Working and would-be writers, photographers, painters, journal keepers, sculptors, musicians, poets, and creative folk in every field will find inspiration and practical suggestions in this joyous book. This complete course in creative expression is based on Jan Phillips' smash "Marry Your Muse" workshops, and was chosen a Ben Franklin Award gold medal winner for 1997. In Part One, the stirring affirmations of The Artist's Creed empower us to become more confident and productive. In Part Two, anecdotes, photographs, quotations to ponder, fun and effective exercises help us discover a deep and satisfying form of self-expression. In Part Three, the heartful stories of working artists inspire us to fall in love with the artist within

Tanya is a typical teenager living with her bookish professor mother in a cramped Soviet apartment. She is obsessed with Dostoyevksy, and noticing that he always portrays his mistress and muse in his novels–never his wife–she determines to become a companion to a great writer. Her opportunity comes when, as a college graduate newly emigrated to America, she attends a Manhattan bookstore reading by Mark Schneider, a Significant New York Novelist. Tanya quickly moves in with Mark, ready to dazzle in bed, to serve and inspire . . . if only he would spend a little more time writing. But as she struggles to better understand her role as Muse, Tanya also learns more than she expected about the destiny she has imagined for herself. A touching and very funny novel in the great tradition of Russian realism, Memoirs of a Muse is also a lively meditation on the mysteries and absurdities of artistic inspiration.

"I'll never want to draw anyone else but you. You are my muse. Without you there is no art in me." With her pale, luminous skin and cloud of copper-colored hair, nineteen-year-old Lizzie Siddal looks nothing like the rosy-cheeked ideal of Victorian beauty. Working in a London milliner's shop, Lizzie stitches elegant bonnets destined for wealthier young women, until a chance meeting brings her to the attention of painter and poet Dante Gabriel Rossetti. Enchanted both by her ethereal appearance and her artistic ambitions--quite out of place for a shop girl--Rossetti draws her into his glittering world of salons and bohemian soirees. Lizzie begins to sit for some of the most celebrated members of the Pre-Raphaelite Brotherhood, posing for John Everett Millais as Shakespeare's Ophelia, for William Holman Hunt--and especially for Rossetti, who immortalizes her in countless paintings as his namesake's beloved Beatrice. The passionate visions Rossetti creates on canvas are echoed in their intense affair. But while Lizzie strives to establish herself as a painter and poet in her own right, betrayal, illness, and addiction leave her struggling to save her marriage and her sense of self. Rita Cameron weaves historical figures and vivid details into a complex, unconventional love story, giving voice to one of the most influential yet overlooked figures of a fascinating era--a woman who is both artist and inspiration, long gazed upon, but until now, never fully seen. An excerpt from Ophelia’s Muse Rossetti stood behind the canvas, pretending to study Deverell's painting while he admired its model. Despite Deverell's enthusiastic descriptions, Rossetti was completely unprepared for the glorious woman before him. She seemed to be from another age, as if she had sprung to life from an antique painting of an Italian saint. Seated before the window, her hair cast a slight golden glow in the afternoon sun, like a halo. She could not have been more perfect if he had sculpted her from marble with his own hands. Deverell claimed that he had found the perfect Viola, but this girl was far too beautiful to pose as some love-sick page. She was clearly meant to sit for the great heroines of history and myth, and Rossetti vowed to paint her as a queen. "Miss Siddal, has anyone ever told you that you were surely crafted by the gods in order to be painted? If you don't believe that yours is a beauty for the ages, you underestimate yourself." The force of his words struck Lizzie, and she wondered if he was serious, and if it could be true. Was this the thing that she had always been waiting for? Was she really meant to inspire great artists? Her head buzzed with the possibility, but the very allure of the idea felt dangerous. . .

Coming of age on Park Avenue in the 1950s, Anne Roiphe had an adolescence entrenched in privilege, petticoats, and social rules. Young women at the time were expected to give up personal freedom for devotion to home and children. Instead, Roiphe chose Beckett, Proust, Sartre, and Mann as her heroes, and became one of the girls draped across the sofa at parties with George Plimpton, Norman Mailer, and William Styron, sometimes with her young child in tow. For a time she was satisfied to play the muse, but at the age of twenty-seven, divorced and finally freed of the notion that any sacrifice was worth making for art, she began to write. Here, in her clear-sighted, perceptive, and unabashed memoir, Roiphe shares with astonishing honesty the tumultuous adventure of self-discovery that finally led to her redemption.

Jan Phillips synthesizes the wisdom embodied in an ancient tradition with the spiritual awaking engaging sojourners of the 21st century. This book provides a creative synthesis from monastery to market-place, from monastic time to the sacredness of every day, and every hour therein.

A fictional account of the marriage of ballet master George Balanchine and Tanaquil Le Clercq describes how polio ended Tanny's dancing career, the rehabilitation that deepened their relationship, and how Balanchine's return to ballet tested their marriage.

Freed documents the network of marriage practices among ministerials in the archdiocese of Salzburg and in the process reconstructs an important and previously unexplored chapter in the rise of the German principalities.