Beautiful Madness

It describes, through a series of poems, the nature of a relationship, form falling in love to loving and then falling out of love.

During a year of living botanically, Dodson goes behind the scenes of the world's two most important garden shows, spends time with the Botticelli of Bulbs, meets a man smuggling exotic day lilies, and hangs out with three of the most accomplished gardening fanatics on earth.

Against the historical backdrop of successive socialist and post-socialist claims to have completely remade society, the contributors to this volume explore the complex and often paradoxical continuities between diverse post-socialist presents and their corresponding socialist and pre-socialist pasts. The chapters focus on ways in which: pre-socialist economic, political, and cultural forms in fact endured an era of socialism and have found new life in the post-socialist present, notwithstanding revolutionary socialist claims; continuities with a pre-socialist past have been produced within the historical imaginary of post-socialism; and socialist economic, political, and cultural forms have in fact endured in a purportedly post-socialist era, despite the claims of neo-liberal reformers. Harry West is a lecturer in Social Anthropology at the School of Oriental and African Studies (SOAS). His has conducted research in the northern district of Mueda in Mozambique, where nationalist guerrillas based themselves during the anti-colonial war (1964-1974). As part of his project, he has studied how various social groups experienced, and coped with, violence during and after the war for independence. He has also taken interest in how colonialism and revolutionary socialism reconfigured the institutions of local authority, and, more recently, how post-socialist reforms have fostered a "revival of tradition" in rural Mozambique. Parvathi Raman is a lecturer in Social Anthropology in the School of Oriental and African Studies (SOAS). She has conducted research in South Africa on the role of Indians in the South African Communist Party and has written about the changing character of the socialist imagination in the twentieth century. She also works on the politics of diaspora, and multiculturalism and the neo-liberal state.

The Collected Works of G.K. Chesterton is an ongoing project, edited by many of the most prominent Chesterton scholars in the world, including Dale Ahlquist, Denis Conlon, George Marlin, Lawrence Clipper, and many others. These handsome editions include explanatory footnotes, introductory essays, and much more.

Forgotten during the Stalin years, Stanislaw Witkiewicz (1885-1939) was rediscovered in his native Poland only after the liberalization of 1956, when his works came to play a major role in freeing the arts from socialist realism. This collection, the first anthology in English, presents Witkiewicz in the full range of his creative and intellectual activities. The Witkiewicz Reader includes excerpts from three novels; four complete plays; letters to Malinowski; and selections from aesthetic, social, and philosophical essays detailing Witkiewicz's theory of Pure Form, his metaphysical system, and his apocalyptic view of the fate of civilization.

"You told me you couldn't understand, but that you still love me the way I am... You looked me straight in the eye and then you started caressing me by taking my cold hands and looking at my eyes you said that you love me the way I am but that you still love me as I am, even if you can't understand. You told me that you feel the same way about me, you told me that you love me and that it took you a long time to accept this. You told me that when you take my cold hands and squeeze them you can feel the love I feel for you. You looked into my green eyes and told me that you have never seen anyone with eyes as green as mine". "I just hope they take your hands and understands your state when you will get lost again. I just hope you never get scared again when you will look ahead again and will try to look towards what is waiting for you again. I just hope that no one shakes your soul and heart at the same time, in the same way you did with me and then to leave you on a too big and too small road at the same time to then get lost in silence". "I felt special in your eyes, in your eyes I was always the best, in your eyes I was the right man for you that you would never have parted from. In your eyes, I was simply me, I was feeling special and wanted at the same time. Your eyes often trembled when I was telling you I love you, especially when I was taking you in my arms and hugged you very hard, you didn't say anything anymore, your words were wasted".

The English born artist and writer Leonora Carrington (1917–2011) has received much critical acclaim and achieved stellar status in Mexico, where she lived and worked for most of her life, having fled Europe via Spain in tormenting circumstances. Leonora Carrington: Living Legacies brings together a collection of chapters that constitute a range of artistic, scholarly and creative responses to the realm of Carrington emphasizing how her work becomes a medium, a milieu, and a provocation for new thinking, being and imagining in the world. The diversity of contributions from scholars, early career researchers, and artists, include unpublished papers, interviews, creative provocations, and writing from practice-led interventions. Collectively they explore, question, and enable new ways of thinking with Carrington’s legacy. Wishing to expand on recent important scholarly publications by established Carrington researchers which have brought historical and international significance to the artist’s legacy, this volume offers new perspectives on the artist’s relevance in feminist thinking and artistic methodologies. Conscious of Carrington’s reluctance to engage in critical analysis of her artwork we have approached this scholarly task through a lens of give and return that the artist herself musingly articulates in her 1965 mock-manifesto Jezzamathatics: “I was decubing the root of a Hyperbollick Symposium … when the latent metamorphosis blurted the great unexpected shriek into something between a squeak and a smile. IT GAVE, so to speak, in order to return.” (Aberth, 2010:149). In adopting her playful conjecture, this publication seeks to bring Carrington and her work to further prominence.