost agrarian age. In this major new biography of America’s most acclaimed, and misunderstood, regionalist painter, Grant Wood is revealed to have been anything but plain, or simple . . . R. Tripp Evans reveals the true complexity of the man and the image Wood so carefully constructed of himself. Grant Wood called himself a farmer-painter but farming held little interest for him. He appeared to be a self-taught painter with his scenes of farmlands, farm workers, and folklore but he was classically trained, a sophisticated artist who had studied the Old Masters and Flemish art as well as impressionism. He lived a bohemian life and painted in Paris and Munich in the 1920s, fleeing what H. L. Mencken referred to as “the booboisie” of small-town America. We see Wood as an artist haunted and inspired by the images of childhood; by the complex relationship with his father (stern, pious, the “manliest of men”); with his sister and his beloved mother (Wood shared his studio and sleeping quarters with his mother until her death at seventy-seven; he was forty-four). We see Wood’s homosexuality and how his studied masculinity was a ruse that shaped his work. Here is Wood’s life and work explored more deeply and insightfully than ever before. Drawing on letters, the artist’s unfinished autobiography, his sister’s writings, and many never-before-seen documents, Evans’s book is a dimensional portrait of a deeply complicated artist who became a “National Symbol.” It is as well a portrait of the American art scene at a time when America’s Calvinistic spirit and provincialism saw Europe as decadent and artists were divided between red-blooded patriotic men and “hothouse aesthetes.” Thomas Hart Benton said of Grant Wood: “When this new America looks back for landmarks to help gauge its forward footsteps, it will find a monument standing up in the midst of the wreckage . . . This monument will be made out of Grant Wood’s works.”

Apparitions is a photography project about buildings that that have vanished from our cities. Ghosted pictures of these structures are combined with current photos of their former locations in single images, with informative text panels to outline the design aesthetics. This unique aesthetic approach provides an engaging way of telling stories of change in our built environments, exploring the a wonderful historical narrative that commemorates architecture in space and time, a way to showcase “the preservation of memory.” National in scope and including a variety of building types, Apparitions comprises photographs from more than sixty cities across the United States.

An uncanny exploration of desire, domestic space, isolation and voyeurism by a writer Borges loved--only now in English translation.

SHORTLISTED FOR THE ABIA 2024 SELECTED AS A BOOK OF THE YEAR BY THE GUARDIAN AUSTRALIA 'The zigzagging life of an adventurer' THE TIMES 'An astonishing, wonderful memoir of an extraordinary life' HENRY MARSH, author of Do No Harm 'Exciting and complex, full of insight and humour' SPECTATOR 'Enthralling, miraculous, clear as the brilliant constellations of the night sky' SYDNEY MORNING HERALD An unforgettable memoir from the author of the sensational international bestseller Tracks: the story of a mother and daughter, of love, loss and the pursuit of freedom ________________________________________ In 1977, twenty-seven-year-old Robyn Davidson set off with a dog and four camels to cross 1,700 miles of Australian desert to the sea. A life of almost constant travelling followed. From the deserts of Australia, to Sydney's underworld; from Sixties street life, to the London literary scene; from migrating with nomads in Tibet, to 'marrying' an Indian prince, Davidson's quest was motivated by an unquenchable curiosity about other ways of seeing and understanding the world. Davidson threw bombs over her shoulder and seeds into her future on the assumption that something would be growing when she got there. The only terrain she had no interest in exploring was the past. In Unfinished Woman Davidson turns at last to explore that long avoided country. Through this brave and revealing memoir, she delves into her childhood and youth to uncover the forces that set her on her path, and confront the cataclysm of her early loss. Unfinished Woman is an unforgettable investigation of time and memory, and a powerful interrogation of how we can live with and find beauty in the uncertainty and strangeness of being. 'In her twenties, Davidson trekked 1,700 miles through the Australian wilderness. This led to the bestselling book Tracks and global fame. Half a century later she has written about what motivated her – including the tragic early death of her mother' Simon Hattenstone, GUARDIAN