With the newly renewed tension between the factions growing even more violent, Emily struggles with the loss of past friendships. Chevalier and the Equites find themselves, once again, fighting to keep Emily with them, and their power brings the Valle and Encala to their knees, again wishing to renew the once strong alliance.Emily finds friendship and purpose out on the island and only another attack brings her back to the palace, but not for long. Again the V.E.S. interferes, and when the island is no longer safe, she is forced to return to the palace.Exavior crosses the line and breaks ancient rules set to keep the mortals safe from the ancients. Emily and Dustin begin a war of their own and the Equites become irritated with their constant fighting. When Dustin takes the arguing to new levels, the Equites Elders begin to lose their faith in the former Powan.

The first international meeting of the Archaeozoology of Southwest Asia and Adjacent Areas (ASWA) working group of the International Council for Archaeozoology (ICAZ) took place at the University of Groningen in 1992. Ever since, ASWA meetings have served as an inspiring gathering for those conducting archaeozoological research in Southwest Asia, the Eastern Mediterranean, North Africa, Central Asia and the Caucasus. This book contains sixteen papers presented at the 12th ASWA meeting hosted at its inaugural institution, the University of Groningen, Groningen Institute of Archaeology, as a continuation of the usual series and to celebrate the career of Dr. Hijlke Buitenhuis, associated member and alumnus of the institute, co-organizer of the first ASWA meeting.Like other ASWA proceedings before it, this volume is full of novel theoretical and methodological approaches and new research results, tackling a large variety of topics, from the geometric morphometrics of sheep in the Pre-Pottery Neolithic Period to Predynastic fishing in the Upper Nile, to the biogeography of hartebeest and hemione, and covering the vast region stretching between Hungary in the west and Azerbaijan in the east. The volume also features an opening article by ASWA founding member M.A. Zeder on the future of archaeozoology in the region. In honor of Dr. Hijlke Buitenhuis, his full bibliography is featured herein.

Under the seminal direction of Irving Blum, Ferus Gallery quickly became one of the leading galleries on the West Coast, showing important and groundbreaking works--including Andy Warhol's Campbell's Soup Cans, Roy Lichtenstein's Drowning Girl, and Ed Ruscha's Los Angeles County Museum on Fire--and helping to launch the American Pop movement. The book was first published on the occasion of the 2002 exhibition of the same name at Gagosian's Chelsea gallery. A timeline documenting the Ferus gallery's history opens the fully illustrated catalogue, followed by an interview with Irving Blum by Roberta Bernstein and a critical discussion of Warhol's Campbell's soup can paintings by Kirk Varnedoe. This hardcover edition is 148 pages, with 93 color and 67 black-and-white reproductions, including evocative documentary photography by Dennis Hopper.

In 1950s California, and especially in Los Angeles, there existed few venues for contemporary art. To a whole generation of California artists, this presented a freedom, since the absence of a context for their work meant that they could coin their own, and in uncommonly interesting ways. The careers of Ed Ruscha, Wallace Berman and Ed Kienholz all begin with this absence: Ruscha turned to books as a means of dissemination, Berman pioneered mail art through his magazine Semina and in March 1957, Ed Kienholz, in collaboration with curator Walter Hopps, co-founded one of California's greatest historical galleries, Ferus. Within months of opening, Ferus, which is Latin for "wild," gained notoriety when the Hollywood vice squad raided Berman's first--and, in his lifetime, last--solo exhibition, following a complaint about "lewd material." Shows by Kienholz and Jay DeFeo followed, but 1962 was Ferus' annus mirabilis, with solo shows by Bruce Conner and Joseph Cornell, and the first solo shows of Roy Lichtenstein and Andy Warhol on the west coast. The following year, Ferus also hosted Ed Ruscha's first solo exhibition. After Kienholz and Hopps parted ways--Hopps went on to mount the first American Duchamp retrospective at the Pasadena Art Musuem--the reins were handed to Irving Blum, who got Ferus out of the red and ran the gallery until its closure in 1966. A Place to Begin is an illustrated oral history of this heroic enterprise. With 62 new interviews with Ferus artists and more than 300 photographs (most previously unpublished), it retrieves a lost chapter of twentieth-century American art. Edited by Kristine McKenna, noted expert and co-editor of the critically acclaimed Semina Culture.