Piranesi S Lost Words

Examines the writings of eighteenth-century Italian engraver and artist Giovanni Battista Piranesi.

New York Times Bestseller Winner of the Women's Prize for Fiction World Fantasy Awards Finalist From the New York Times bestselling author of Jonathan Strange & Mr Norrell, an intoxicating, hypnotic new novel set in a dreamlike alternative reality. Piranesi's house is no ordinary building: its rooms are infinite, its corridors endless, its walls are lined with thousands upon thousands of statues, each one different from all the others. Within the labyrinth of halls an ocean is imprisoned; waves thunder up staircases, rooms are flooded in an instant. But Piranesi is not afraid; he understands the tides as he understands the pattern of the labyrinth itself. He lives to explore the house. There is one other person in the house-a man called The Other, who visits Piranesi twice a week and asks for help with research into A Great and Secret Knowledge. But as Piranesi explores, evidence emerges of another person, and a terrible truth begins to unravel, revealing a world beyond the one Piranesi has always known. For readers of Neil Gaiman's The Ocean at the End of the Lane and fans of Madeline Miller's Circe, Piranesi introduces an astonishing new world, an infinite labyrinth, full of startling images and surreal beauty, haunted by the tides and the clouds.

Layers / by Heather Hyde Minor -- Lost and found / by Carolyn Yerkes -- Pages / by Carolyn Yerkes -- Dedicated and sent / by Heather Hyde Minor -- Bound / by Heather Hyde Minor -- Sold / by Carolyn Yerkes.

A gorgeously illustrated book of short stories from the world of Jonathan Strange and Mr Norrell, the 4-million-copy global bestseller 'These tales read as if Jane Austen had rewritten the Brothers Grimm ... wonderful' Spectator Faerie is never as far away as you think. Sometimes you find you have crossed an invisible line and must cope, as best you can, with petulant princesses, vengeful owls, ladies who pass their time embroidering terrible fates or with endless paths in deep, dark woods and houses that never appear the same way twice. The heroines and heroes bedevilled by such problems in these fairy tales include a conceited Regency clergyman, an eighteenth-century Jewish doctor and Mary, Queen of Scots, as well as two characters from Jonathan Strange & Mr Norrell: Strange himself and the Raven King.

In the Hugo-award winning, epic New York Times Bestseller and basis for the BBC miniseries, two men change England's history when they bring magic back into the world. In the midst of the Napoleonic Wars in 1806, most people believe magic to have long since disappeared from England - until the reclusive Mr. Norrell reveals his powers and becomes an overnight celebrity. Another practicing magician then emerges: the young and daring Jonathan Strange. He becomes Norrell's pupil, and the two join forces in the war against France. But Strange is increasingly drawn to the wild, most perilous forms of magic, and he soon risks sacrificing his partnership with Norrell and everything else he holds dear. Susanna Clarke's brilliant first novel is an utterly compelling epic tale of nineteenth-century England and the two magicians who, first as teacher and pupil and then as rivals, emerge to change its history.

Ever wondered what your boss does all day?Or if there is a higher - perhaps an existential - significance to Microsoft Word malfunctions? Filled with sabotage and romance and capturing the relentless monotony and paranoia of office life with unnerving precision, Personal Days is a scathingly funny look at a group of office workers who have no idea what the unnamed corporation they work for actually does. When it looks like the company may be taken over, fear of redundancy unleashes a delicious mystery. Meet Pru, the ex-graduate turned spreadsheet drone; Laars, the hysteric whose work anxiety follows him into tooth-grinding dreams; and Jonah, the secret striver who must pick his allegiance... Each struggling to figure out who among them is trying to bring down the company, and why.

"The holy Prophet received his revelations from the Creator at forty. Which meant that even in the eyes of Allah, 'forty' held some special meaning. Something special happened at forty, something special was going to happen. For the sisters Lovely and Beauty, home is a cage. Their mother Farida Khanam never lets them out of her hawk-eyed gaze. Leesa Gazi's Hellfire opens with Lovely's first ever solo expedition to Gausia Market on her fortieth birthday. There will be many firsts for her today, but she mustn't forget the curfew Farida Khanam has ordained. As Lovely roams the streets of Dhaka, her mother's carefully constructed world begins to unravel. The twisted but working arrangements of a fragile household begin to assume a macabre quality as the day progresses. Told in stark, taut prose, this grisly tale of a family born of a dark secret is one of the most scintillating debuts in contemporary Bengali literature."--Page 4 of cover.

The complex appropriation of Piranesi by modern literature, photography, art, film, and architecture. The etchings of the Italian printmaker, architect, and antiquarian Giovanni Battista Piranesi (1720–78) have long mesmerized viewers. But, as Victor Plahte Tschudi shows, artists and writers of the modern era found in these works—Piranesi’s visions of contradictory space, endless vistas, and self-perpetuating architecture—a formulation of the modern. In Piranesi and the Modern Age, Tschudi explores the complex appropriation and continual rediscoveries of Piranesi by modern literature, photography, art, film, and architecture. Tracing the ways that the modern age constructed itself and its origin through Piranesi across genres, he shows, for example, how Piranesi’s work formulates the ideas of “contrast” in photography, “abstraction” in painting and “montage” in cinema. Piranesi’s modern-day comeback, Tschudi argues, relied on new dimensions found within his work that inspired attempts to inscribe within them a world that was very modern. For more than a century, these interpretations have helped legitimize new forms, theories, technologies, and movements. Tschudi examines, among other things, how Piranesi’s disturbing prison interiors—the Carceri—became modern metaphors for the mind; how Alfred H. Barr and the Museum of Modern Art made the case for Piranesi’s alleged abstraction in the 1930s; and how Sergei Eisenstein reinvented Piranesi as a progenitor of his own innovative filmmaking techniques. Tschudi’s exploration of Piranesi’s influence on modern architectural discourse includes interviews with such distinguished architects as Peter Eisenman, Bernard Tschumi, Steven Holl, and Rem Koolhaas. Generously illustrated, Piranesi and the Modern Age offers an entirely new reading of Piranesi’s work.