Adam Bruce Thomson (1885-1976) was one of the most quietly impactful artists of his generation. Born in Edinburgh, he was among the earliest intake of students to train at the newly established Edinburgh College of Art. He went on to have a long-running teaching career at the College, supporting and encouraging successive cohorts. In his own practice, Thomson worked across a range of media, producing etchings, drawings, watercolours and oil paintings. A committed member of several artist-led societies, he exhibited widely and was well-respected by his peers. To date, however, his contribution to twentieth-century Scottish art remains largely unexplored.Adam Bruce Thomson: The Quiet Path celebrates the achievements of this talented yet modest figure. It provides an in-depth account of his life and career, charting his creative development and examining his role as a teacher, mentor and friend to other artists. The book is fully illustrated, and draws from previously unseen archival material. It accompanies a major exhibition at Edinburgh’s City Art Centre in 2024.

Augustus John & the First Crisis of Brilliance tells the story of a remarkable generation and its artistic achievements. Accompanying Piano Nobile’s exhibition of the same title, the publication explores the artistic networks around Augustus John before the First World War. John was closely acquainted with many of his highly talented contemporaries and this publication considers his relationship to Jacob Epstein, James Dickson Innes, Gwen John, Henry Lamb, Derwent Lees, Wyndham Lewis and William Orpen. The publication includes an introductory essay by Dr David Boyd Haycock discussing Augustus John and the notion of genius. A selection of over forty paintings, drawings and sculptures illuminates some of the key themes at play in John’s milieu, and each work is accompanied by thoroughly researched catalogue entries by Dr Haycock. Themes and subjects include friendship and family portraits, the muses Dorelia McNeill and Euphemia Lamb, and the landscapes of Wales, Provence and Ireland.

Why did Axis countries go to war against America? Given America’s industrial base, what was the rationale that underpinned their decision? This new analysis by a seasoned intelligence officer, based mainly on German, Italian, and Japanese sources, offers a “red team exercise,” taking the viewpoint of the leaders of the Axis powers, looking at the build up to their war against America, and the course of the war itself. It identifies the moments when their leaders realized America and its American-supplied Allies were going to beat them.It covers Japanese thinking about America and its other strategic rivals from the time of the Russo-Japanese war, because the Imperial Japanese Navy picked the US Navy as its notional enemy in 1907. It devotes serious attention to Japan’s war in China, because its inability to beat the Nationalists was the reason the Japanese made decisions that led to war against the United States. Ironically, fear of bombing from bases in China completely hijacked strategic decision-making on China and drove all Japanese offensive late in the war.The coverage of Germany starts with Hitler’s early views of America in the 1920s. Hitler put so little thought into declaring war that the High Command had not been treating America as an enemy and had little intelligence on which to assess its war policy. The main new sources are OSS reports and memos from MI-6 Chief “C” to the Foreign Office. MAGIC also contains intercepted cable from the Japanese missions in Europe, including meetings with Hitler. The coverage of Italy is largely derivative of its relationship with Germany, as was the reality. Italian Foreign Minister Count Galeazzo Ciano de Cortelazzo foresaw a massive conflict that would ruin Italy, but Mussolini in the end called the shots. Fortunately, the Germans had Ciano’s diary translated onto German, which survived destruction thanks to a secretary who buried it rather than burn it as ordered, so preserving a great source inside the Italian leadership and inter-Axis relations.

Evocative photographs and essay illuminate early American gravestones. Gravestones are colonial America's earliest sculpture and they provide a unique physical link to the European people who settled here. Carved in Stone book is an elegant collection of over 80 fine duotone photographs, each a personal meditation on an old stone carving, and on New England's past, where these stones tell stories about death at sea, epidemics such as small pox, the loss of children, and a grim view of the afterlife. The essay is a graceful narrative that explores a long personal involvement with the stones and their placement in New England landscape, and attempts to trace the curious and imperfectly documented story of carvers. Brief quotes from early New England writers accompany the images, and captions provide basic information about each stone. These meditative portraits present an intimate view of figures from New England graveyards and will be enjoyed by anyone with an interest in early Americana and fine art photography.

A new whole-life biography of Custer that deals with his personal history as well as his military career.The reader is introduced to a little-known side of Custer—a deeply personal side. George Custer grew up in an expanding young country and his early influences mirrored the times. Two aspects of this era dominate most works about him: the Civil War, and the war with the Indians, culminating in his death at the Battle of the Little Bighorn. When mentioned, if at all, his early life and years as a cadet at West Point are brief, and then only enough to set some background for discussion of the mystery of the Little Bighorn. This is the first Custer biography to focus on these lesser-known parts of his life in great detail.The approach uses all of Custer’s known writings: letters; magazine articles; his book, My Life on the Plains; and his unfinished memoirs of the Civil War; along with materials and books by his wife, Elizabeth Custer; and reflections of others who knew him well.The five chapters are Early Life (growing up and as a West Point cadet), The Civil War, The Indian Fighter, The Little Bighorn, and Conclusion. The theme of the book is not so much new historical information but the depth of his character development and lesser-known influences of his life. Custer draws together these elements in a succinct and accessible read.The book also includes illustrations (primarily from Harper’s Weekly) and photos, such as Matthew Brady’s Civil War collection, to accompany the text.

Harold Harvey, a true ‘son of Cornwall’, has been one of the most under-rated and least written about members of the Newlyn ‘School’ of artists which flourished from 1880 to 1930. The son of a bank manager, he grew up in Penance, and after studying under Norman Garstin and a spell in Paris, he settled to a quiet life in Newlyn with fellow-artist Gertrude, painting The Cornwall he knowS from the inside.In his introductory essay, Professor Kenneth McConkey sets Harvey in the context of the art moments of the time, and shows how his early ‘genre’ paintings of rustic and marine life, so characteristic of the early Newlyn artists, gradually gave way to more sophisticated subject matter – Harvey was noted for his sumptuous interiors – and a flatter and more decorative style of painting. His early work might be compared with that of Stanhope Forbes, while his later paintings show clear affinities with those of fellow painters such as Laura Knight and Dod Procter.Professor McConkey’s essay complements the first significant ‘life’ of Harold Harvey, researched and written by Peter Risdon and Pauline Sheppard, which is in turn illuminated by Peter Risdon’s painstakingly compiled catalogue raisonne of over 600 paintings.Harvey’s painting output was prodigious, and this book includes approximately 100 illustrations of his favoured subjects: the Cornish at work, children at play, and intimate interior scenes and conversation pieces. Many of his contemporaries in Newlyn were visiting ‘observers’, but for Harold Harvey, who rarely went outside the county even though a regular exhibitor at the Royal Academy, painting the Cornish world ‘because it was there’ was his whole life.

Winner of the 2023 Publishing Triangle Audre Lorde Award for Lesbian PoetryA trailblazing lesbian poet, child Holocaust survivor, and political activist whose work is deeply informed by socialist values, Irena Klepfisz is a vital and individual American voice. This book is the first complete collection of her work. For fifty years, Klepfisz has written powerful, searching poems about relatives murdered during the war, recent immigrants, a lost Yiddish writer, a Palestinian boy in Gaza, and various people in her life. In her introduction to Klepfisz's A Few Words in the Mother Tongue, Adrienne Rich wrote: "[Klepfisz's] sense of phrase, of line, of the shift of tone, is almost flawless." Her Birth and Later Years was a Finalist for the Jewish Book Award and winner of the Audre Lorde Award for Lesbian Poetry.

"[Hillman's] work is fierce but loving, risk-taking, and beautiful." — Harvard Review An iconoclastic ecopoet who has led the way for many young and emerging artists, Brenda Hillman continues to re-cast innovative poetic forms as instruments for tracking human and non-human experiences. At times the poet deploys short dialogues, meditations or trance techniques as means of rendering inner states; other times she uses narrative, documentary or scientific materials to record daily events during a time of pandemic, planetary crisis, political and racial turmoil. Hillman proposes that poetry offers courage even in times of existential peril; her work represents what is most necessary and fresh in American poetry. During an enchantment in the life Do you love a living person absolutely? Tell them now.In a half-unwieldy life you made, underthe hyaline sky, while the dead drank from zigzag pools nearby,if they saved you in your wild incapacities, in timing of the world's harmin a little pettiness in your own heart while others took your madrigals in shreds to a tribunal, when others said you should feel grateful to be minimally adequate for the world'striple exposure or some tired committee... The ones who love us, how do theybreak through our defenses? We're tired today. Come back later.Their baffled voices melting our wax wallswith a candle, the ones who understandwhat being is—the glowing, the broken, the wheels, the brave ones— they have their courage,you have yours,,,; when you meet the one you love,it is so rare. When you meetthe one who loves you, it is extremely rare.

Incantation and elegy shine through one another in this extraordinary poetic memoirWhen poet Danielle Vogel began writing meditations on the syntax of earthen and astral light, she had no idea that her mother's tragic death would eclipse the writing of that book, turning her attention to grief's syntax and quiet fields of cellular light in the form of memory. Written in elegant, crystalline prose poems, A Library of Light is a memoir that begins and ends in an incantatory space, one in which light speaks. At the book's center glows a more localized light: the voice of the poet as she reflects, with ceremonial patience, on the bioluminescence of the human body, language's relationship to lineage, her mother's journals written during years of estrangement from her daughter, and the healing potential of poetry. A mesmerizing elegy infused with studies of epigenetic theory and biophotonics, A Library of Light shows that to language is to take part in transmission, transmutation of energy, and sonic (re)patterning of biological light.[sample poem]When we are. When we are there, we lay togetherand cover ourselves with our voices. When we areten, we are also twenty-one. We speak of breathing,but this is a thing we cannot do. When we areseven, we are also eighteen. When we are eighteen,we begin our bodies. But we are unmappable,unhinged. A resynchronization of codes, thecrystalline frequencies of stars, seeds, vowels, lyingdormant within you. We are the oldest dialect. Asound the voice cannot make but makes.

The definitive guide to a major African American poet. This volume promises to be the definitive guide to Calvin C. Hernton's unparalleled poetic career, re-introducing readers to a major voice in American poetry. Hernton was a cofounder of the Umbra Poets Workshop; a participant in the Black Arts Movement, R. D. Laing's Kingsley Hall, and the Antiuniversity of London; and a teacher at Oberlin College who counted amongst his friends bell hooks, Toni Morrison, and Odetta. As a pioneer in the field of Black Studies, Hernton developed a theoretical and practical pedagogy with lasting impact on generations of students. He may be best known as an anti-sexist sociologist, following in the footsteps of W.E.B. Du Bois, but Hernton viewed himself, above all, as a poet. This volume includes a generous selection of Hernton's previously published poems, from classics like the often anthologized "The Distant Drum" to the visionary epic The Coming of Chronos to the House of Nightsong, reprinted in full for the first time since 1964, alongside uncollected and unpublished material from the Calvin C. Hernton papers at Ohio University, a new critical introduction, and detailed notes, chronology, and bibliography. [sample poem] The Distant Drum I am not a metaphor or symbol.This you hear is not the wind in the trees.Nor a cat being maimed in the street.I am being maimed in the streetIt is I who weep, laugh, feel pain or joy.Speak this because I exist.This is my voiceThese words are my words, my mouthSpeaks them, my hand writes.I am a poet.It is my fist you hear beatingAgainst your ear.

A Black poet performs a shamanic soul retrieval of the seven-hundred-year-old diasporic Black arts traditionContinuing her search for a neotropical mythos in this brilliant second collection, poet fahima ife articulates various scenes of subduction. Spoken in quiet recognition and grounded in desire, Septet for the Luminous Ones imagines a lush soundscape textured in oblique spiritual fusion of the Taíno and Yoruba. Or, what it sounded like coming together for the first time, and what it sounds like ever after, breathless, diaspora calling. Similar to the incidents in Maroon Choreography, what resounds in these poems is an ecstatic love song of the Caribbean Americas, of the main lands and islands, shaped and reshaped as breathwork, ritual, communion, and fantasy. In essence, the collection speaks to raise the vibrational frequencies of all beings on Earth through a pulse of Black English.[sample poem]preface to a twenty-volume spiritual ascentneoromanticismthe seven players, and our consortsi am like a radio, channel of my own

First critical biography of this visionary artist written by a dance scholar.Simone Forti, groundbreaking improvisor, has spent a lifetime weaving together the movement of her mind with the movement of her body to create a unique oeuvre situated at the intersection of dancing and art practices. Her seminal Dance Constructions from the 1960s crafted a new approach to dance composition and helped inspire the investigations of Judson Dance Theater. In the 1970s, Forti's explorations of animal movements expanded that legacy to launch improvisation as a valuable artform in its own right. From her early forays into vocal accompaniment to her News Animations, Forti has long integrated gesture and text into compelling performances that consistently stretched the boundaries of dance to layer abstract movement with story-telling and political commentary. Her "Land Portraits" series brought an immersive ecological experience to New York City stages in the 1980s, and she is a beloved teacher and mentor whose Body, Mind, World workshops have inspired dancers around the world. In this beautifully written book, author Ann Cooper Albright braids archival research, extensive interviews, and detailed movement analyses of Forti's performances to provide the first kinesthetically-informed and critically-nuanced history of Forti's multifaceted and extensive career.

The definitive edition of the complete work of a master Caribbean poet The Complete Poetry of Aimé Césaire gathers all of Cesaire's celebrated verse into one bilingual edition. The French portion is comprised of newly established first editions of Césaire's poetic ouvre made available in French in 2014 under the title Poésie, Théâtre, Essais et Discours, edited by A. J. Arnold and an international team of specialists. To prepare the English translations, the translators started afresh from this French edition. Included here are translations of first editions of the poet's early work, prior to political interventions in the texts after 1955, revealing a new understanding of Cesaire's aesthetic and political trajectory. A truly comprehensive picture of Cesaire's poetry and poetics is made possible thanks to a thorough set of notes covering variants, historical and cultural references, and recurring figures and structures, a scholarly introduction and a glossary. This book provides a new cornerstone for readers and scholars in 20th century poetry, African diasporic literature, and postcolonial studies.

Dan Butterfield played a pivotal role during the Civil War. He led troops in the field at the brigade, division, and corps level, wrote the 1862 Army field manual, composed “Taps,” and served as the chief of staff for Joe Hooker in the Army of the Potomac. He introduced a custom that remains in the U. S. Army today: the use of distinctive hat or shoulder patches to denote the unit to which a soldier belongs and was a Medal of Honor winner. Butterfield was also controversial, not well-liked, and tainted by politics. Award-winning author James S. Pula unspools fact from fiction to offer the first detailed and long overdue treatment of the man and the officer in Major General Daniel Butterfield: A Civil War Biography.Butterfield was born into a wealthy New York family whose father co-founded American Express. He was one of the war’s early volunteers, fought at First Bull Run, and made an important contribution with his Camp and Outpost Duty for Infantry (1862). He gained praise leading a brigade on the Virginia Peninsula and was wounded at Gaines’ Mill, where his heroism would earn him the Medal of Honor in 1892. It was in the solemnity of camp following the Seven Days’ Battles that he gained lasting fame for composing “Taps.” When its commander when missing, Butterfield took command of a division at Second Bull Run and did so with steadiness and intelligence. His abilities bumped him up to lead the Fifth Corps during the bloodbath at Fredericksburg, where he was charged with managing the dangerous withdrawal across the Rappahannock.Shocked and hurt when he was supplanted as the head of the Fifth Corps, he received a “second chance” when General Hooker named him chief of staff of the Army of the Potomac. In this capacity he was largely responsible for innovations such as the use of insignia to identify each corps—which he designed himself—the streamlining of the supply system, and the improvement of communications between commands. He played a pivotal role during the Chancellorsville and Gettysburg campaigns in managing logistics, communications, and movements, only to be discarded while home recuperating from a Gettysburg wound. Politics, questionable morals, and his testimony before the Committee on the Conduct of the War tainted his star. When Hooker was sent west Butterfield went along as chief of staff, earning positive comments from Hooker and Gens. George Thomas, William Tecumseh Sherman, and U. S. Grant. He led a division in the XX Corps during the Atlanta Campaign with conspicuous ability at Resaca before a recurring illness forced him from the field. Pula’s absorbing prose, meticulous research into primary source material, and even-handed treatment of this important Civil War figure will be welcomed by historians and casual readers alike. Major General Daniel Butterfield: A Civil War Biography is a study long-overdue.

This book investigates ancient Egyptian imperialism in Syria and the origin of the Aarna diplomacy at the time of the 8th Dynasty, during the earliest phase of globalization in world history, the Late Bronze Age, by addressing theories and debates in the fields of Global History, International Relations, and political science, and with the inclusion of comparisons from Classics as well as modern and contemporary history. Contrary to Egyptological consensus, this book argues, that the primacy of the Levantine cities in international relations, diplomacy, and global networks prevented the creation of an Egyptian empire in the northern Levant, and forced the pharaonic monarchy to participate in a diplomatic system of foreign origin. Therefore, this study offers an Egyptological perspective on the problematic nexus between imperialism and globalization and argues that Late Bronze Age globalization imposed limits on the imperialism that manifested in Egypt with the Amarna diplomacy.

The second part of the monograph on the results of the archaeological research of Werkaureś mastaba (AC 26) and its surroundings in central Abusir focuses on the context dating back to the First Intermediate Period the Middle Kingdom, the New Kingdom and the first millenium BC. The focus of the work is on analyses concerning the secondary burial that developed in the area of tomb AC 26and adjacent tombs of AC 32 during the Third Intermediate Period and the Late Period. A large number of finds and ecofacts were discovered and are comprehensively discussed in this multidisciplinary publication of eight chapters. Along with archaeological and anthropological analyses, analyses of collected samples, using palynological, botanical, zoological, xylotomic, and entomological methods are an importand part of the monograph. The publication presents conclusions concerning the development of the Abusir necropolis after the end of the Old Kingdom Period.