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In the 1970's Angie Benedetto, a smart-mouthed Brooklyn girl whos neighborhood customs chafe her as much as her plaid-flannel Catholic school uniform, desperately wants to fly. Angie dreams of flying airplanes, traveling to exotic places and finding a guy who doesn't think high-roll collars and a duck's ass hairstyle mark the height of sophistication. After Angies mother allows her to fly for her Uncle Anthony as a missionary pilot, Angie reports the murder of Asmat natives. She becomes a tool for her Uncles plans to gain control of a gold mine and the quarry of mercenaries who protect the new owners possession of the same mine. Charles Abbott Aldridge is a proper New Englander who wants to study primitive tribes, help his father, and be left alone to live his life. Charles, lost and presumed dead for half-a-dozen years, is the only man who can help Angie. Smart-mouthed Angie needs proper New Englander Charles to escape from those people looking to kill her and Charles needs Angie to help his father. Angies Uncle Anthony must deal with Angies mother alone.
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In this highly original study, Jeremy Braddock focuses on collective forms of modernist expression—the art collection, the anthology, and the archive—and their importance in the development of institutional and artistic culture in the United States. Using extensive archival research, Braddock's study synthetically examines the overlooked practices of major American art collectors and literary editors: Albert Barnes, Alain Locke, Duncan Phillips, Alfred Kreymborg, Amy Lowell, Ezra Pound, Katherine Dreier, and Carl Van Vechten. He reveals the way collections were devised as both models for modernism's future institutionalization and culturally productive objects and aesthetic forms in them...