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Hearings
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The Big Finish
A year ago Thorn's son, Flynn Moss, disappeared into the eco-underground, his only contact with Thorn a series of postcards chronicling his exploits. But a postcard arrives unlike the others, a call for help, Thorn jumps into action, setting off for North Carolina. But before Thorn arrives, he's intercepted by a federal agent who informs him he's too late—Flynn had been acting as an informant for the FBI, and when his traitorous acts were discovered, he was summarily executed. The agent proposes a scheme to catch Flynn's killer using Thorn as bait. Thorn, full of rage, accepts the job if only to get his hands on his son's killer. The mission takes him to a small town where the gang is hole...
Hearings
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January 21-24, 27-30, 1958. pp. 1293-2437
Hearing includes. a. "Report on Corporate Distributions and Adjustments," by Advisory Group on Subchapter C of the Internal Revenue Code, Dec. 24, 1957 (p. 2491-2574). b. "Revised First Report on Estates, Trusts, Beneficiaries, and Decedents," by Advisory Group on Subchapter J of the Internal Revenue Code, Nov. 22, 1957 (p. 2693-2757). c. "Legislative Recommendations," by section on taxation, ABA, 1957 (p. 2827-2897). d. "Recommendations for Amendments to the Internal Revenue Code," by American Institute for Certified Public Accountants, committee on taxation, Feb. 3, 1958 (p. 2901-2950).
The Sinister Side
The Sinister Side is the first book to detail the richness and subtlety of left-right symbolism since the Renaissance, and to show how it was a catalyst for some of the greatest works of visual art from Leonardo and Michelangelo to Rembrandt and Picasso. Traditionally, the left side was regarded as evil, weak, and worldly, but with the Renaissance, artists began to represent the left side as the side that represented authentic human feelings and especially love. Writers including Lorenzo de' Medici, Michelangelo, and Winckelmann hailed the supreme moral and aesthetic beauty of the left side. Images of lovers foreground the left side of the body, emphasizing its refinement and sensitivity. In the late nineteenth century, with the rise of interest in the occult and in spiritualism, the left side becomes associated with the taboo and with the unconscious. James Hall's insightful discussion of left and right symbolism helps us to see how the self and the mind were perceived during these periods, and gives us a new key to understanding art in its social and intellectual context.
Air Force Register
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