“Those curves are killing! Can I see ‘them’?” Manish inquires a woman, blatantly with no embarrassment! “Those curves make your eyes outstanding!” Meet Manish, a makeup artist from the land of fashion, France. “James, wake up! Look, there’s police outside!” whispered Trilok. James jumped out of his sleep, awestruck! “Happy New Year, James! No police! Just to keep you awake!” chuckled Trilok. He then urged, “Get up now! Look there. Watch out closely! Do you see someone locked up in the outhouse?” “No, it’s dark, and the door is locked. How do I see?” “Come on! You should believe it if you can’t see!” remarked Trilok, the intuitionist. Never can one grasp what he means! In the middle of nowhere, two ‘incompatible’ men, Manish and Trilok—one who works on faces and one who works on minds—happen to stumble upon the mysteries at the ‘Five Finger Valley’. Will their polar world views attract or repel? Wait till The Mystery Repeats!

First published in 1981, Critic as Scientist provides a detailed and scholarly account both of the scientific background and of contemporary artistic issues in its analysis of Ezra Pound’s poetics. During the crucial period of his years in London, Ezra Pound was striving to formulate not only a new system of poetics but also a new language through which he could both define the critic’s procedure and announce his modernity. It was in science that Pound discovered the vocabulary that became his most characteristic gesture during the literary crises of the time. The use of scientific terminology in his ‘propaganda’ for a new ‘renaissance’ belonged, initially, to specifically American modes of aesthetic tradition, as typified by Whistler and aspects of New England transcendentalism. A consideration of popular versions of physics and biology, and of the ‘scientific attitude’ displayed by such contemporaries as Fenollosa, Hulme, Ford and Eliot, reveals that the major terms and practices of Pound’s critical vocabulary were located in the issues of nineteenth and early twentieth-century science. The author has sought to demystify key words in the Poundian vocabulary and has suggested a wider literary and cultural context for the study of Pound’s aesthetic theory. This book will be of interest to students of literature.

David Klahr suggests that we now know enough about cognition--and hence about everyday thinking--to advance our understanding of scientific thinking.

An artist of the air re-creates his six-year plot to pull off an act of incomparable beauty and imagination One late-summer day, a feat of unimaginable audacity was perpetrated on the twin towers of the World Trade Center. The year was 1974. A hundred thousand people gathered on the ground to watch in awe as twenty-four-year-old high wire artist Philippe Petit made eight crossings between the all-but-completed towers, a quarter mile above the earth, over the course of nearly an hour. Petit's achievement made headlines around the world. Yet few who saw or heard about it realized that it was the fulfillment of a dream he had nurtured for six years, rekindling it each time it was in danger of expiring. His accomplices were a motley crew of foreigners and Americans, who under Petit's direction had conpired, connived, labored, argued, rehearsed, and improvised to make possible an act of unsurpassed aerial artistry. In this visually and verbally stunning book, Petit tells for the first time the dramatic story of this history-making walk, from conception and clandestine planning to the performance and its aftermath. The account draws on Petit's journals, which capture everything from his budgets to his strategies for rigging a high wire in the dead of night between two of the most secure towers in the world. It is animated by photographs taken by two of Petit's collaborators, and by his own wonderfully evocative sketches and unquenchable humor.

EDEN is two stories: one fictional, one fact. The fiction: Calif De'Alsace, a man devoted to the dissemination of life across the galaxy, has taken a group of one hundred artists and scientists to a sterile world named Eden for the purpose of bioengineering living works of art. Calif, an Ankh idealist, has decreed that no weapons be brought and that the group create a "paradise of peace where beauty...not the law of tooth and claw...reigns." Unknown to the Eden group, Calif was forced by a powerful man to include an artist, Iamoendi, who has secretly been using drugs to enhance his imaging abilities. Iamoendi, who is descended from Fundamentalist factions that fought in the Religionist Wars, slowly goes insane. Believing himself an instrument of god, Iamoendi turns against Project Eden. He obtains the genome libraries (programmed instructions for bioengineering plants and animals) for insects and arachnids. Subsequently, he creates an army of huge insect warriors, and launches a secret attack against Project Eden. Thirteen survive Iamoendi's attack. Weaponless, they are forced to create living weapons in defense. With the battle lines drawn, the war begins. The survivors create a surprise defense of giganticized ant lions, trapdoor spiders, and carnivorous plants. They defeat Iamoendi's army, but Iamoendi escapes. Two more battles ensue in which Iamoendi's attacking monstrosities become increasingly bizarre and surreal. More and more survivors die with each battle leading to an ending both poignant and transcendent. The fact: In the spirit of Coleridge and Poe who used an opiate to enhance their poetic imagery, in the spirit of Huxley whose use of peyote awakened his awareness to the creative use of mind-altering substances, I have set down my own experiences with altered states as they relate to my creation of EDEN. My intent is to share my insights into the creative process as well as the source and derivation of both the philosophy underlying EDEN and the hallucinatory visions used in the telling of this story. It is a first person account of how, after being accidentally introduced to a hallucinogen, my subsequent use and experimentation became the stuff and substance of my novel EDEN.

All-new essays from some of America's most influential theological and religious thinkers open up new ways of theological thinking and put American radical theology in context from Paul Tillich to the present.

This vintage book contains a detailed treatise on pattern design, being a practical book for students concerning the anatomy, planning, and evolution of repeated ornament. Complete with interesting information, valuable tips, and a plethora of useful diagrams and examples, this book will greatly appeal to anyone with a keen interest in design. It would make for a worthy addition to collections of allied literature. The chapters of this book include: 'Practical Pattern Planning', 'The 'Drop' Repeat', 'Smaller Repeats', 'Sundry Scaffolding', 'The Turnover', etcetera. This text is being republished now in an affordable, modern edition - complete with a specially commissioned new biography of the author.

Carolyn Wells's The Technique of the Mystery Story gets to the heart of a craft she defined despite coming to it late in her career. Wells offers a valuable framework for writers looking to follow in her footsteps or readers looking for access to the mind and process of a woman revered in her field, exploring the history of the genre, defining its many different forms, and illuminating the stylistic choices that keep a mystery tale running smoothly. This work begins with an argument for mystery as a legitimate literary art form, supported by numerous quotations from authorities. Then, moving through her topics in a systematic manner, she explains and illustrates the mystery-writing craft with excerpts from mystery works and quotations from literary critics and notable authors. This is essentially a mini-course in mystery story creative writing.