The magical land of Xanth is in peril in this follow-up to Board Stiff by New York Times–bestselling author Piers Anthony. “It occurs to me that you folk are no ordinary group,” the troll said. “We're on a special mission to eliminate the last of the anti-pun virus. We are a bit unusual.” Astrid Basilisk-Cockatrice is the daughter of anonymous parents who whiled away a dull minute by generating her on a warm compost pile, then went their own deadly ways, never to see her or each other again. She found herself a soul, but her gaze is fatal and her touch is toxic. That’s not so strange in the Land of Xanth, where everyone has a unique magical talent, and charms, curses, and enchanted puzzles lie around every corner. Now, Astrid and her companions are finishing the cleanup of a virus that ravaged the puns of Xanth, and new Quests are already popping up. For instance, Astrid is attempting to fulfill her mission in life, if only she can figure out what that is. And then there’s the missing Question from the Good Magician’s Book of Answers. Not to mention the small matter of a Demon Wager regarding the impending destruction of Xanth. But it’s nothing Astrid and her motley crew of lovely maidens and strapping men can’t handle . . . they hope. Piers Anthony delivers another tale set in the bestselling world of Xanth, filled with magic, surprises, adventure, and a few puns. Here’s what the author has to say about his new book: “Five Portraits is a kind of sequel to Board Stiff in that it picks up where the other leaves off, with the same characters. Apart from that, it’s one of my favorites within the series. There’s something about Astrid Basilisk that appeals to me: a very pretty girl whose very glance is deadly, yet she’s a nice person whose selfless effort to save five difficult children from future Xanth is thoroughly worthy. I also like the theme of the power of unlikely friendship. Not just Xanth, but Mundania, too, would be better if there were more such friendships.”

In the introduction, Bernstein (English, U. of California, Berkeley) describes what he calls the "modernist masterpiece as a distinct and historically circumscribed form." In the five essays that follow, he analyzes the work of Rainer Maria Rilke, Paul Celan, Robert Musil, Martin Heidegger, and Walter Benjamin. c. Book News Inc.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

This book contains 50 years of photography by the author, a National Geographic photographer. He was a pioneer of color photography with a style that called for entering people's homes and hearts; by winning their confidence he was able to capture "off guard" moments, and reveal the depth of human nature. His work reveals beauty, mystery, and a sense of adventure. Part photography retrospective and part personal memoir, this book paints a full picture of the life of a globe-trekking photographer over the past half century.

During the course of three decades, Joseph Stalin’s Gulag, a vast network of forced labor camps and settlements, held many millions of prisoners. People in every corner of the Soviet Union lived in daily terror of imprisonment and execution. In researching the surviving threads of memoirs and oral reminiscences of five women victimized by the Gulag, author Paul R. Gregory has stitched together a collection of stories from the female perspective, a view in short supply. Capturing the fear, paranoia, and unbearable hardship that were hallmarks of Stalin’s Great Terror, Gregory relates the stories of five women from different social strata and regions in vivid prose, from their pre-Gulag lives, through their struggles to survive in the repressive atmosphere of the late 1930s and early 1940s, to the difficulties facing the four who survived as they adjusted to life after the Gulag. These firsthand accounts illustrate how even the wrong word could become a crime against the state. The book begins with a synopsis of Stalin’s rise to power, the roots of the Gulag, and the scheming and plotting that led to and persisted in one of the bloodiest, most egregious dictatorships of the 20th century.

Exploring what motivates artists to paint or photograph themselves, the author selects over 100 self-portraits from the National Portrait Gallery to examine the style, techniques and personalities of the sitters, including William Hogarth, Thomas Gainsborough, Angelica Kauffmann, and more.

Unveiling the unconventional : Kehinde Wiley's portrait of Barack Obama / Taína Caragol -- "Radical empathy" : Amy Sherald's portrait of Michelle Obama / Dorothy Moss -- The Obama portraits, in art history and beyond / Richard J. Powell -- The Obama portraits and the National Portrait Gallery as a site of secular pilgrimage / Kim Sajet -- The presentation of the Obama portraits : a transcript of the unveiling ceremony.