“Endlessly surprising.… Like the egg itself, this book is a perfect, miraculous package.” —Mary Roach, best-selling author of Fuzz An unconventional history of the world’s largest cellular workhorse, from chickens to penguins, from art to crime, and more. The egg is a paradox—both alive and not alive—and a symbol as old as culture itself. In this wide-ranging and delightful journey through its natural and cultural history, Lizzie Stark explores the egg’s deep meanings, innumerable uses, and metabolic importance through a dozen dazzling specimens. From Mali to Finland, mythologies around the globe have invested the egg with powers of regeneration and fecundity, often ascribing the origin of the world to a cosmic egg. An oracle to Romans, fought over by Gold Rush gangs, used as the foundation of the Clown Egg Registry, and blasted into space, the egg has taken on larger proportions than, say, the ovum of an ostrich. It has starred in global dishes from the Korean comfort food ttukbaegi gyeranjjim to the less regaled yet iconic soft-boiled egg. Stark writes a biography of French-born chef Jacques Pépin through his egg creations, and weaves in her personal experiences, like attempting to make the perfect omelet or trying her hand at pysanky—the Ukrainian art of egg decoration. She also explores her fraught relationship to the eggs in her body due to a familial link to cancer, and shares her delight in becoming a mother. Filled with colorful characters and fascinating morsels, Egg is playful, informative, and guarantees that you’ll never take this delicate ovoid for granted again.

A valuable reference, this informative and entertaining volume presents a key to elucidating the symbolic worlds encountered in both the arts and the history of ideas. Alphabetical entries clarify essential meanings of each symbol, as drawn from religion, astrology, alchemy, numerology, other sources. 32 black-and-white illustrations.

When a gynecologist and his wife experiment with fertility, they produce an unusual son who at four communicates telepathically with his crazy grandmother. Then there is the wife's groupie sister who follows a seductive televangelist. For anyone who ever thought they were sane and that doctors and psychiatrists should be locked up, here is an utterly offbeat story about the perfect dysfunctional family.

Tracing the development of tap dancing from ancient India to the Broadway stage in 1903, when the word "Tap" was first used in publicity to describe this new American style of dance, this text separates the cultural, societal and historical events that influenced the development of Tap dancing. Section One covers primary influences such as Irish step dancing, English clog dancing and African dancing. Section Two covers theatrical influences (early theatrical developments, "Daddy" Rice, the Virginia Minstrels) and Section Three covers various other influences (Native American, German and Shaker). Also included are accounts of the people present at tap's inception and how various styles of dance were mixed to create a new art form.

Although much of the material in this manual is borrowed from the dance writings of Charles Durang, it remains an important source for the study of mid-nineteenth-century ballroom dance. Unlike other contemporary writers, Ferrero devotes more than eighty pages to the origins of dance and a history of European and Native American dance. The remaining part of the manual concerns ballroom etiquette and descriptions of numerous dances including the quadrille, waltz, polka, schottisch, varsovienne, polka mazurka, and galop. Ferrero gives directions for more than eighty figures of the cotillon, a group dance performed as a series of party games. Some of the figures include "The scarf," "The glass of wine," "The sea during a storm," "The four chairs," and "The rounds thwarted." The manual concludes with music for twenty-three dances.