* The wonderful 3D world of Leon Keer * This Dutch street artist conquers the world * Keer explains his working method and allows you a glimpse into his creative mind * With a unique 3D cover Leon Keer is the master of optical illusion. The 'Dutch JR' plays with perspectives and creates a whole new world. One in which Snow White is stuck under a door. Or a world in which you unexpectedly enter a seventies living room. This is his first monograph. He allows the reader an exclusive look into his world and imagination. How does he work? And how does a wild idea develop into a gigantic 3D artwork?

A story of a young Jewish girl's coming-of-age during the tragic years of the Holocaust.

Lost Childhood explores the everyday lives of street children in India. It presents insights on their life on the streets to provide a comprehensive understanding of why they are driven to extreme means of livelihoods. This volume, · Inquiries into the histories of street children, and discusses their socio-economic and socio-demographic characteristics to provide a sense of their living conditions; · Sheds light on the social injustice experienced by these children, their health and hygiene, and also looks at the insecurities faced by the children in their interactions with the society; · Uses detailed field research data to highlight issues that affect the lives of street children such as education, gender discrimination, and their social networks; · Suggests a way forward that would not only benefit street children but will also be of use to the community in understanding their lives, problems, and help explore this issue in further detail. The book will be useful to scholars and researchers of human geography, development studies, child development, urban poverty, and social justice. It will also be of interest to policymakers, social workers, and field workers who work with street children.

My Lost Childhood is a memoir describing immeasurable suffering the author went through in his early childhood. In the late 1980s, the Islamic government began to systematically torture and kill Southern Sudanese families, burn their villages, and enslave young boys and girls. As a result, an approximately, as numbers are largely unknown and only an estimate, 27,000 plus boys from Southern tribes were forced to flee from their homes. Traveling naked and barefoot, they sought refuge in neighboring Fugnido, Ethiopia, where a few years later they were forced to flee yet another civil war. Returning to Sudan, the Islamic government forced them to travel for another five months, ultimately arriving in Kakuma, Kenya, after four years of unthinkable hardship and walking over thousands of miles naked, barefoot, and ailing from starvation, dehydration, and diseases. Many boys perished along the way and their numbers shrank into few thousands. Abraham Deng Ater, separated from his family in 1987, is one of approximately 3,800 boys now known as the Lost Boys of Sudan. He left Kakuma Refugee Camp in Kenya after several years of massive suffering and was granted refuge in the U.S. in 2001. Many Lost Boys including Abraham have since become U.S. citizens and have continued to pursue their education. Thousands more have also been granted refuge elsewhere and are scattered around the globe.

The author recounts her childhood experiences as a Japanese prisoner during World War II.

From Dickens to Wilde—literary criticism and personal reflections by a master “unmatched . . . in his uncanny psychological insights” (The New York Times). Graham Greene shares his love affair with reading in this collection of essays, memories, and critical considerations, both affectionate and tart, “[that] could have come from no other source than the author of Brighton Rock and The Power and the Glory” (The Scotsman). Whether following the obsessions of Henry James, marveling at the “indispensible” Beatrix Potter, or exploring the Manichean world of Oliver Twist, Graham Greene revisits the books and authors of his lifetime. Here is Greene on Fielding, Doyle, Kipling, and Conrad; on The Prisoner of Zenda and the “revolutionary . . . colossal egoism” of Laurence Stern’s epic comic novel, Tristram Shandy; on the adventures of both Allan Quatermain and Moll Flanders; and more. Greene strolls among the musty oddities and folios sold on the cheap at an outdoor book mart, tells of a bizarre literary hoax perpetrated on a hapless printseller in eighteenth-century Pall Mall, and in the titular essay, reveals the book that unlocked his imagination so thoroughly that he decided to write forever. For Greene, “all the other possible futures slid away.” In this prismatic gallery of profound influences and guiltless pleasures, Greene proves himself “so intensely alive that the reader cannot but respond to the dazzling combination of intelligence and strong feeling” (Edward Sackville West).

People of our generation, in the age bracket of 40 to 60, are the last of the generation who had a childhood which would never come back. It was simple and had a lot of happiness around small things. It was carefree and adventurous in contrast to today’s generations who will never experience the childhood which we did despite the advancement of technology and the improvement in the standard of living. The small joys in life are no longer there, and even after having everything in life, it does not seem enough. The idea of this book is to bring forth the childhood which many of our generations would be able to relate to and savour. The book also highlights, to today’s generation, as to what they are missing in their childhood. It may bring out some of those aspects in their childhood. This book is not a simple memoir of childhood. It is an attempt to capture the childhood of a child of a middle-class family who travelled through 8 cities, lived in around 10 houses and studied in around 8 schools. It is also about the various incidents, cities and its foods.