How does it feel to lose your planet, your lover, yourself? Light-footed and dark-humored, Ben Purkert's debut collection For the Love of Endings both celebrates and laments a disintegrating, evolving world.
Ramón Boldú, pionero del cómic autobiográfico en España, ha decidido hablar de la guerra civil, la vida en el geriátrico, la muerte... Pero, a pesar de lo trascendental de todos esos temas, es incapaz de ponerse trascendente del todo, como es habitual en él, aunque lo intenta. Boldú, una vez al mes, va al geriátrico a visitar a su padre. Suelen matar el tiempo jugando al ajedrez, mientras éste le explica historias de la guerra civil española, que vivió en propia carne, de cara a conseguir material para su próximo cómic. El único familiar vivo que le queda a Boldú es su padre, por lo que es imposible que pueda contrastar la realidad de la alucinante información que éste le trasmite y se reproduce en este cómic. Al mismo tiempo, Boldú, harto de que le siga ganando al ajedrez y al enterarse de lo que, parece ser, sucede en las guerras, y harto también de las injusticias generalizadas que hay en el mundo, decide inventar un ajedrez con reglas más humanas y que incite a la humanidad a amarse, más que a matarse. El nuevo ajedrez se llama el “tango libre” y se incluye en el tomo.
As more and more people crowd onto and land, incidences of human-wildlife conflicts will only increase. A comprehensive overview of this emerging field, Resolving Human-Wildlife Conflicts: The Science of Wildlife Damage Management discusses the issues facing wildlife managers and anyone else dealing with interactions between wildlife and humans. By defining the discipline of wildlife damage management, this book fills a void in the fields of wildlife management and ecology. The director of the Jack H. Berryman Institute, the only academic institute devoted to wildlife damage management, author Michael Conover is the leader in this field. In this book, he stresses the inter-relatedness of wildlife damage management within the larger discipline of wildlife conservation and provides an extensive review of the scientific literature. He includes case-studies that document how an integrated approach to wildlife management can resolve wildlife-human conflicts.
Nowhere else will you find the authoritative coverage and depth of theoretical information available in Resolving Human-Wildlife Conflicts: The Science of Wildlife Damage Management. The combination of descriptive prose, historical details, and liberal use of informative sidebars add to its appeal as a textbook, while the organization and scope make it the ideal reference for professionals.
With a loan shark at her door, can Louisa accept the protection of the brothers Freed? After her mother's sudden death, abandoning the brothers Freed in the French Alps had been a knee-jerk reaction. Now she is alone once more. When a loan shark comes knocking on her door demanding payment for her mother's debt, Louisa finds herself in danger from a merci criminal. Saved from a brutal beating, Bryce Freed offers her the safety of the Freed family home, a job within their company and a warm spot in their beds. With few other options, Louisa finds herself agreeing to his offer.
But she isn't sure which scares her more; the man after her money, or the men after her heart. Storm of Seduction is the second book in the Brothers Freed series. The first book, Avalanche of Desire, is currently in the Snow & Seduction box set and will be re-released with extended chapters before this book releases in March. This is a reverse harem story and for 18+ readers. Coming soon: Avalanche of Desire - book one in the Brothers Freed series (re-releases late February) Coming Soon: Dawn of Love – book three in the Brothers Freed series.
Russian painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not been much considered in discussions of the contributions of the avant-garde to photography and film.
Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, Margarita Tupitsyn argues in this analysis, alters the accepted view of his post-Suprematist period. Exploring Malevich's involvement with film, Tupitsyn draws on little-known writings about cinema by the artist himself, and many photographs and documents. Malevich's influence on 20th-century art extends far more widely than has been claimed for him before, the author concludes.