A nostalgic look at a symbol of earlier, simpler times Until the early twentieth century, water mills were the center of the economic and social life of many small communities throughout the nation’s calm rural backwaters, including the Missouri Ozarks. In this book, first published in 1990, George G. Suggs, Jr., presents the stories of twenty Ozark water mills, and Jake Wells illustrates these vignettes with drawings and beautiful watercolors. In introducing his historical sketches, Suggs traces the transatlantic origins and development of water mills, describing their spread throughout Western Europe to North America and noting early American contributions to water mill technology. In an epilogue he emphasizes the economic and social roles of the mills in the early life of the Missouri Ozarks.

Arnold Zable applies his lyrical sensitivity and respect to this collection highlighting human compassion and resilience

Published in September of 1925 in the Joseon Mundan, “The Water Mill”, along with his other short story “Mulberry”, is the most representative of his realistic writing style. Like Kim Yu-jeong’s “April Showers” (Sonakbi) and Yi Hyo-seok’s “When the Buckwheat Flower Blooms” (Maemilkkot Pil Muryup), it is a work that illustrates a tragic love affair that happens at the water mill. In other words, this piece depicts the passionate crime that involves Shin Chi-kyu, a wealthy and powerful man in the village, his farmhand and servant Lee Bang-won, and Lee Bang-won’s wife. Although we see aspects of class conflict in “The Water Mill”, it is fundamentally a piece that realistically illustrates the intrinsic nature and sexual desire of man. “The Water Mill” paints a vivid picture of man’s greed for material wealth, his sexual instincts, and the poverty that exists, as well as the feelings of loss that result from it. It is a piece that graphically exposes the dark reality of the Colonial Period and the nature of man that originated from it.

Founded in 1992 by internationally renowned theater artist Robert Wilson, the Watermill Center on Long Island, New York, is a unique performance art laboratory for young and emerging artists. This compendium of documents, texts and images includes contributions by artists Marina Abramovic and Jonathan Meese, long-time Wilson collaborators Lucinda Childs and Philip Glass, performers Isabella Rossellini and Isabelle Huppert, curators Chrissie Iles and Elisabeth Sussman, singer-songwriter Rufus Wainwright, scholars Antonio Damasio and Bonnie Marranca, collector Jean Paul Barbier-Mueller, writers Jay McInerney and Barbara Goldsmith, as well as many Watermill Center alumni artists. Covering every aspect of life at the Center, Wilson's summer workshops, the year-round residency programs, the extensive collection, outreach programs with community, landscaped gardens and architecture, this is the first extensive glimpse into the world of Watermill and an intimate look at Wilson's artistic process and the legacy he is creating for future generations.

Like many apparently simple devices, the vertical water wheel has been around for so long that it is taken for granted. Yet this "picturesque artifact" was for centuries man's primary mechanical source of power and was the foundation upon which mills and other industries developed. Stronger than a Hundred Men explores the development of the vertical water wheel from its invention in ancient times through its eventual demise as a source of power during the Industrial Revolution. Spanning more than 2000 years, Terry Reynolds's account follows the progression of this labor-saving device from Asia to the Middle East, Europe, and America-covering the evolution of the water wheel itself, the development of dams and reservoirs, and the applications of water power.

Arnold Zable applies his lyrical sensitivity and respect to this collection highlighting human compassion and resilience