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He was a romantic and a realist, a lover of strong women and beautiful men. And though he was at one time the richest, most powerful man in the world, his most prized possession was a book -- Homer’s The Iliad, annotated by his tutor, Aristotle. Most of all, he was as much a myth as a man and a mystery ... even to himself. When Alexander the Great died in Babylon in 323 B.C. a month shy of his 33rd birthday and after conquering and reordering Persia, he left a sprawling empire and a burning question: What drove him? Before Alexander, culture flowed East to West. After, it would flow West to East, and we are the heirs of the continuing tension between the two. In this historical novel, Alexander encounters the only two enemies he cannot defeat: death and time. Surrendering to both, he considers a life that attempted to bridge seemingly irreconcilable opposites -- East and West, Persians and Greeks, a brutal father and a ruthless mother, a wily wife and a male soulmate. And above all, a tempered mind and ungovernable passions.
Playing off today’s headlines, Burying the Dead serves up a high stakes game of love and death set on the power courts of Washington, DC, and other glittering world capitals. There Dimitri “Dimi” Orlov is a rising Russian tennis star whose glamorous, globetrotting career provides the perfect cover for his real day job -- agent and assassin. Trained by his government from the time he’s discovered in an orphanage, Dimi is assigned to assassinate the president of the United States -- a brilliant but arrogant onetime New York prosecutor who’s proved too independent for his Russian backers -- by romancing and enlisting his abused first lady, Catherine Darlington. Dimi courts the lovely, loveless Catherine at Renaissance House, a new cultural center in historic Dupont Circle that’s a front for Russia’s Foreign Intelligence Service (SVR), and at the US Open. There he’s shadowed by CIA agent Mitch Abramson, who has begun to connect the dots. But just as the various matches – Dimi and Catherine, Dimi and Mitch -- heat up, Dimi makes a choice that could have his bosses take him out of the game permanently.
Jade Cabral strides into the 21st century as a golden guy. Brilliant and beautiful, with a California cool and a Harvard education, he is poised for wealth and success in New York’s Financial District. But Jade harbors a secret flaw, a thirst for revenge against Señor Rodriguez, the California landowner who deprived his father – Señor’s out-of-wedlock son, John Virgil -- of his family’s rightful inheritance and place in the world. Jade thinks if he succeeds in New York, he can make up for every loss and humiliation his family has endured at the hands of Señor. That searing quest leads him into the arms of Nan Spencer, a lovely, fragile socialite, and to the top of the financial world, the Twin Towers, on September 11, 2001.
When the playboy quarterback of the hapless New York Templars is injured in a freak sexcapade, backup QB Quinn Novak picks up the ball and takes the team to the playoffs. There he attracts the attention of two other quarterbacks who’ve been rivals since high school, Mal Ryan of the Philadelphia Quakers and Tam Tarquin of the San Francisco Miners. Quinn begins a volatile relationship with the narcissistic Mal and a loving one with the open-hearted Tam, keeping each secret from the other. What he doesn’t know is that the two have a complex sexual history of their own.
Catalog of Kate Vrijmoet's solo show at Seattle's Center on Contemporary Art in February 2010. Includes paintings from her "Accident" series, her "Non-ordinary Reality" series, and numerous drawings. The show is introduced by Curator Joseph C. Roberts, and essays by Daniel Kany and Elatia Harris round out this volume.
Rivals, friends, lovers Daniel and Dylan are the top swimmers in the world; Alex and Alí, the top tennis players. They play for God, country, family, and the need to escape their troubled pasts. In their quest to be the best, they also harbor a secret: Each is in love with his rival. The four hit it off at the Summer Olympics in New York and reconnect on an island vacation that gives new meaning to doubles, round-robin, and preliminary heats. By then, the shifting professional fortunes of each couple have begun to signal a change in their personal relationships as well, one that will lead to new alliances and betrayal and engulf them in tragedy. Told from their alternating viewpoints, Water Music is about power, jealousy, dominance, and submission. It’s about how the past informs the present and the future and how the choices made by nations, our families, and ourselves color our lives. Ultimately, it’s the story of how we come to accept those choices and learn to live with loss through love.
In the near future, tech whiz Milo Warwick, an MIT grad student, is murdered, and the laptop containing his PhD thesis -- a program and a hearing aid-like device that would think for you and recall your past if you couldn’t -- is missing. His best friend, rising tennis star and American “prince” Alex Darlington suspects Chinese espionage and interjects himself into the investigation, led by his godfather, CIA China Bureau chief Mitch Abramson. But the more immersed Alex becomes in the investigation, the more he is drawn into the past and the world of Tamara Chen, the cool Chinese cultural attaché whose staging of Giacomo Puccini’s Turandot for China’s One World Festival may hold the key to why the opera-crazed Milo died and the whereabouts and password of his computer.
The biographical material formerly included in the directory is issued separately as Who's who in American art, 1936/37-
This publication through fifteen works created between 1968 and 1998 demonstrates how Oppenheim introduced new ways of defining and pursuing art. SPECIALIST
The Thing. Daredevil. Captain Marvel. The Human Fly. Drawing on DC and Marvel comics from the 1950s to the 1990s and marshaling insights from three burgeoning fields of inquiry in the humanities—disability studies, death and dying studies, and comics studies—José Alaniz seeks to redefine the contemporary understanding of the superhero. Beginning in the Silver Age, the genre increasingly challenged and complicated its hypermasculine, quasi-eugenicist biases through such disabled figures as Ben Grimm/The Thing, Matt Murdock/Daredevil, and the Doom Patrol. Alaniz traces how the superhero became increasingly vulnerable, ill, and mortal in this era. He then proceeds to a reinterpretation of ...