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Olive & Thyme
Davies is a well-known and respected Los Angeles chef with high visibility in her two restaurants.The title comes from Davies' restaurant, Olive & Thyme, which is a L.A. café/wine bar beloved by everyone from movie stars and studio chiefs to set decorators and production assistantsRich photography by Ann Elliott CuttingCover design and photography draws in potential readers by featuring enticing and stunningly-plated dishesAuthor has connections to Nancy Silverton, Matt Molina, Jet Tila, Keanu Reeves, Joanna Swisher, Vinny Shook, Melissa McCarthy, Gino Angelini, Curtis Stone, Lauren Conrad, Connie Britton, Phil Rosenthal, Paul Feig, Reese, Goop, Jennifer Garner, Haylie & Hilary Duff and other influential voices who are willing to promote the book through writing blurbs and social media promotions
All Sail Set
When his father loses his fortune, a boy is taken on by a famous shipbuilder and takes a record-breaking trip around Cape Horn on the famous Flying Cloud. A realistic and riveting old-fashioned yarn, winner of a Newbery Honor for young readers in 1936.
A History of Economic Thought
<P>Study of the grand ideas in economics has a perpetual intellectual fascination in it's own right. It can also have practical relevance, as the global economic downturn that began in 2007 reminds us. For several decades, the economics establishment had been dismissive of Keynesianism, arguing that the world had moved beyond the «depression economics» with which it dealt. Keynesian economics, however, has now staged a comeback as governments attempt to formulate policy responses to the Great Recession of the first decade of the twenty-first century.</P><P>Many of the issues that faced economists in the past are still with us. The theories and methods of such men as Adam Smith, T. R. Malthus, David Ricardo, J.S. Mill, Karl Marx, Alfred Marshall, and J. M. Keynes are often relevant to us today—and we can always learn from their mistakes.</P><P>In his stimulating analysis Professor Barber assesses the thought of a number of important economists both in terms of the issues of their day and in relation to modern economic thought. By concentrating on the greatest exponents he highlights the central properties of the four main schools of economic thought –; classical, Marxian, neo-classical, and Keynesian –; and shows that although each of these traditions is rooted in a different stage of economic development, they can all provide insights into the recurring problems of modern economics.</P>
Poems, 1957–1967
<P>This volume represents, under one cover, the major work of the man whom critics and readers have designated the authentic poet of his American generation. For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. He has added more than a score of new poems –; in effect, a new book in themselves –; that have not previously been published in volume form.</P><P>Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winner Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word «great» be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey.</P>
A Splurch in the Kisser
<P>With one of the longest and most controversial careers in Hollywood history, Blake Edwards is a phoenix of movie directors, full of hubris, ambition, and raving comic chutzpah. His rambunctious filmography remains an artistic force on par with Hollywood's greatest comic directors: Lubitsch, Sturges, Wilder. Like Wilder, Edwards's propensity for hilarity is double-helixed with pain, and in films like Breakfast at Tiffany's, Days of Wine and Roses, and even The Pink Panther, we can hear him off-screen, laughing in the dark. And yet, despite those enormous successes, he was at one time considered a Hollywood villain. After his marriage to Julie Andrews, Edwards's Darling Lili nearly sunk the both of them and brought Paramount Studios to its knees. Almost overnight, Blake became an industry pariah, which ironically fortified his sense of satire, as he simultaneously fought the Hollywood tide and rode it. Employing keen visual analysis, meticulous research, and troves of interviews and production files, Sam Wasson delivers the first complete account of one of the maddest figures Hollywood has ever known.</P>
Exposition Park
<P>Imagine a walking tour of stanzas and prose poems that give lyric voice to sight, public speech, and spectacle. In Exhibition Park, Roberto Tejada delivers a command performance in mixed genres that compel an array of literary styles. His poetry undertakes a wide range of subjects motivated by artworks from Latin America and the United States covering the colonial period to the present day. </P><P>In serial poems, short sketches, guidebook parodies, painterly triptychs, translations, and other word-based dioramas, Tejada coins wonder with historical styles—baroque, classic, and experimental. As likened to a world's fair, the resulting voices intone global stories, the dream life of art, and first-person atmospheres both premodern and postindustrial. </P><P>"Tejada's work is with dismantling borders and upsetting classifications… The result is a layered poetry that finds its form in dense stanzas composed of lines that frequently veer toward a kind of fractured prose&#8230;"—Alan Gilbert in Another Future: Poetry and Modern Art in a Postmodern Twilight</P><P>"You walk through his world as a voyeur, a traveler of mirrors, witnessing your own reflection in the masses of flesh, simultaneously aroused and disturbed at the same time. Tejada's work is an invitation, a window into another world, unabashedly erotic, and succinct."—Christine Lark Fox, Poetry Project Newsletter, about Mirrors for Gold</P>
Henry Austin
<P><B>Winner of the Historic New England Book Prize (2009)</B><BR><B>Winner of the Henry-Russell Hitchcock Book Award (2010)</B></P><P>Henry Austin's (1804–;1891) works receive consideration in books on nineteenth-century architecture, yet no book has focused scholarly attention on his primary achievements in New Haven, Connecticut, in Portland, Maine, and elsewhere. Austin was most active during the antebellum era, designing exotic buildings that have captured the imaginations of many for decades. James F. O'Gorman deftly documents Austin's work during the 1840s and '50s, the time when Austin was most productive and creative, and for which a wealth of material exists. The book is organized according to various building types: domestic, ecclesiastic, public, and commercial. O'Gorman helps to clarify what buildings should be attributed to the architect and comments on the various styles that went into his eclectic designs. Henry Austin is lavishly illustrated with 132 illustrations, including 32 in full color. Three extensive appendices provide valuable information on Austin's books, drawings, and his office.</P>
Movable Pillars
<P>Movable Pillars traces the development of dance as scholarly inquiry over the course of the 20th century, and describes the social-political factors that facilitated a surge of interest in dance research in the period following World War II. This surge was reflected in the emergence of six key dance organizations: the American Dance Guild, the Congress on Research in Dance, the American Dance Therapy Association, the American College Dance Festival Association, the Dance Critics Association, and the Society of Dance History Scholars. Kolcio argues that their founding between the years 1956 and 1978 marked a new period of collective action in dance and is directly related to the inclusion of moving bodies in scholarly research and the ways in which dance studies interfaces with other fields such as feminist studies, critical research methods, and emancipatory education. An impeccable work of archival scholarship and interpretive history, Movable Pillars features nineteen interviews with dance luminaries who were intimately involved in the early years of each group. This is the first book to focus on the founding of these professional organizations and constitutes a major contribution to the understanding of the development of dance in American higher education.</P>