Emphatically revisionist, Bob Pepperman Taylor reveals a Thoreau most people never knew existed. Contrary to conventional views, Taylor argues that Thoreau was one of America's most powerful and least understood political thinkers, a man who promoted community and democratic values, while being ever vigilant against the evils of excessive or illegitimate authority.Still widely viewed as a remarkable nature writer but simplistic philosopher with no real understanding of society, Thoreau is resurrected here as a profound social critic with more on his mind than utopian daydreams. Rather than the aloof and very private individualist spurned by conservatives and championed by radicals and environmentalists, Taylor portrays Thoreau as a genuinely engaged political theorist concerned with the moral foundations of public life. Like a solicitous "bachelor uncle" (a self-referential phrase from his journals), Thoreau persistently prodded his fellow citizens to remember that they were responsible for independently evaluating the behavior of their government and political community. Taylor contends that, far from being confined to a few political essays ("Civil Disobedience," "Slavery in Massachusetts," and "A Plea for Captain John Brown"), Thoreau's political critique was a lifetime project that informed virtually all of his work. Taylor's persuasive study should send readers back to Walden, A Week on the Concord and Merrimack Rivers, and the 14-volume Journal, among many other writings, for a provocative new look at one of America's most influential writers.
The Batchelor-Turner Letters, 1861-1864 is a collection of letters written by two soldiers who served in Terry's Texas Rangers during the American Civil War. The letters were written by Benjamin Franklin Batchelor and William T. Turner, and they provide a firsthand account of the experiences of Confederate soldiers during the war. The letters cover a range of topics, including battles, camp life, and personal relationships. They also provide insight into the attitudes and beliefs of Confederate soldiers during this tumultuous time in American history. The Batchelor-Turner Letters, 1861-1864 is a valuable resource for anyone interested in the American Civil War, Texas history, or military history in general.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
Since 1997, David Batchelor has been photographing single square and rectangle planes of uninterrupted white that he passes as he walks through London and places he visits. The images are informal and impromptu; shot from a uniform distance the white planes are seen on a diversity of backdrops: brick walls, car doors, metal fences and more. Batchelor began this body of work after considering the history of the monochrome in painting, and the lack of skill associated with them in the work of Yves Klein and Ad Reinhardt, amongst others. Bringing together the largest group of photographs from this series, a conversation between the philosopher Jonathan Rée and the artist focuses on the importance of monochromes to ideas of modernity, artificiality and the city.
David Batchelor’s latest series of drawings (2012–13) disrupts October’s orderly monochromatic universe with circles, triangles and rectangles of brilliant transparent colour and planes of opaque black. Drawn over every page of October No. 1 (summer 1976), his varied abstract compositions interrupt the intended ‘textual clarity’ of the journal with a carnivalesque play of form and colour. Drawing upon Batchelor’s unique visual language and the colours found in the modern city, the works in this artist project are reprinted to actual size and collected in full for the first time in this volume. This series of works formed a major part of the exhibition Adventures of the Black Square: Abstract Art and Society 1915–2015 at Whitechapel Gallery, London (15 January–6 April 2015).
Throughout his international career spanning more than thirty years, artist and writer David Batchelor has long been preoccupied with colour. ‘Colour is not just a feature of [my] sculpture or painting,’ he notes, ‘but its central and overriding subject.’ This new publication is devoted to an ongoing series of sculptures titled Concretos. First made in 2011, Concretos combine concrete with a variety of brightly coloured – and often found – materials.The publication features a text by Batchelor charting the origins and development of Concretos. He reveals that the first Concreto was made after encountering coloured glass shards embedded in a concrete wall in the back streets of Palermo. Over time these Concretos, their title a nod to the Latin American art movement to which Batchelor’s work is much indebted, have become more complex adventures in layering, pattern and process. Elements such as acrylic plastic, spray and household gloss paint, steel, fabric and found objects all find themselves set in a concrete base. The most recent works, titled Extra-Concretos (2019–) retain much of the simplicity of the early pieces while working on a much larger scale.In an essay commissioned for the publication, curator Eleanor Nairne considers Concretos in light of their material possibilities. Nairne’s vivid text draws connections between the sculptures and a wide range of art historical and literary references. Some of the playful and sensual characteristics of Batchelor’s artistic vocabulary are considered in relation to floral bouquets, sewing-machines, ice cream and poetry. Architectural historian Adrian Forty’s essay discusses concrete’s physical qualities and relationship with modernity. He notes that the imperfect nature and apparent neutrality of the material is key to its enduring place within architecture, design and in Batchelor’s case, contemporary sculpture. ‘In the Concretos,’ asserts Forty, ‘concrete plays a necessary part in allowing colour to be itself. Present, but at the same time part of the barely noticed, half-invisible infrastructure of the city, concrete’s very neutrality performs an unexpectedly active part in these works.’The publication is edited by David Batchelor and Matt Price, designed by Hyperkit, printed by Park, London, and published by Anomie, London. The publication coincides with the first large-scale survey exhibition of Batchelor’s work taking place at Compton Verney, Warwickshire in 2022. The publication has been supported by Goldsmiths’ College, University of London, and Arts Council England.David Batchelor was born in Dundee in 1955 and lives and works in London. In 2013, a major solo exhibition of Batchelor’s two-dimensional work, ‘Flatlands’, was displayed at Fruitmarket Gallery, Edinburgh and toured to Spike Island, Bristol. Batchelor’s work was included in the landmark group exhibition ‘Adventures of the Black Square: Abstract Art and Society 1915–2015’ at Whitechapel Gallery, London. ‘My Own Private Bauhaus’, a solo exhibition of sculptures and paintings by Batchelor was presented by Ingleby Gallery during the Edinburgh Art Festival, 2019. Between 2017 and 2020 a large-scale work by Batchelor was displayed in the collection of Tate Modern. He is represented by Ingleby Gallery, Edinburgh, and Galeria Leme, São Paulo. Batchelor’s portfolio also includes a number of major temporary and permanent artworks in the public realm including a chromatic clock titled ‘Sixty Minute Spectrum’ installed in the roof of the Hayward Gallery, London. ‘Chromophobia’, Batchelor’s book on colour and the fear of colour in the West, was published by Reaktion Books (2000), and is now available in ten languages. His more recent book, 'The Luminous and the Grey' (2014), is also published by Reaktion. In 2008 he was commissioned to edit ‘Colour’ an anthology of writings on colour from 1850 to the present published by Whitechapel/MIT Press.
Two souls meet at a dark railroad crossing... there's no hint this night will be the beginning - and end - of everything. Lily doesn't exist any more - old Lily, anyway. That night made her different, rewrote her life, tore up everything she thought she knew and understood. How do you go back to normal after you've met someone who has turned your life upside down? When you fear the intense connexion but don't want to live for anything else? When those few moments were the most intense and intimate of your life and it was the barest taste of what you could have together? How do you find the strength to not run away from something that has the power to shatter your heart? This book contains explicit sexual content & graphic language. Intended for adults only.
Stereolab are one of the most fascinating guitar groups of the past fifty years, a source of constant reinvention and illuminating contrasts, where political ideology meets the sweetest pop melodies and driving guitars rub along with space-age jazz. They are perhaps the greatest Anglo-French collaboration since Concorde a hugely respected, highly influential group whose fan base grows larger by the year, stretching from chart-topping hip hop artists to underground indie stars. And yet their appeal remains elusive. What kind of music do Stereolab make? What s their best album? Their greatest song? There are no easy answers. In writing this book, Ben Cardew spoke to more than fifty people from the Stereolab universe to trace the history of the band from the depths of 90s indie London to their all-conquering reunion tour of 2025. Using twenty of their songs as jumping-off points, he examines in loving detail what makes this most fascinating band work, unpicking the cultural references, stylistic contradictions, and brilliant ideas at the heart of the group. Space Age Batchelor Pad Music is designed for dedicated fans and interested newcomers alike, going deep into a band of infinite jest, excellent fancy, and spiralling contradiction. It s a story of restless creativity and human endeavour spanning more than three decades of enigmatic artistic life.
The definitive guide for organising stag weekends and stag nights - the best selling guide for several years running. This updated 3rd edition for 2011 includes travel guides and everything the best man needs to plan the trip including: good websites to check out, speeches, forfeits, drinking games, and a host of case studies and legendary stag weekend true stories to learn from.
Title: A Wife, not ready made, but bespoken, by Dicus the batchelor, and made up for him by his fellow shepheard Tityrus. In four pastorall eglogues. The dedication signed: R. A., i.e. Robert Aylett.] The second edition, etc.Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The FICTION & PROSE LITERATURE collection includes books from the British Library digitised by Microsoft. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. Written for a range of audiences, these works are a treasure for any curious reader looking to see the world through the eyes of ages past. Beyond the main body of works the collection also includes song-books, comedy, and works of satire. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Aylett, Robert; 1847. ff. 18; 4 . 11643.bbb.20.(7.)
The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT124716John Single = Henry Carey. 'A map of the island of marriage' has a drop-head title, separate pagination and register, and includes 'The batchelor's estimate of the expences of a married life.', 'The married man's answer' and 'None but fools marry' each wLondon: printed for T. Cooper, and sold by the booksellers in town and country, 1742. 2],48;68, 3],74-89, 1]p.; 12
