In English for the first time, a wild and darkly funny book that combines Surrealist painter Leonora Carringon's fantastical writing and illustrations for children The maverick surrealist Leonora Carrington was an extraordinary painter and storyteller who loved to make up stories and draw pictures for her children. She lived much of her life in Mexico, and her sons remember sitting in a big room whose walls were covered with images of wondrous creatures, towering mountains, and ferocious vegetation while she told fabulous and funny tales. That room was later whitewashed, but some of its wonders were preserved in the little notebook that Carrington called The Milk of Dreams. John, who has wings for ears, Humbert the Beautiful, an insufferable kid who befriends a crocodile and grows more insufferable yet, and the awesome Janzamajoria are all to be encountered in The Milk of Dreams, a book that is as unlikely, outrageous, and dreamy as dreams themselves.

From multi-award-winning Neil Gaiman comes a spectacularly silly, mind-bendingly clever, brilliantly bonkers adventure with lip-smackingly gorgeous illustrations by Chris Riddell

What if museum critics were challenged to envision their own exhibitions? In Curatorial Dreams, fourteen authors from disciplines throughout the social sciences and humanities propose exhibitions inspired by their research and critical concerns to creatively put theory into practice. Pushing the boundaries of museology, this collection gives rare insight into the process of conceptualizing exhibitions. The contributors offer concrete, innovative projects, each designed for a specific setting in which to translate critical academic theory about society, culture, and history into accessible imagined exhibitions. Spanning Australia, Barbados, Canada, Chile, the Netherlands, Poland, South Africa, Switzerland, and the United States, the exhibitions are staged in museums, scientific institutions, art galleries, and everyday sites. Essays explore political and practical constraints, imaginative freedom, and experiment with critical, participatory, and socially relevant exhibition design. While the deconstructive critique of museums remains relevant, Curatorial Dreams charts new ground, proposing unique modes of engagement that enrich public scholarship and dialogue.

“Complete Stories, a collection of Carrington’s published and unpublished short stories—many newly translated from their original French and Spanish—is a terrific introduction to her bizarre, dreamlike worlds.” —Carmen Maria Machado, NPR Surrealist writer and painter Leonora Carrington (1917–2011) was a master of the macabre, of gorgeous tableaus, biting satire, roguish comedy, and brilliant, effortless flights of the imagination. Nowhere are these qualities more ingeniously brought together than in the works of short fiction she wrote throughout her life. Published to coincide with the centennial of her birth, The Complete Stories of Leonora Carrington collects for the first time all of her stories, including several never before seen in print. With a startling range of styles, subjects, and even languages (several of the stories are translated from French or Spanish), The Complete Stories captures the genius and irrepressible spirit of an amazing artist’s life.

A genre-expanding collection of stories that Publishers Weekly calls “perplexingly captivating” and “astonishing.” Wild Milk is like Borscht Belt meets Leonora Carrington; it’s like Donald Barthelme meets Pony Head; it’s like the Brothers Grimm meet Beckett in his swim trunks at the beach. In other words, this remarkable collection of stories is unlike anything else you’ve read.

A stunning work of memoir and an unforgettable depiction of the brilliance and madness by one of Surrealism's most compelling figures In 1937 Leonora Carrington—later to become one of the twentieth century’s great painters of the weird, the alarming, and the wild—was a nineteen-year-old art student in London, beautiful and unapologetically rebellious. At a dinner party, she met the artist Max Ernst. The two fell in love and soon departed to live and paint together in a farmhouse in Provence. In 1940, the invading German army arrested Ernst and sent him to a concentration camp. Carrington suffered a psychotic break. She wept for hours. Her stomach became “the mirror of the earth”—of all worlds in a hostile universe—and she tried to purify the evil by compulsively vomiting. As the Germans neared the south of France, a friend persuaded Carrington to flee to Spain. Facing the approach “of robots, of thoughtless, fleshless beings,” she packed a suitcase that bore on a brass plate the word Revelation. This was only the beginning of a journey into madness that was to end with Carrington confined in a mental institution, overwhelmed not only by her own terrible imaginings but by her doctor’s sadistic course of treatment. In Down Below she describes her ordeal—in which the agonizing and the marvelous were equally combined—with a startling, almost impersonal precision and without a trace of self-pity. Like Daniel Paul Schreber’s Memoirs of My Nervous Illness, Down Below brings the hallucinatory logic of madness home.

Mitra and her brother Babak are exiled royals living on the streets as orphaned beggars. Babak possesses a strange gift of being able to know someone's dreams, and soon they find themselves on the road to Bethlehem in this biblical epic.