This inaugural issue of Sol’s Sci-fi Thirdly contains original stories from Jo Ling Ko (I Will If I Can), Cella Evanston Reed (We Are All Afraid Of Fire), Art Brindle (Do Robots Bury Their Dead?), Jose Cunnan (Like the advert said ‘it’s all for free’), Anna Bryson (Drop All Bad Habits, Pseudo-earthwoman. Your People Need You), Victoria Tomencosa (Finding Eleanor) and Robson Finsin (Ouish). In ‘I Will If I Can’ a woman discovers she’s married to a man she suspects to be an alien and decides to find out what happened to her real husband. In ‘We Are All Afraid Of Fire’ an exiled alien goes back home after learning that his persecutor has died. In ‘Do Robots Bury Their Dead?’ two mobots find themselves lost and enslaved by humans. In ‘Like The Advert Said, ‘It’s All For Free,’ a married woman decides to have her consciousness transferred into a mechanical body with interesting results. In ‘Drop All Bad Habits, Pseudo-earthwoman. Your People Need You,’ two homicide detectives learn to work together despite one not trusting the other and their having different skills. In ‘Finding Eleanor’ two elderly parents decide to search for their missing daughter with the aid of their sworn enemy and lastly in ‘Ouish’ an alien decides to start a worldwide revolution on his homeplanet.
In this volume, the work of the German, Dutch, Flemish, French, and English masters of the fifteenth and sixteenth centuries is explored in more than one hundred reproductions. In addition to such well-known masterpieces as Van Eyck's Crucifixion and Last Judgment, Memling's Tommaso Portinari and Maria Baroncelli, Bruegel's Harvesters, Durer's woodcut The Four Horsemen of the Apocalypse, Cranach's Judgment of Paris, and Holbein's Erasmus of Rotterdam, this volume includes many lesser-known works in oil and on paper, as well as sculpture, decorative arts, and armor from the collections of The Metropolitan Museum of Art."--Page [2] of cover.
Succession is a story cycle about a rural community in transition. It follows Al, a musician burned out from too many nights playing the same classic rock songs, as he returns from Vancouver to the farm where he grew up in the Bearspaw district near Calgary. Al's story is intertwined with those of his family, friends, and neighbours, as they struggle to come to terms with the choices they make, and those that are forced upon them by the suburbanization of their agricultural community. Succession explores themes of place and belonging, the place of art in working life, and urban and rural identity. Most of all it's a meditation on what is lost when the beautiful places of the earth are discovered and changed by outsiders—and what remains.
Whitley, one of the world's leading experts on cave paintings, rewrites the understanding of shamanism and its connection with artistic creativity, myth, and religion by interweaving archaeological evidence with the latest findings of cutting-edge neuroscience.
The work features over 280 works by more than 170 Australian artists drawn from a period of acquisitions which began with the consitution of the MCA in May 1989."--p. 17.
Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.
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