A chapbook of love poems from Pulitzer Prize winner Yusef Komunyakaa/>/>I Said That Love Heals From Inside: Love Poems is a small treasure featuring five decades of love poems by Pulitzer Prize winning poet Yusef Komunyakaa. Komunyakaa is a poet whose work aches with a longing that is rarely easily resolved but rather burns fiercely in each line. Every poem in this collection longs for life, for passion, for a different history, a past long lost, and ultimately to love and to be loved. This selection of poems captures a broad understanding of the love poetry category–there is love and the lack of it everywhere: in the bedroom and on the basketball court in the Jazz club and on the battlefield. As Komunyakaa writes, "Hard love, it's hard love."

This publication – Current Approaches to Roman Frontiers – is the first volume of the LIMES XXV’s congress proceedings arranged around the original sessions, in order to form coherent thematical collections that make the vast output more accessible to generalists and specialists alike. This volume starts with a recap of the congress. Regarding the themes it deals with a contemporary feminist approach; new digital methodologies and computational modelling; three themes on archaeological heritage management dealing inter alia with preservation, protection, citizen science and World Heritage aspects, and a comparison between the Roman Limes and the Great Wall of China. It ends with an overview of the sessions and lectures of the congress in Nijmegen.Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

This publication – Living and Dying on the Roman Frontiers and Beyond – is the third volume of the LIMES XXV’s congress proceedings and deals with a variety of themes, including the iconography of victory; aspects of frontier societies; mobility and the place of children; funerary archaeology; the significance of Roman imports beyond the frontiers. The proceedings are mostly arranged around the original sessions, creating coherent thematical collections that make the vast output more accessible to generalists and specialists alike.Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

This publication – Strategy and Structures along the Roman Frontiers – is the second volume of the LIMES XXV’s congress proceedings and deals with the following themes: Roman military activities during the Republic; the early frontier formation processes and tribal reshuffling; new insights in the installations of the Roman armies; an odyssey along different Limes regions; the collapse of Roman frontiers; the afterlife of frontier fortifications. The proceedings are all arranged around the original sessions, creating coherent thematical collections that make the vast output more accessible to generalists and specialists alike.Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

This publication – Supplying the Roman Empire – is the fourth volume of the LIMES XXV’s congress proceedings and deals with various aspects of the supply and provisioning of the Roman empire, and the role of the Roman armies housed on its fringes herein. The result is a wide-ranging collection of papers dealing with topics such as: finds of organic material; riverine and maritime supply and security; militarily controlled mining; building material procurement and processing; agro-political schemes and water management; military material culture. The proceedings are all arranged around the original sessions, trying to create coherent thematical collections that make the vast output more accessible to generalists and specialists alike. Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

The book offers a comprehensive anthropological study of lived Christianity in Jerusalem’s Old City, with a special focus on the Church of the Holy Sepulchre or the Church of the Anastasis. Based on in-depth ethnographic fieldwork, the study explores the experiences of the Rum Orthodox community, examining their internal dynamics and relationships with other Christian groups. Within the Church of the Anastasis, complex interplays emerge, as fragile legal agreements intermingle with ethnic and theological considerations, resulting in a complex reality of shared spaces and coexistence. A materialist lens is employed to study these dynamics, suggesting that the material aspects of religious practices play a crucial role in shaping borders and influencing perceptions of similarities and differences across them. Outside the Church's confines, in the Old City of Jerusalem, lay Christians, especially the local Palestinian Orthodox, engage in 'border-crossing practices', which often deviate from the Orthodox Church's approved practice. These practices reflect the flexible strategies local Christians adopt in their everyday lives in Israel, challenging established norms and boundaries. By capturing these dynamics, the book provides valuable insights into shared sacred spaces and offers a significant contribution to debates in the anthropology of Christianity and its material culture.

During the Vietnam war 3500 officers and men served in the Swift Boat program in a fleet of 130 boats with no armor plating. The boats patrolled the coast and rivers of South Vietnam, with the average age of the crew being twenty-four. Their days consisted of deadly combat, intense lightning firefights, storms and many hidden dangers. This action-packed story of combat written by Dan Daly, a Vietnam combat veteran who was the Officer in Charge of PCF 76 makes you part of the Swift Boat crew. The six man crew of PCF 76 were volunteers from all over the United States, eager to serve their country in a unique type of duty not seen since the PT boats of WWII. This inexperienced and disparate group of men would meld into a combat team - a team that formed an unbreakable, lifelong bond.After training they were plunged into a 12-month tour of duty. Combat took place in the closest confines imaginable, where the enemy were hidden behind a passing sand dune or a single sniper could be concealed in an onshore bunker. In many cases the rivers became so narrow there was barely room to maneuver or turn around. The only way out might be into a deadly ambush.Dan Daly received his naval commission after graduation from Harvard College. After 18 months on a Navy destroyer, he volunteered for Swift Boat duty. After training, he and his crew served 12 months in Vietnam, 1967–68. He later founded several consulting firms and lives on Cape Cod with his family.

The date of the Cerne Giant has long been a matter for debate, as exemplified by a public and televised debate of March 1996, published as The Cerne Giant: An Antiquity on Trial (1999, Oxbow Books). Excavations were conducted in 2020 by the National Trust in the centenary year of its ownership of the Giant. The excavations were limited and targeted in extent and scope, the aim was to date the actual construction of the iconic figure by absolute dating methods (OSL). As the 1999 publication explained, the jury was still out – with advocates for a prehistoric origin, one connected to the period of the Civil War or a more modern one. In the event, the dates were a complete surprise, falling within the Anglo-Saxon period.The research has provided an accurate, scientifically verified date for the Cerne Giant. These unexpected results, together with the land-use history and ominous ‘disappearance’ of the Giant for six centuries, provide the platform for reconsideration and new discussion and debate.Part 1 deals with new research: the historical background and aims, the excavation results, stratigraphic finds, geoarchaeological interpretation, land-use history (environmental/land snails), and discussion. Part 2 is the wider discussion and implications derived from the results and places the Giant in his local and Saxon context. Part 3 begins with summaries of the other two excavated hill figures (the Long Man of Wilmington and the Uffington White Horse) followed by a series of essays from leading archaeologists, historians and experts in early medieval iconography.

This bold catalogue brings together the work of two cultural icons for the very first time: Beryl Cook (1926–2008) and Tom of Finland (1920–1991). It was inspired by the 2024 exhibition Beryl Cook / Tom of Finland at Studio Voltaire in London. Beryl Cook was a painter renowned for her exuberant style and descriptions of everyday life. Her work captures the social milieu of the areas she lived in and visited, notably Plymouth. Her most enduring images are of larger-than-life women carousing in nightclubs, eating in cafés or enjoying ribald hen parties, rendered in graphic and colourful forms. Cook’s work came to prominence in the mid-1970s and she quickly became known as one of Britain’s best-loved artists, highly recognised for her distinctive works, which are both celebratory and provocative. Tom of Finland’s pioneering depictions of homosexual machismo in his images of bikers, soldiers, cowboys, sailors and labourers broadly represent queer, leather and muscle communities. A master draughtsman, he used his works to give form to an imaginative universe that, in turn, helped fuel real-world liberation movements and had significant influence on a wide range of cultural figures including the Village People, Freddie Mercury, Jean Paul Gaultier and Robert Mapplethorpe. Beryl Cook / Tom of Finland puts their work into conversation for the first time. The pairing is perhaps unexpected, yet immediate and compelling relationships between their practices are evident. Fundamentally, both artists employed a sustained and coherent way of hyper-realising the body in images that celebrate pleasure and deny shame. Together, their works reveal interconnected ideas surrounding sexuality, gender, taste and class. Artist and writer Huw Lemmey has contributed an incisive new essay exploring the queer contexts inherent to Tom of Finland’s work, but that also finds latent resonance in Cook’s paintings of gay bars and shapely women. He further considers the commercial forms of distribution that made their complex bodies of works highly accessible. Spanning five decades of paintings, drawings and archival materials, this companion catalogue contributes to new readings of the artists’ practices and their enduring impact on popular culture.

Portrait miniatures were highly prized in Europe for nearly four hundred years and, unusually, artists based in Britain were the acknowledged masters of this specialised field. Many of the best painters are represented in this remarkable but relatively little-known collection. As is illustrated and described in this book, miniatures were frequently made as tokens of love or memorials of loved ones; part-likeness, part reliquary and part-jewel, they might be wearable in a locket, on a bracelet or even on a finger ring, but their portability also made them desirable as gifts. Styles, techniques and modes of presentation naturally evolved between 1560 (the date of the first miniature in the catalogue) and around 1900. Some changes happened rapidly; in England, for example, the foundation of exhibiting societies in 1760s created a demand for larger miniatures that could hang on the wall alongside full-sized portraits. The Thomson collection includes fine examples of the work of Nicholas Hilliard (from the Elizabethan period) and John Smart (from the eighteenth century) as well as notable portraits by less familiar names such as Jacob Van Doordt and James Scouler. It is apparent from the scope and character of his acquisitions that Ken Thomson never planned an encyclopaedic collection. Reacting to miniatures that spoke most eloquently to him when held in the hand, or examined under a glass, he developed over time a fondness for particular artists and had no qualms about omitting others altogether. Using this collection housed at the Art Gallery of Ontario as a case study, the catalogue discusses the function of miniatures, their material presence, the circumstances in which they were made and aspects of their later history. The homes and studios of the most successful painters, as sumptuous as those occupied by oil painters, often passed from one generation to another: here, one key property in Covent Garden is described and illustrated. In this book, for the first time, a number of specialist artists’ suppliers are identified, showing where ivory could be obtained and enamel plates prepared and fired. The links between enamelling for clock and watch faces and enamelling for miniatures are demonstrated. The illicit practice within the late nineteenth and early twentieth century art trade of duplicating old miniatures, a topic generally avoided in the literature, is addressed here. Miniatures are difficult to display in museums, but recently-developed photographic methods of identifying pigments are also proving to be a way of introducing a new audience to this multi-layered subject. Eighteen years after Ken Thomson’s death, there could not be a more opportune moment to highlight his collection.

Herry Perry (1897-1962) is an important, but neglected, artist of the 1920s-50s. The book brings together all aspects of her art for the first time. She studied at the Central School of Arts and Crafts (now Central Saint Martins) from 1924-7 and was taught wood engraving there by Noel Rooke. Her first love was wood engraving but she quickly moved on to use the wide range of other skills she acquired at the Central. Her best known work is the posters she designed for Frank Pick at London Transport from 1927-38. She produced some sixty witty and inventive posters during this time. Some of these included birds-eye view maps of areas of London. She was also commissioned to paint murals, most famously two on R.M.S. Queen Mary in 1936, and also a map mural for Rothamsted Research Station in 1932 (which can still be seen there). She also illustrated various books, some of which were written by her. The text and illustrations often show her sense of humour. The Second World War and the death of Frank Pick in 1941 put an end to her poster work. After the War she painted a large number of pub signs for various London and Kent breweries.

In this engaging book we see how an 18-year-old miner shoveling ore from deep in the ground in Utah suddenly found himself, only two years later, 30,000 feet in the air over Nazi Germany, piloting a Flying Fortress in the first wave of America’s air counteroffensive in Europe.Like thousands of other young Americans, Ray Brim was plucked by the U.S. Army to be a combat flyer, and was quickly pitted against the hardened veterans of the Luftwaffe. Brim turned out to have a natural knack for flying, however, and was assigned to the select squadron developing lead Pathfinder techniques, while experimenting with radar. He was among the first to test the teeth of the Luftwaffe’s defenses, and once those techniques had been honed, thousands of other bomber crews would follow into the maelstrom, from which 80,000 never returned.This work gives us vivid insights into the genesis of the American air campaign, told with the humor, attention to detail and humility that captures the heart and soul of our “Greatest Generation.” Brim was one of the first Pathfinder pilots to fly both day and night missions leading bomb groups of 600-plus bombers to their targets. At the onset of his missions in the spring of 1943, B-17 crews were given a 50-50 chance of returning. Each of his raids were nerve-wracking forays into the unknown; with struggles to survive the damage to his plane due to flak and German fighter attacks, in order to bring his 10-man crew home, often wounded but still alive.

In sports, not all the long shots who succeed are athletes. In 1984, Tom Hammond, a forty-year-old sportscaster who had primarily worked in Kentucky and the Southeast, got an unlikely opportunity to appear on the NBC Sports telecast of the inaugural Breeders' Cup. Assigned to report from the stall area on what was supposed to be a single broadcast, Hammond performed so well that an NBC executive offered him a chance to call NFL games on the spot. That broadcast launched Hammond's thirty-four-year career with NBC Sports and his rise to the top levels of American television sportscasting. Along with cowriter Mark Story, Hammond pulls back the curtain on how a Kentucky native who started out reading horse racing results on Lexington radio went on to broadcast from thirteen Olympic Games.While covering Thoroughbred racing for NBC, Hammond broadcast sixteen Kentucky Derby and Preakness Stakes races and eleven runnings of the Belmont Stakes, including American Pharoah's historic 2015 Triple Crown victory. Hammond offers glimpses into his time as the play-by-play voice for Notre Dame football, calling NBA and NFL games, and his long-running stint announcing Southeastern Conference men's basketball for the league's syndicated TV package. Races, Games, and Olympic Dreams is an intimate and gripping look at Hammond's experiences, including his coverage of Olympic track and field, figure skating, speed skating, ice dancing, diving, and basketball events. Hammond worked with broadcasting luminaries such as Dick Enberg, Bob Costas, Cris Collinsworth, and Bill Walton, and encountered world-class athletes like Allyson Felix, Michael Jordan, Sarah Hughes, and Peyton Manning. Although his career has spanned the nation and the world, Hammond's roots have always remained firmly planted in the Bluegrass State.