The Classical Weekly


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Walt and Skeezix: Book Four


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THE LONG-AWAITED NEW VOLUME FROM THE CRITICALLY ACCLAIMED ARCHIVAL COLLECTION OF FRANK KING'S CLASSIC STRIP In this fourth volume of Walt and Skeezix, the newly married Walt Wallet settles into domestic life with his wife, Phyllis, and their adopted son, Skeezix, but their family bliss is soon disrupted by a man who claims to be Skeezix's natural father. A long custody battle erupts, raising questions as to the importance of blood ties compared with a loving environment. Later, Walt and Phyllis have to deal with all the dilemmas of a young couple's life as their family starts to unexpectedly expand. This is the very stuff of life—paying the bills, nursing a sick child, finding the right job while spending quality time with family—expertly explored with cartoonist Frank King's unerring fidelity to reality. In unfolding the drama of the Wallet family's life, King displays his full mastery of long and complex narratives, which made his work a forerunner to the modern graphic novel. In his introduction to the series, Jeet Heer explores King's storytelling prowess and links the concerns of the strip with changes in American culture in the 1920s. Lavishly illustrated with King's family photos, the book is designed by Chris Ware, whose elegant and detail-rich books have revolutionized the graphic novel field.




Southern Cooking


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The Publisher and Bookseller


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Official organ of the book trade of the United Kingdom.




The Texas Outlook


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Louis Comfort Tiffany and Laurelton Hall


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Laurelton Hall, Louis Comfort Tiffany's (American, 1848-1933) extraordinary country estate in Oyster Bay, New York, completed in 1905, was the epitome of Tiffany's achievement and in many ways defined this multifaceted artist. Tiffany designed every aspect of the project inside and out, creating a total aesthetic environment. This publication accompanies an exhibition that reveals Tiffany's most personal art, bringing into focus this remarkable artist who lavished as much care and creativity on the design and furnishing of his home and gardens as he did on all the wide-ranging media in which he worked. Although the house tragically burned to the ground in 1957, many of its surviving architectural elements and interior characteristics are included in this volume. Also featured are Tiffany's personal collections of his own work-breathtaking stained-glass windows, paintings, glass and ceramic vases-as well as the artist's collections of Japanese, Chinese, and Native American works of art. -- Metropolitan Museum of Art website.




The New Cambridge Bibliography of English Literature: Volume 2, 1660-1800


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More than fifty specialists have contributed to this new edition of volume 2 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.




All Music Guide to Country


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Reviews and rates the best recordings of country artists and groups, provides biographies of the artists, and charts the evolution of country music




Voicing the Cinema


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Theorists of the soundtrack have helped us understand how the voice and music in the cinema impact a spectator's experience. James Buhler and Hannah Lewis edit in-depth essays from many of film music's most influential scholars in order to explore fascinating issues around vococentrism, the voice in cinema, and music’s role in the integrated soundtrack. The collection is divided into four sections. The first explores historical approaches to technology in the silent film, French cinema during the transition era, the films of the so-called New Hollywood, and the post-production sound business. The second investigates the practice of the singing voice in diverse repertories such as Bergman's films, Eighties teen films, and girls' voices in Brave and Frozen. The third considers the auteuristic voice of the soundtrack in works by Kurosawa, Weir, and others. A last section on narrative and vococentrism moves from The Martian and horror film to the importance of background music and the state of the soundtrack at the end of vococentrism. Contributors: Julie Brown, James Buhler, Marcia Citron, Eric Dienstfrey, Erik Heine, Julie Hubbert, Hannah Lewis, Brooke McCorkle, Cari McDonnell, David Neumeyer, Nathan Platte, Katie Quanz, Jeff Smith, Janet Staiger, and Robynn Stilwell