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Vincent Van Gogh:
As a five year old I encountered a picture of a young man in a rakish hat and a yellow coat, on the wall of a large classroom. There was something instantly intriguing about the image, but it was also puzzling because it represented neither politician nor prince, the usual fare for Australian school decorations. I was eventually told that this was a reproduction of a painting, the artist was Vincent van Gogh, and that the subject was some young Frenchman. On special days we assembled in that room and during the next several years I found myself gazing beyond visiting speakers at the fellow in the yellow jacket. It was almost another fifty years before I felt properly conversant with the port...
Absinthe—The Cocaine of the Nineteenth Century
With an alcohol content sometimes as high as 80 percent, absinthe was made by mixing the leaves of wormwood with other plants such as angelica root, fennel, coriander, hyssop, marjoram and anise for flavor. The result was a bitter, potent drink that became a major social, medical and political phenomenon during the late nineteenth and early twentieth centuries; its popularity was mainly in France, but also in other parts of Europe and the United States, particularly in New Orleans. Absinthe produced a sense of euphoria and a heightening of the senses, similar to the effect of cocaine and opium, but was addictive and caused a rapid loss of mental and physical faculties. Despite that, Picasso, Manet, Rimbaud, Van Gogh, Degas and Wilde were among those devoted to its consumption and produced writings and art influenced by the drink. This work provides a history of “the green fairy”, a study of its use and abuse, an exploration of the tremendous social problems (not unlike the cocaine problems of this century) it caused, and an examination of the extent to which the lives of talented young writers and artists of the period became caught up in the absinthe craze.
Insanity and Genius
In his book about the discovery of the structure of DNA, James Watson wrote, “So we had lunch, telling ourselves that a structure this beautiful just had to exist.” Indeed, the quest most often asked by scientists about a scientific theory is “Is it beautiful?” Yes, beauty equals truth. Scientists know, mathematicians know. But the beauties, the truths of mathematics and science were not the truths that inspired the author as a child, and he intuitively knew that the truths he needed come from a different way of knowing, a way of knowing not of the world of logic and reason and explanation (though they have a value), but rather a way of knowing that is of the world expression, a worl...
Current Catalog
First multi-year cumulation covers six years: 1965-70.
Absinthe & Flamethrowers
A Selection of the Scientific American Book Club Want to add more excitement to your life? This daring combination of science, history, and DIY projects will show you how. Written for smart risk takers, it explores why danger is good for you and details the art of living dangerously. Risk takers are more successful, more interesting individuals who lead more fulfilling lives. Unlike watching an action movie or playing a video game, real-life experience changes a person, and Gurstelle will help you discover the true thrill of making black powder along with dozens of other edgy activities. All of the projects—from throwing knives, drinking absinthe, and eating fugu to cracking a bull whip, learning bartitsu, and building a flamethrower—have short learning curves, are hands-on and affordable, and demonstrate true but reasonable risk. With a strong emphasis on safety, each potentially life-altering project includes step-by-step directions, photographs, and illustrations along with troubleshooting tips from experts in the field.
The Ministry of Vincent Van Gogh in Religion and Art
The Ministry of Vincent Van Gogh in Religion and Art surveys the historical venues where Van Gogh's life and work unfolded--Aldersgate, England, Amsterdam, Au Borinage, Antwerp, Asnieres-sur-Seine, Arles, Auvers-sur-Oise--culminating in an assessment of his legacy. Arguing that he is a painter-evangelist, a man of authentic religious calling, it demonstrates a novel thesis that theological spirituality is the genius of both his religious ministry and his art.
