Important works of many artists from antiquity to the present tell the story of Western civilization in a breathtaking collection of art displayed in this address book.

Magnificent works of many artists from antiquity to the present are displayed on these note cards. They show us in breathtaking beauty the history of Western civilization.

Mark Jones examines the making of a new child's world in Japan between 1890 and 1930 and focuses on the institutions, groups, and individuals that reshaped both the idea of childhood and the daily life of children. Family reformers, scientific child experts, magazine editors, well-educated mothers, and other prewar urban elites constructed a model of childhood--having one's own room, devoting time to homework, reading children's literature, playing with toys--that ultimately became the norm for young Japanese in subsequent decades. This book also places the story of modern childhood within a broader social context--the emergence of a middle class in early twentieth century Japan. The ideal of making the child into a "superior student" (yutosei) appealed to the family seeking upward mobility and to the nation-state that needed disciplined, educated workers able to further Japan's capitalist and imperialist growth. This view of the middle class as a child-centered, educationally obsessed, socially aspiring stratum survived World War II and prospered into the years beyond.

Sergio Mishioki is a Peruvian anthropologist who has escaped with a national treasure and brought it to the United States. The treasure is Romeo y Julieta, a pair of adolescent mummies, and must be found as soon as possible. After the Peruvian consul in Miami hires PI Buck Jaspers to locate the mummies and return them to Peru, he sets out to find Mishioki and the treasure. Using all the operatives at his disposal, Buck narrows the hunt to the Orlando area and shares evidence with an ICE agent on the same trail. After Buck learns that Mishioki loves sports car racing, eating Peruvian food, and chasing young women, he stakes out restaurants and nightclubs, poses as a racecar driver, and investigates reclusive billionaires—the only ones who can afford to keep the mummies in good condition. In order to inspect the estates of possible suspects, Buck employs a swamp rat to take Buck and his crew through the wetlands on an airboat. But just as he gets closer to the mummies and Mishioki, Buck’s operatives reveal a disturbing reality of the person behind the theft. In this exciting mystery, the chase is on for PI Buck Jaspers after an anthropologist steals mummies from Peru and brings them to Florida.

Brad Blanton is at ease in this first volume of his autobiography. Some NEW Kind of Trailer Trash, telling any tale about himself, including the most intimate, demonstrating the interior security and self-deprecating humor, which it would seem support his international reputation as a gestalt therapist, seminar leader, and writer published all over the world. He owns into his life in all aspects, and finds in his weirdness his salvation, demonstrating the radical honesty he's made famous, and rooting his self-understanding, which is considerable, in his childhood. Transformation personified.

Texas is an art lover's paradise. More than one hundred venues located within the state welcome visitors to experience the visual arts. These include internationally recognized collections such as the Chinati Foundation, the Kimbell Art Museum, the Menil Collection, and the Nasher Sculpture Center; renowned encyclopedic institutions such as the Museum of Fine Arts, Houston, the Dallas Museum of Art, and the San Antonio Museum of Art; and dozens of first-rate art centers, alternative spaces, and university galleries. In addition to delighting the eye with a wide-ranging assortment of exhibitions, many of these museums and galleries are housed within architectural gems. To enhance the reader's visits to familiar destinations and to encourage the exploration of lesser-known venues, Art Guide Texas presents the only in-depth survey devoted exclusively to the state's nonprofit visual arts institutions. Rebecca Cohen organizes the book regionally. Individual entries for museums and galleries give essential contact information, including phone numbers and Web sites, as well as a description of the collection(s) and past exhibitions, a brief history of the institution, significant architectural details about the building, and assorted practical tips. Black-and-white photographs accompany many of the entries, as well as notable quotes on art and architecture. In addition, Cohen's essays on the phenomenal late-twentieth-century growth of the arts in Texas and on arts activity in the different regions of the state provide a helpful context for exploring the arts in Texas.