López-Calvo uses contemporary Nikkei texts such as fiction, testimonies, and poetry to construct an account of the cultural formation of Japanese migrant communities, and in so doing challenges fixed notions of Japanese Peruvian identity.

“Tawada’s slender accounts of alienation achieve a remarkable potency.”—Michael Porter, The New York Times A precocious Vietnamese high school student — known as the pupil with “the iron blouse”—in Ho Chi Minh City is invited to an International Youth Conference in East Berlin. But, in East Berlin, as she is preparing to present her paper in Russian on “Vietnam as a Victim of American Imperialism,” she is abruptly kidnapped and taken to a small town in West Germany. After a strange spell of domestic-sexual boredom with her lover-abductor—and though “the Berlin Wall was said to be more difficult to break through than the Great Wall of China” — she escapes on a train to Moscow . . . but mistakenly arrives in Paris. Alone, broke, and in a completely foreign land, Anh (her false name) loses herself in the films of Catherine Deneuve as her real adventures begin. Dreamy, meditative, and filled with the gritty everyday perils of a person living somewhere without papers (at one point Anh is subjected to some vampire-like skin experiments), The Naked Eye is a novel that is as surprising as it is delightful—each of the thirteen chapters titled after and framed by one of Deneuve’s films. “As far as I was concerned,” the narrator says while watching Deneuve on the screen, “the only woman in the world was you, and so I did not exist.” By the time 1989 comes along and the Iron Curtain falls, story and viewer have morphed into the dislocating beauty of both dancer and dance.

Michel Strauss embarked on an enduring love affair at the age of six when he saw for the first time paintings by Manet, Monet and Degas: the passion aroused by these artists never left him. This passion, this 'eye' as he calls it led to his becoming Head of the Impressionist Department at Sotheby's where he remained for forty years. He describes the personalities he met along the way: the collectors, the dealers, the colleagues and even the forgers, as well as the clients who shared his passion. There were times of boom and times of recession, there were very difficult times -in particular the anti-trust era -and there were times that brought great delight and a sense of achievement, in particular the British Rail Pension Fund sale which Michel had helped set up and which exceeded all expectations. An authoritative and highly respected figure in the art world, Michel Strauss has handled the greatest of all Impressionist works, some of which it was thought had been lost forever.

"Some photographers take their pictures; others make them. Neither notion seems right in describing Stanford Lipsey's work, however, for the spirit behind these pictures is one of natural discovery, something that comes before process." -Anthony Bannon, Director of Eastman House Stanford Lipsey's passion for fine art photography began in Aspen, Colorado 30 years ago with the sight of a simple pine cone seen through a macro lens. Ever since this revelatory moment, Lipsey has dedicated himself to revealing simple truths and a visual language of the natural world hidden around us. Whether it be cloud formations in an azure sky, light ripples in shimmering water, a dense pine forest, gentle ice crystals, or austere glass architecture, Lipsey's photographs suggest a sense of the inexplicable universal links that bond the elements and matter. Affinity of Form, Lipsey's first monograph, brings that vision to bear on a wide array of commonplace subjects from our everyday world. In the vein of Aaron Siskind, Lipsey's camera fixes frequently on surfaces, abstracting them in such a way that they become visual objects unto themselves, independent of their sources and newly compelling. Other images take a longer view, allowing monumental structures, both natural and man-made, to revert to basic shapes. A newspaperman by profession, Lipsey draws on a long-honed ability to capture events at precisely the right moment-in this case, the moment when mundane objects cease to be themselves, transforming within the frame into something far more artful and mysterious. "I'm rather eclectic in what I shoot," he says, "but all forms of nature, abstracts, and architecture inspire me to create imagery that escapes the naked eye."

From the Edgar Award–winning author of Bone Rattler. “Evocative language, tight plotting, and memorable characters make this a standout” (Publishers Weekly, starred review). With the aid of the Native American Shaman Conawago, Duncan McCallum has begun to heal from the massacre of his Highland clan by the British. But his new life is shattered when he and Conawago discover a dying Virginian officer nailed to an Indian shrine tree. To their horror, the authorities arrest Conawago and schedule his hanging. As Duncan begins a desperate search for the truth, he finds himself in a maelstrom of deception and violence. The year is 1760, and while the British army wishes to dismiss the killing as another casualty of its war with France, Duncan discovers a pattern of ritualistic murders related to provincial treaty negotiations and struggles between tribal factions. Ultimately he realizes that to find justice, he must brave the sprawling colonial capital of Philadelphia. There the answers are to be found in a tangle of Quakers, Christian Indians, and a scientist obsessed with the electrical experiments of the celebrated Dr. Franklin. With the tragic resolution in sight, Duncan understands the real mysteries underlying his quest lie in the hearts of natives who, like his Highland Scots, have glimpsed the end of their world approaching. “The pleasures of Eliot Pattison’s books, and Eye of the Raven is another smashing example, are threefold: high adventure in perilous landscapes, a hero stubbornly seeking the truth, and the haunting mysteries of ancient cultures.” —Otto Penzler, editor of The Big Book of Female Detectives

The ancient conjecture as to the affinity of the Eye and the Sun has remained in modern natural science, though in a profoundly altered form. In our days science has discovered the true connection between the Eye and the Sun, a connection entirely different from that inferred by children, poets and the ancients. It is this true connection that this book is about.