The Art of Poverty is the first book in English to analyze depictions of beggars in 16th-century European art. Featuring works from Germany, the Low Countries, Britain, France, and Italy, it discusses a diverse body of imagery from crude woodcuts to monumental church altarpieces. It argues that these works largely conformed to two paradoxical, though mutually supportive, representational approaches. The book tracks the emergence of a trenchantly negative approach in Northern art, in which beggars are shown as vagabonds, alongside the other predominant visual mode, where beggars are exalted as examples of sacred purity. The Art of Poverty's progressive approach and cross-disciplinary theme makes it vital reading for those concerned with the development of early modern European culture.

In the opening decades of the twentieth century in Japan, practically every major author wrote plays that were published and performed. The plays were seen not simply as the emergence of a new literary form but as a manifestation of modernity itself, transforming the stage into a site for the exploration of new ideas and ways of being. A Beggar’s Art is the first book in English to examine the full range of early twentieth-century Japanese drama. Accompanying his study, M. Cody Poulton provides his translations of representative one-act plays. Poulton looks at the emergence of drama as a modern literary and artistic form and chronicles the creation of modern Japanese drama as a reaction to both traditional (particularly kabuki) dramaturgy and European drama. Translations and productions of the latter became the model for the so-called New Theater (shingeki), where the question of how to be both modern and Japanese at the same time was hotly contested. Following introductory essays on the development of Japanese drama from the 1880s to the early 1930s, are translations of nine seminal one-act plays by nine dramatists, including two women, Okada Yachiyo and Hasegawa Shigure. The subject matter of these plays is that of modern drama everywhere: discord between men and women, between parents and children, and the resulting disintegration of marriages and families. Both the bourgeoisie and the proletariat make their appearances; modern pretensions are lampooned and modern predicaments lamented in equal measure. Realism (as evidenced in the plays of Kikuchi Kan and Tanaka Chikao) prevails as the mode of modernity, but other styles are presented: the symbolism of Izumi Kyoka, Suzuki Senzaburo’s brittle melodrama, Kubota Mantaro’s minimalistic lyricism, Akita Ujaku’s politically incisive expressionism, and even a proto-absurdist work by Japan’s master of prewar drama, Kishida Kunio. With its combination of new translations and informative and theoretically engaging essays, A Beggar’s Art will prove invaluable for students and researchers in world theater and Japanese studies, particularly those with an interest in modern Japanese literature and culture.

The 1960s San Francisco spiritual revolution - a view from inside. Memoir about a spiritual teacher and a student in 1960s San Francisco, a colorful cast - including Rabbi Shlomo Carlebach, Timothy Leary, Richard Alpert, Allen Ginsburg, Murshid Samuel Lewis ("Sufi Sam"), Swami Satchidananda, Ajari Warwick, Rabbi Zalman Shalomi Schachter, and many more - and lives that were changed forever. Aryae Coopersmith, a 22-year old college student in 1960s San Francisco, meets the charismatic rabbi and folk singer Rabbi Shlomo Carlebach and decides to start a community for him. He rents a house and moves in with his best friends. Before long they find themselves - and their house - at the center of the San Francisco spiritual revolution as thousands of young people - Jews, Christians, Buddhists, Sufis, and followers of countless gurus - flood in through their doors. Giving concerts to packed halls all over the world, Shlomo is recognized as Judaism's most influential musician, and one of its greatest spiritual leaders, of the late 20th century. Their house - the House of Love and Prayer - becomes an historic part of the legend of 1960s San Francisco. Aryae and his fellow students who are running other spiritual communities bring their teachers and gurus together to create a big San Francisco event - the Meeting of the Ways - to celebrate the oneness of the world's spiritual traditions and all the world's people. Aryae's best friends Efraim and Leah leave San Francisco and head to Jerusalem, where they become ultra-Orthodox Hasidim. Many others from the "House" follow. Aryae stays behind and settles into a secular life as a Silicon Valley business owner. After Shlomo dies, Aryae feels compelled to tell the story. To try to understand the lives of his old friends and pull together the scattered fragments of his own, he travels to Jerusalem. This profoundly moving memoir tells a story of grace, loss, redemption, and ultimately of acceptance. It invites us to reflect on how the 1960s spiritual revolution - with its vision of the oneness of us all - has impacted each of our lives.

What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.

In a world where the slightest edge can mean the difference between success and failure, Leisha Camden is beautiful, extraordinarily intelligent ... and one of an ever-growing number of human beings who have been genetically modified to never require sleep. Once considered interesting anomalies, now Leisha and the other "Sleepless" are outcasts -- victims of blind hatred, political repression, and shocking mob violence meant to drive them from human society ... and, ultimately, from Earth itself. But Leisha Camden has chosen to remain behind in a world that envies and fears her "gift" -- a world marked for destruction in a devastating conspiracy of freedom ... and revenge.