Stella Roy

A wealthy madam who was known from San Francisco to Victoria in the early part of the 20th century, Stella Carroll was glamorous, worldly and determined to succeed. Her bordellos were fashionably decorated and patronized by the affluent and the powerful; she offered the best of everything—fine food and wine, cigars, entertainment and, of course, girls. The author, with the cooperation of Stella’s family in California and New Mexico, has provided an intimate portrait of this infamous, unrepentant woman, her business and her tenuous relationships with double-dealing politicians and corrupt police, whose cooperation was essential to her success in the shadowy world she inhabited. Stella was a woman of contrasts. Her scandalous lifestyle and fiery temper often landed her in court on morals charges, yet she was devoted to and supportive of her family and gave generously to orphans and charities. This compelling non-fiction narrative is a fascinating look at Stella’s life and at how things were in Victoria 100 years ago.

Roy McKnight is in the hospital at the end of his days. As Roy's time on this earth nears closer to its end, he is given an incredible gift: an angel who guides him on a journey through the past. Here, he learns the stories of the people he encountered and the beautiful effect he had on their lives. A humble man, Roy is touched to learn how he helped others in ways he never even considered. He also gains insight into some of the key people in his life and explanations for things that he spent his entire life wondering about. He is on the journey of a lifetime as one chapter of his existence comes to a close and a new one begins. Omniseed takes you through the life of Roy, a plumber whose life was rich, not necessarily with money but rather with something worth far more than that: people and love. Roy touched the lives of family, friends, and even strangers, often without knowing it. Omniseed tells the story not only from Roy's perspective but also from the people whose lives he has impacted. It will give the reader thought to pause and consider the seeds they sow in their own life and how those seeds can be far-reaching for years to come.

The long-awaited second novel by the author of “arguably the most exciting debut novel of the decade: The Last Samurai.” (Sam Anderson, New York). “All I want is to be a success. That’s all I ask.” Joe fails to sell a single set of the Encyclopedia Britannica in six months. Then fails to sell a single Electrolux and must eat 126 pieces of homemade pie, served up by his would-be customers who feel sorry for him. Holed up in his trailer, Joe finds an outlet for his frustrations in a series of ingenious sexual fantasies, and at last strikes gold. His brainstorm, Lightning Rods, Inc., will take Joe to the very top — and to the very heart of corporate insanity — with an outrageous solution to the spectre of sexual harassment in the modern office. An uproarious, hard-boiled modern fable of corporate life, sex, and race in America, Helen DeWitt’s Lightning Rods brims with the satiric energy of Nathanael West and the philosophic import of an Aristophanic comedy of ideas. Her wild yarn is second cousin to the spirit of Mel Brooks and the hilarious reality-blurring of Being John Malkovich. Dewitt continues to take the novel into new realms of storytelling — as the timeliness of Lightning Rods crosses over into timelessness.

A ground-breaking new study brings us a very different picture of the Second World War, asking fundamental questions about ethical commitments Accounts of the Second World War usually involve tales of bravery in battle, or stoicism on the home front, as the British public stood together against Fascism. However, the war looks very different when seen through the eyes of the 60,000 conscientious objectors who refused to take up arms and whose stories, unlike those of the First World War, have been almost entirely forgotten. Tobias Kelly invites us to spend the war five of these individuals: Roy Ridgway, a factory clerk from Liverpool; Tom Burns, a teacher from east London; Stella St John, who trained as a vet and ended up in jail; Ronald Duncan, who set up a collective farm; and Fred Urquhart, a working-class Scottish socialist and writer. We meet many more objectors along the way -- people both determined and torn -- and travel from Finland to Syria, India to rural England, Edinburgh to Trinidad. Although conscientious objectors were often criticised and scorned, figures such as Winston Churchill and the Archbishop of Canterbury supported their right to object, at least in principle, suggesting that liberty of conscience was one of the freedoms the nation was fighting for. And their rich cultural and moral legacy -- of humanitarianism and human rights, from Amnesty International and Oxfam to the US civil rights movement -- can still be felt all around us. The personal and political struggles carefully and vividly collected in this book tell us a great deal about personal and collective freedom, conviction and faith, war and peace, and pose questions just as relevant today: Does conscience make us free? Where does it take us? And what are the costs of going there? '[An] excellent book' - DAILY TELEGRAPH 'A moving tribute' - SPECTATOR

Clarke and Clarke have created a journal that provides an ethnographic record of the East Indians and Creoles of San Fernando - and the entire sugar belt south of the town known as Naparima. They record socio-political relations during the second year of Trinidad s independence (1964), and provide first-hand evidence for the workings of a complex, plural society in which race, religion, and politics had become, and have remained, deeply intertwined. Entries occur whenever there is evidence of social scientific importance to the project, and these range from descriptions of weddings and pujas (prayer ceremonies devoted to a Hindu deity) to interviews with religious leaders, politicians and members of the south Trinidad elite.

How architectural drawings emerged as aesthetic objects, promoted by a network of galleries, collectors, and institutions, and how this changed the understanding of architecture. Prior to the 1970s, buildings were commonly understood to be the goal of architectural practice; architectural drawings were seen simply as a means to an end. But, just as the boundaries of architecture itself were shifting at the end of the twentieth century, the perception of architectural drawings was also shifting; they began to be seen as autonomous objects outside the process of building. In Drawing on Architecture, Jordan Kauffman offers an account of how architectural drawings—promoted by a network of galleries and collectors, exhibitions and events—emerged as aesthetic objects and ultimately attained status as important cultural and historical artifacts, and how this was both emblematic of changes in architecture and a catalyst for these changes. Kauffman traces moments of critical importance to the evolution of the perception of architectural drawings, beginning with exhibitions that featured architectural drawings displayed in ways that did not elucidate buildings but treated them as meaningful objects in their own right. When architectural drawings were seen as having intrinsic value, they became collectible, and Kauffman chronicles early collectors, galleries, and sales. He discusses three key exhibitions at the Leo Castelli Gallery in New York; other galleries around the world that specialized in architectural drawings; the founding of architecture museums that understood and collected drawings as important cultural and historical artifacts; and the effect of the new significance of architectural drawings on architecture and architectural history. Drawing on interviews with more than forty people directly involved with the events described and on extensive archival research, Kauffman shows how architectural drawings became the driving force in architectural debate in an era of change.

“Behind almost every painting is a fortune and behind that a sin or a crime.” With these words as a starting point, Michael Gross, leading chronicler of the American rich, begins the first independent, unauthorized look at the saga of the nation’s greatest museum, the Metropolitan Museum of Art. In this endlessly entertaining follow-up to his bestselling social history 740 Park, Gross pulls back the shades of secrecy that have long shrouded the upper class’s cultural and philanthropic ambitions and maneuvers. And he paints a revealing portrait of a previously hidden face of American wealth and power. The Metropolitan, Gross writes, “is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into the very best, transmuting deadly sins into priceless treasure.” The book covers the entire 138-year history of the Met, focusing on the museum’s most colorful characters. Opening with the lame-duck director Philippe de Montebello, the museum’s longest-serving leader who finally stepped down in 2008, Rogues’ Gallery then goes back to the very beginning, highlighting, among many others: the first director, Luigi Palma di Cesnola, an Italian-born epic phony, whose legacy is a trove of plundered ancient relics, some of which remain on display today; John Pierpont Morgan, the greatest capitalist and art collector of his day, who turned the museum from the plaything of a handful of rich amateurs into a professional operation dedicated, sort of, to the public good; John D. Rockefeller Jr., who never served the Met in any official capacity but who, during the Great Depression, proved the only man willing and rich enough to be its benefactor, which made him its behind-the-scenes puppeteer; the controversial Thomas Hoving, whose tenure as director during the sixties and seventies revolutionized museums around the world but left the Met in chaos; and Jane Engelhard and Annette de la Renta, a mother-daughter trustee tag team whose stories will astonish you (think Casablanca rewritten by Edith Wharton). With a supporting cast that includes artists, forgers, and looters, financial geniuses and scoundrels, museum officers (like its chairman Arthur Amory Houghton, head of Corning Glass, who once ripped apart a priceless and ancient Islamic book in order to sell it off piecemeal), trustees (like Jayne Wrightsman, the Hollywood party girl turned society grand dame), curators (like the aging Dietrich von Bothmer, a refugee from Nazi Germany with a Bronze Star for heroism whose greatest acquisitions turned out to be looted), and donors (like Irwin Untermyer, whose collecting obsession drove his wife and children to suicide), and with cameo appearances by everyone from Vogue editors Anna Wintour and Diana Vreeland to Sex Pistols front man Johnny Rotten, Rogues’ Gallery is a rich, satisfying, alternately hilarious and horrifying look at America’s upper class, and what is perhaps its greatest creation.