Bøger udgivet af Culicidae Press, LLC

Betrayals and Lies: My Parents Were Spies is the intriguing, thrilling, and as-it-happened story of Jim and Alexis Barclay, who found themselves in Venezuela, South America during the most difficult years of World War II. The Barclays had planned a life as missionaries, but the United States government (through President Franklin Delano Roosevelt and the United States Office of Strategic Services or OSS), desperately needed American feet on the ground in Venezuela to monitor and fight against the then darkest scourge facing humanity - the Nazis, and their allies in Imperial Japan and Fascist Italy. These Axis powers desperately wanted and needed what neutral Venezuela had in abundance - oil, iron ore, and natural rubber - to run their respective war machinery.What better cover was there for the United States and the Allied powers from December 1943 through December 1944, than operative spies working as missionaries. And what a potentially corruptive mission for the Barclays - a mission that required lies, cheating, seduction, adultery, killing - and nerves of steel.There was no spy more qualified and highly effective than the author's mother Alexis Barclay, who was deeply loved and trusted by both her American husband Jim, and the Nazi Major Jonathan Speer. Based on the diaries of Alexis Barclay.

Australian Architect and Senior Lecturer at Melbourne University Derham Groves just published a book of his students' design of new shoes for the Chinese-American actress Anna May Wong with Culicidae Press. Groves writes in the design brief to his students: "At its best, fashion-like architecture-can be biographical. In 1939 the beautiful and intriguing Chinese-American actress Anna May Wong performed at the Tivoli Theatres in Melbourne and Sydney. [...] Wong was a fashionista of her day. It appears that she was particularly fond of shoes: while in Melbourne she was photographed buying shoes at Foy's department store and in Sydney she revealed to a reporter that a Chinese-style shoe she wore as a child and kept in her dressing-room was her lucky charm. Design and make a pair of shoes for Anna May Wong by 'altering' (i.e. adding to, cutting, painting, etc.) a second-hand pair of shoes purchased from an op shop. [...] Hand in the shoes, along with a 200-word explanation of how they relate to Anna May Wong, on the 12th of October [2010]. Also upload an image of the shoes on the subject's Wiki page."

An intuitive and interactive way to learn how to read music by combining music notation with biographies of twenty-five internationally known women composers from four thousand years ago to the present. The first of a multi-volume set. The biographies of the following women composers are included in this volume: Enheduanna, Kassia, Hildegard von Bingen, Maddalena Casulana, Francesca Caccini, Elizabeth Jacquet de la Guerre, Anna Amalia, Theresia von Paradis, Agata Szymanowska, Clara Schumann, Lili Oukalani, Agathe Backer Grondahl, Chiquinha Gonzaga, Teresa Carreno, Dame Ethel Smyth, Amy Beach, Nadia Boulanger, Florence Price, Jean Coulthard, Peggy Glanville Hicks, Marian McPartland, Erzsebet Szonyi, Sofia Gubaidulina, Kikuko Masumoto, and Anoushka Shankar. Several quiz pages with answers and a bibliography are included.

If you want to be a good designer, set aside the glossy magazines, turn off your computer, and seek out first-hand encounters with good design. When it comes to cities, buildings, and art, actual experience is almost always better than the virtual kind. No image can replicate Le Corbusier's Ronchamp when the light is just right, or capture the silent speech one hears on a stroll through Ian Hamilton Finlay's Little Sparta, or explain hours dissolving in Peter Zumthor's baths at Vals. That is the reason for this book: to encourage you to actively pursue direct aesthetic experience in the built environment, and to reflect upon the best reasons and ways to be a dedicated design traveler. Traveling to learn is an integral part of the education of student architects and designers. It is vital for designers to know how to be effective design travelers, to know how to seek out and encounter places, buildings, and objects, and to develop a capacity for looking, drawing, and, above all, discerning. But to be a student is only to be "one who is studying," which means all of us who, if we are truly alive, delight in the application of the mind to the acquisition of knowledge.

Fly and Fall is a book of poems about milk, honey, Kartoffelfeuer, kisses, flying, falling, heaven, cheap motels, hope, a kingdom, breaking, being, the first day of the new year, a mother's body on earth, today, winter, being alive, a happy man, old nuns, an evening gown, an epitaph for a thirteen-year-old girl, a knight of the mournful countenance, a woman singing to her beloved, three matches, waiting for something like autumn, another epitaph for a worn-out year, another girls. And all of this in English and, for a few select poems, in Italian. It's... Wandering Poetry Poetry has two legs, two arms, a belly and a face, a unique look to make things and men appear deeper, and sometimes to turn away without a word. Poetry is unpredictable. Its moods might annoy the poet, but, alas, he has no choice. Follow me, says poetry, like a seductive siren, do not rely on me, but be my companion for the lifetime of a poem. Poetry chooses time, place and language. Poetry likes to arise, to hide and to disguise, revealing and concealing itself according to a mazy law. Poetry deserves changes, anxious to arrive at Ithaca, but also curious to pick up what has been jettisoned on the long way there. Ithaca is the heartbeat, the form is the open sea of poets' blood and lymph. Fly and Fall. Poetry invited me to enter the body of a new language, to arrange my world in new colours, tastes, sounds. Mother Language is big-hearted. My verses, a small regiment of hunchbacks, were generously welcomed and transformed. "We have to find true words", says the Austrian poet Ingeborg Bachmann. It may happen, that a poet knows his own language too well to find the simplicity of truth. The travelling eye and soul, concentrating present, past and future in the very moment: poetry happens. Look at yourself, dressed in another language. Every language has its own metabolism. The new, the never known word: the magic word. Call it! Catch it! Make it become real again. Every language has its own true words and its own lies. Some of them are welcomed among the new signs and symbols, some must wait before the door. Every poem is a body, a man, a world, waiting to entwine with reality. You can deeply understand a poem in a language you don't know. Its hidden truth can be blacker than black. You, reader, will be the light. Poetry is communication beyond facts. Poetry tells light and shadow, greatness and misery. 'Give your words a meaning, but give them also a shadow, ' says the poet Paul Celan. Don't sell it. Set yourself free, but don't get lost in the arms of the one you love. Fly and Fall. Some poems found their way into Italian, some did not. There are open spaces, never empty ones. Poetry is patient. Poetry can fall in love, poetry can be unjust, poetry can get sick and die and resurrect. Poetry needs eyes and ears, hearts and souls. Poetry wants to tell and to travel, eager to meet the reader for whom it was written for. Poetry needs to be needed, to be filled with water and wine, love and hate, never with indifference. Poetry says: touch me. Poetry loves to look at itself in many masquerades. Poetry says: Come closer. I contain multitudes. Poetry wants to dance: in the light, in the dark and in the half-light of our daily work of living and loving.

During the 1960s Gorda decides to study in Switzerland. She finds her great love - and her utter despair - in a relationship with handsome and intelligent university student Remo. With humor and self-deprecation the author describes the fears and hopes of a young woman on the way to find herself.Praise for Geertje Suhr's WorkA wonderfully modern novel that offers a unique look at the uncertainties of young love - devastating and funny at the same time. We follow Gorda's attempts to find her place in the world where her main enemy is a foreboding sense of loneliness. She begins her studies at a university but soon changes her major and university (just to change later again). A chance encounter introduces her to Remo, an ambitious Swiss student and her great yet probematic love. The novel is multi-layered: fairy-tale motives surface in the secular world of the 1960s; Gorda's observations are razor-sharp, detail-driven, and highly ironic while they are still the observations of an often naive young woman; the narrative oscillates between first-person and third-person points-of-view. Held together through her exploring the ups and downs of love, the novel leaves the reader with a sense of Gorda having become her own person. Louise E. Stoehr, ProfessorLanguages, Cultures, and CommunicationStephen F. Austin State University

In Kites: The Art of Using Natural Materials, John Browning shows how he uses natural materials to make beautiful kites; kites that fly. In the book Browning balances the visual appeal of Nature's riches with the universal appeal of kites, their ephemeral lightness tethered to the kite flyer's desire to be air-borne, defying the pull of earth's gravity. This combination of beauty and practicability is evident in the colourful images-which inform as well as delight-of kites both fixed and in flight. Throughout the book the images demonstrate how the different shapes, colours, and textures of natural materials have been transformed by Browning into fragile yet flight-worthy structures that appeal to the mind, to the eye, and to the imagination. This book, filled with colourful images, shows many examples of natural materials-leaves, plants, trees, paper, and bamboo-and how they have been brought together to create the kites. Conceived as works of Art, constructed as kites, and realized as flying structures.

In this book I chronicle my experience-at age forty-nine-when I recalled the sexual abuse by my father as a young girl. Through my journal entries, represented here verbatim, I share my journey to heal from the aftermath of this profound awakening. My story is one of survival. It follows the course of the first year of healing-from my psychotic break and diagnosis of PTSD and paranoia, through the flashbacks and memories, my disclosure to family, working through the grief process, and finally to acceptance and forgiveness. My story is one of survival and hope-one that will interest fellow survivors of sexual abuse, loved ones who want to help them, the recovery community, and those with a general interest in this subject.

A witty, haunting tale of family and friendship, regret and redemption, set on a remote Wyoming cattle ranch in the dead of winter. The White Creek Ranch has been in Hap Cobb's family for over a century and a half, but Hap is now eighty-two, and the last surviving member of his family. Hap has no rival as a home cook, and owns the best-stocked private library in the state. When a sudden blizzard hits one January evening, however, and his ranch help Aaron opens the door to a young woman and a teenaged boy seeking shelter from the storm, everything Hap thought he knew about the world begins to shift. With these two unlooked-for houseguests, the White Creek Ranch soon becomes a wellspring of mystery and possibility, and will never be the same again.

In music-instrument language a bridge usually refers to the part of the violin that supports the strings and transfers its vibrations to the instrument's body. It conducts the sound as well as the music produced by the player. In a wider sense, however, a bridge is a passage that connects two worlds-in this case the world of the violin and the world of the fiddle. [...] This book is for violin educators, violin and fiddle students who would like to teach and perform, and fiddlers who are curious to learn more about the connection of the fiddle heritage with the European baroque and classical world.

The essays and reviews in Transatlantic Trio are laid out in a sequence that, though differing slightly from the chronological order in which they were first printed, best reveals the scholarly narrative implicit throughout these formerly scattered, yet now assembled, shorter pieces. One case—namely, “Locke and Wesley: An Essence of Influence”—compresses the collection’s take not just on the British, but on the British-to-Anglo-American, milieu. At least one essay in the first series, accordingly, may be short enough for readers in a hurry. Two cases, as already specified in the bibliographical listings, re-publish only the longer of two pieces otherwise similar. Another case revises the piece in question, and changes its title from “Romanticism and Christianity” to “Empiricism and Evangelicalism: A Combination of Romanticism”: this revision offers readers the quickest way to acquaint themselves with the series as a whole (books included). Establishing the broadest parameters of all the essays, a final case expands the piece and changes its title from “The Common Ground of Wesley and Edwards” to “Wesley and Edwards: An Anglo-American Nexus.” All other reprints remain as they were, except for occasional clarifications and typographical corrections (for convenience in transcribing, the somewhat differing styles of citation favored among the various original publishers are retained). May readers discover only the forgivable extent of remaining infelicity!Browsers among these essays and reviews may wish to consider whether or not British empiricism and the empirical evangelicalism of the Anglo-American world can each in its own right prove as worthy to be read for its manner as for its thoughts. Readers might also stay alert to how the confluence of empirical philosophy and evangelical faith in the neoclassic-to-Romantic imagination helps explain 19th-century authors as aficionados of the realistic and of the preternatural at one and the same time. From their varying but corresponding points of view, these thirty-eight reissues do not just examine, but dwell in the possibility of, intellectual, emotional, and imaginative re-integration. Please take to heart, again—before perusing the first essay—all three  epigraphs, thereby bringing the prologue full circle. The Shelley stanza gives an important, surprising directive for anyone’s natural-cum-spiritual experience. The Koestler statement provides a succinct, stimulating watchword for aesthetic endeavor. And the Wiman meditation bears on how a life’s work ranges from the professional to the personal.

A collection of seventeen intriguing and mind-bending short stories that appeal to readers of crime stories and detective novels, parents of children, lovers of life, letter writers, dentists, and any one in between. The author, Susanna Piontek, was born in Bytom, Poland and immigrated to Germany in 1965. She earned an M.A. at Bochum University, specializing in language pedagogy research, history, and American studies. After working at the University of Saarbrücken for several years, she completed her education as a broadcast editor at a journalism school. Her works have been published in book form, anthologies, and magazines in Germany, the U.S., Israel, and Albania. Since 2006 Piontek is living in the United States as a freelance writer.