Catalog of 37 photographers shown in the exhibition, Picturing Eden, at the International Museum of Photography at George Eastman House, Rochester, N.Y., January 28-June 18, 2006.

Named a Best Book of the Month by Bustle and Buzzfeed! Named one of the best books of 2022 by Chicago Reader and All About Romance! As praised by Book Riot, Autostraddle, Library Journal, Publishers Weekly, Booklist, and more! The Marvelous Mrs. Maisel meets A League of Their Own in this inspiring story Buzzfeed calls "a warm hug of a novel." Franny Steinberg knows there's powerful magic in laughter. She's witnessed it. With the men of Chicago off fighting WWII on distant shores, Franny has watched the women of the city taking charge of the war effort. But amidst the war bond sales and factory shifts, something surprising has emerged, something Franny could never have expected. A new marvel that has women flocking to comedy clubs across the nation: the Showstopper. When Franny steps into Chicago's Blue Moon comedy club, she realizes the power of a Showstopper—that specific magic sparked when an audience laughs so hard, they are momentarily transformed. And while each comedian's Showstopper is different, they all have one thing in common: they only work on women. After a traumatic flashback propels her onstage in a torn bridesmaid dress, Franny discovers her own Showstopper is something new. And suddenly she has the power to change everything...for herself, for her audience, and for the people who may need it most.

Stolen. Missing. Erased. I'm a headline in the town of Maywood Heights and known by a name I've never heard. They tell me I was taken, stolen, but none of this makes sense. I'm not who they say I am. I'm not a... twin, but even those close to me seem to believe the rumors swarming around me. Tiny. Dark. Deeds. With my universe suddenly imploding, I find myself at the center of a history with more darkness than could ever be imagined. My entire existence has been a lie, and those I should be able to trust hold just as many secrets as the ones who destroyed my entire world. Dorian Prinze isn't who he said he was. He's a liar, and I find myself in a town of the same. Maywood Heights appears to be the city of the damned, and if I'm not careful... It might just claim me as its next victim. Warning: Tiny Dark Deeds is a dark high school romance that contains dubious content and situations some may find triggering. It's recommended for readers 18+ and is the third book in an all new series by Eden O'Neill titled Court Legacy. Tiny Dark Deeds is not a standalone and is the final book in Noa and Dorian's story. Author's Note: Court Legacy is a spin-off series about the children of characters featured in Eden O'Neill's Court High and Court University series. It's not necessary to read the previously released series in order to enjoy Court Legacy. This is a new series that can be read completely on its own.

In this delightfully modern spin on Pride and Prejudice, love is a goal, marriage is a distant option, and self-discovery is a sure thing. Welcome to Bennet House, the only all-women's dorm at prestigious Longbourn University, home to three close friends who are about to have an eventful year. EJ is an ambitious Black engineering student. Her best friend, Jamie, is a newly out trans woman studying French and theatre. Tessa is a Filipina astronomy major with guy trouble. For them, Bennet House is more than a residence--it's an oasis of feminism, femininity, and enlightenment. But as great as Longbourn is for academics, EJ knows it can be a wretched place to find love. Yet the fall season is young and brimming with surprising possibilities. Jamie's prospect is Lee Gregory, son of a Hollywood producer and a gentleman so charming he practically sparkles. That leaves EJ with Lee's arrogant best friend, Will. For Jamie's sake, EJ must put up with the disagreeable, distressingly handsome, not quite famous TV actor for as long as she can. What of it? EJ has her eyes on a bigger prize, anyway: launching a spectacular engineering career in the "real world" she's been hearing so much about. But what happens when all their lives become entwined in ways no one could have predicted--and EJ finds herself drawn to a man who's not exactly a perfect fit for the future she has planned?

"When Tod Papageorge began this work, the newspapers saw Central Park chiefly as a site of danger and outrage, and they were doubtless partly right. But the park shown here seems no more dangerous than life itself, and no less filled with beauty, charming incident, excess, jokes in questionable taste, unintended consequence, and pathos, truly described. One might say that no artist has done so much for this piece of land since Frederick Law Olmstead." --John Szarkowski, The Museum of Modern Art, New York After receiving a Guggenheim Fellowship in 1977, Tod Papageorge began to photograph intensively in Central Park, employing medium-format cameras rather than the 35mm Leicas that he had used since moving to New York in 1965. These pictures, gathered in Passing Through Eden, convey the passion that--as Rosalind Krauss once described it in Papageorge's work--embraces "the sensuous richness of physical reality, that fullness which Baudelaire called intimacy when he meant eroticism." From picture to picture, Papageorge constructs a world that resembles our own, but that also invokes that of the Bible: Passing Through Eden is sequenced to parallel, in its opening pages, the first chapters of Genesis--from the Creation through the (metaphorical) generations that follow on from Cain--before giving over to a virtuosic run of pictures that, as he expresses it in his illuminating afterword to the book, picks up "the threads that tie the Bible to Chaucer, Shakespeare and "Page Six" of the New York Post." This ambitious body of work--incorporating pictures produced over the course of 25 years--displays not only Papageorge's remarkable ability to make photographs that read like condensed narratives, but also his skill at weaving them into sequences that echo profound cultural narratives. It challenges the reader to succumb (or not) to the pleasures of the "fullness" of each individual photograph, while ignoring (or not) the tug of a tale demanding to be told. Like Eden itself, this book sets our desire for beauty against that of knowledge, even as it reminds us of some of the ways that we read, and come to know, books.

In Picturing American Modernity, Kristen Whissel investigates the relationship between early American cinema and the experience of technological modernity. She demonstrates how between the late 1890s and the eve of the First World War moving pictures helped the U.S. public understand the possibilities and perils of new forms of “traffic” produced by industrialization and urbanization. As more efficient ways to move people, goods, and information transformed work and leisure at home and contributed to the expansion of the U.S. empire abroad, silent films presented compelling visual representations of the spaces, bodies, machines, and forms of mobility that increasingly defined modern life in the United States and its new territories. Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.

The Woman Whom Thou Gavest To Be With Me encapsulates an in-depth sojourn into life’s most challenging situations confronting marriages and relationships in general in this present world, to boil it down a little bit. It deals with “self-examination” - evaluation and execution of real life situations, via practical case studies. Reading this book avails both singles and married, the understanding to discover the challenges and strengths in relationships. Divorce is an unpleasant experience.

Actress Eden Riley's decision to make a film about the mother she barely knew plunges her into a shattering confrontation with her own past. Through her mother's journal, Eden discovers a life of hardship, madness and secrets. Shifting gracefully between Eden's world and that of her mother, Secret Lives seduces with the power of its images and the lyricism of its prose.

All things came to life through the Word of God. Genesis is God’s autobiography with the seal of perfection stamped upon every word contained within. The powerful Word of God put light in the darkness, land in the sea, and life on an uninhabited earth. Join Brian and Candice Simmons as they tell the fascinating story of human creation in The Image Maker, the first of three volumes that studies the book of Genesis, the first book of the Bible, in depth. Journey through the first eleven chapters and gain fresh insight from rich footnotes that include commentary, word studies, cross references, and alternate translations. You are God’s divine idea, and you were formed by his loving thoughts. Walk with him as he releases his glorious image into the universe.