IN THIS FIRST BOOK IN THE HAUNTING YORK TRILOGY, DAN TRIES TO SHED SOME LIGHT UPON THE SHADOWS ON THE WALL... Dan is confused but thrilled when his parents decide to take a family vacation to York, England, right in the middle of the school year. But his excitement turns to dread when he discovers a terrible family secret that threatens to destroy everything. As if Dan doesn't have enough to worry about, the ancient Roman ruins of York are alive with ghosts of Roman soldiers, and they all seem to be reaching out to him. Could they be trying to tell him something? And what d the local gypsies have to do with it all? Do they know something about Dan's future that he doesn't?

"Shadows on the Wall: Deterrence and Disarmament examines and contrasts the three alternative philosophical positions about the nature of the international system and patterns of human behavior that underlie three competing narratives seen in U.S. public debate regarding nuclear deterrence and disarmament. For over six decades, these three competing narratives, built on contrary philosophical traditions, have been the basis for contending positions regarding U.S. nuclear policy-ranging from advocacy for complete global nuclear disarmament to advocacy for the maintenance of robust U.S. nuclear capabilities for deterrence. Each of these three different narratives is based on different speculative expectations about developments in the international system and future patterns of human behavior. Given the inherent uncertainties about future developments in the international system and human behavior, none of these narratives can be deemed to objectively correct, or certainly wrong. They may, nevertheless, be judged to entail different levels of prudence for U.S. and allied security"--

Kevin sees scary shadows on his wall. How will he handle it? The street lights make shadows on Kevin’s wall! In those shadows, he sees monsters, dragons, and all sorts of frightening creatures. Does he let them scare him or does he find imaginative ways of dealing with these creepy shadows? Find out in this frightfully fun book. Through 15 creative illustrations of silhouetted shadow characters, contrasting with night-time colors, Kevin’s room and his imagination come to life. Through Kevin’s experience, children will learn how to deal with their own shadowy fears. Illustrations also show how you can create your own shadow figures.

This version of 'Shadows from the Walls of Death' is a tribute to Robert Clark Kedzie, who produced the originals of which there are now only two left in existence. They are located at the University of Michigan and Michigan State University. The originals are approximately 22 x 30 inches containing a title page and an 8 page preface followed by 86 samples cut from rolls of arsenic impregnated wallpaper. The book is sealed in a protective container and each individual page is encapsulated. This particular edition does not actually contain any arsenic. Further to that the content of this volume including both text and images are for entertainment purposes.

Explores how to use one's fingers to create animal shadows on the wall.

An unassuming family struggles to keep up with the ruthless pace of progress in “a genuinely brilliant novel” from a Nobel Prize winner (Chicago Tribune). A Los Angeles Times Best Book of the Year and a New York Times Notable Book Cipriano Algor, an elderly potter, lives with his daughter Marta and her husband Marçal in a small village on the outskirts of The Center, an imposing complex of shops, apartments, and offices. Marçal works there as a security guard, and Cipriano drives him to work each day before delivering his own humble pots and jugs. On one such trip, he is told not to make any more deliveries. People prefer plastic, apparently. Unwilling to give up his craft, Cipriano tries his hand at making ceramic dolls. Astonishingly, The Center places an order for hundreds, and Cipriano and Marta set to work—until the order is cancelled and the penniless trio must move from the village into The Center. When mysterious sounds of digging emerge from beneath their new apartment, Cipriano and Marçal investigate; what they find transforms the family’s life, in a novel that is both “irrepressibly funny” (The Christian Science Monitor) and a “triumph” (The Washington Post Book World). “The struggle of the individual against bureaucracy and anonymity is one of the great subjects of modern literature, and Saramago is often matched with Kafka as one of its premier exponents. Apt as the comparison is, it doesn’t convey the warmth and rueful human dimension of novels like Blindness and All the Names. Those qualities are particularly evident in his latest brilliant, dark allegory, which links the encroaching sterility of modern life to the parable of Plato’s cave . . . [a] remarkably generous and eloquent novel.” —Publishers Weekly Translated from the Portuguese by Margaret Jull Costa

Novelist and essayist Hilary Masters recreates a moment in 1940s Pittsburgh when circumstances, ideology, and a passion for the arts collided to produce a masterpiece in another part of the world. E. J. Kaufmann, the so-called "merchant prince" who commissioned Frank Lloyd Wright's Fallingwater, was a man whose hunger for beauty included women as well as architecture. He had transformed his family's department store into an art deco showcase with murals by Boardman Robinson and now sought to beautify the walls of the YM&WHA of which he was the president. Through his son E. J. Kaufmann, jr (the son preferred the lowercase usage), he met Juan O'Gorman, a rising star in the Mexican pantheon of muralists dominated by Diego Rivera, O'Gorman's friend and mentor. O'Gorman and his American wife spent nearly six months in Pittsburgh at Kaufmann's invitation while the artist researched the city's history and made elaborate cartoons for the dozen panels of the proposed mural. Like Rivera, O'Gorman was an ardent Marxist whose views of society were radically different from those of his host, not to mention the giants of Pittsburgh's industrial empire-Carnegie, Frick, and Mellon. The murals were never painted, but why did Kaufmann commission O'Gorman in the first place? Was it only a misunderstanding? In the discursive manner for which his fiction and essays are noted, Masters pulls together the skeins of world events, the politics of art patronage, and the eccentric personalities and cruel histories of the period into a pattern that also includes the figures of O'Gorman and his wife Helen, and Kaufmann, his wife Liliane, and their son. Masters traces the story through its many twists and turns to its surprising ending: E. J. Kaufmann's failure to put beautiful pictures on the walls of the Y in Pittsburgh resulted in Juan O'Gorman's creation of a twentieth-century masterpiece on a wall in the town of Patzcuaro, Mexico.

The Allegory of the Cave, or Plato's Cave, was presented by the Greek philosopher Plato in his work Republic (514a–520a) to compare "the effect of education (παιδεία) and the lack of it on our nature". It is written as a dialogue between Plato's brother Glaucon and his mentor Socrates, narrated by the latter. The allegory is presented after the analogy of the sun (508b–509c) and the analogy of the divided line (509d–511e). All three are characterized in relation to dialectic at the end of Books VII and VIII (531d–534e). Plato has Socrates describe a group of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall from objects passing in front of a fire behind them, and give names to these shadows. The shadows are the prisoners' reality.

Shedding light on the recent mutations of the Israeli separation policy, whose institutional and spatial configurations are increasingly complex, this book argues that this policy has actually reinforced the interconnectedness of Israelis and Palestinian lives and their spaces. Instead of focusing on the over-mediatized separation wall, this book deals with what it hides: its shadows. Based on fieldwork studies carried out by French, Italians, Israelis, Palestinian and Swiss researchers on the many sides of the Israeli-Palestinian divide, it highlights a new geography of occupation, specific forms of interconnectedness and power relations between Israeli and Palestinian spaces.