Basato su fatti reali, 'Figli della furia' è la drammatica storia di due fratelli baltico-tedeschi nel gorgo del XX secolo. Un'epopea d'inganni e tradimenti che partendo da Riga arriva fino a Tel Aviv, passando da Mosca, Berlino, Monaco. Hub e Koja Solm sono inseparabili. Hub, il fratello maggiore, è carismatico ed estroverso. Koja invece vorrebbe una vita da artista, come quella del padre, ma i mutamenti politici e i problemi finanziari gli mettono i bastoni tra le ruote. Così, negli anni Trenta, si fa trascinare dal fratello nel movimento nazionalsocialista, prima in Lettonia poi a Berlino. Entrambi nutrono un amore sconfinato per Ev, la sorella adottiva. E quando vengono alla luce le origini ebraiche della ragazza, Koja, che nel frattempo è diventato tenente delle SS, fa di tutto per salvarla da morte certa. Dopo la guerra, di ritorno dalle carceri sovietiche, Koja è costretto a reinventarsi agente tuttofare per i servizi d'intelligence. E così s'immerge sempre di più nei segreti della nuova Germania. Nemmeno a Ev può dire la verità, ma è con lei che si trasferisce in Israele per aiutarla a esaudire il suo più grande desiderio: farla pagare ai criminali nazisti. 'Figli della furia' è il romanzo che racconta come sono andate davvero le cose alla fine del secondo conflitto mondiale. Nel 1948, mentre s'inasprisce la guerra fredda, Monaco di Baviera è il centro europeo delle operazioni dei servizi segreti occidentali. Lo spionaggio americano non riesce a penetrare nella sfera d'influenza russa al di là della cortina di ferro. Per questo, con l'obiettivo di disinnescare la mi

Filmmaker sperimentale di trentanove anni, Chris è sposata con Sylvère, docente universitario di cinquantasei anni. Non facendo più sesso, i due però non evitano affatto di parlare. Praticano anzi una rigorosa «decostruzione» a modo loro. In altre parole, si raccontano tutto. Dopo aver trascorso l'intero anno sabbatico di Sylvère in un cottage sperduto tra le montagne a un'ora e mezza da Los Angeles, una sera i due cenano in un sushi bar di Pasadena con Dick, critico culturale inglese e buon conoscente di Sylvère. Al termine della serata Dick li invita a casa sua, nel deserto di Antelope Valley, per trascorrervi la notte ed evitare così di avventurarsi sulle strade innevate. Chris si rende conto che l'inglese flirta apertamente con lei. Ma la mattina dopo, quando si sveglia sul divano letto offerto dal loro generoso ospite, Dick non c'è più. Quella scomparsa le sembra il perfetto compimento di un'intensa storia non vissuta, anzi, come confessa a Sylvère, di una «scopata concettuale».

The shocking climax of Mark Waid and Chris Samnee's beloved, Eisner Award-winning run! One of Daredevil's oldest enemies makes his return -but which one? A mystery that's been building since the very beginning is about to pay off big. Meanwhile, writing his own life story has forced DD to face his darkest demons -what will his closest friends think of the man he is becoming? He's fought hard to build a new life, now he must prove he has what it takes to keep it.

COLLECTING: DAREDEVIL 11-15, 15.1, 16-18

Marvel's fearless hero begins an awe-inspiring adventure in sunny San Francisco! Daredevil has headed West, and he now protects the Golden City's streets from evil - both as a costumed hero and as blind lawyer Matt Murdock! But big changes are in store for Matt as old haunts and familiar faces rise to give the devil his due, and one of DD's oldest enemies is permanently redefi ned, deadlier than ever. The Owl is back, and he isn't working alone. The Shroud makes DD's new life tough - but the Purple Children may destroy it completely!

COLLECTING: DAREDEVIL 1-10, 1.50, 0.1

In order to preserve the new life he's built, Daredevil is faced with a critical decision which may mean the death of Matt Murdock! Plus, with a new rival in town, is DD's time in San Francisco coming to an end?

COLLECTING: DAREDEVIL 15.1, 16-18

Originally published in 1997, Resentment was the first in Gary Indiana's now-classic trilogy (followed in 1999 byThree Month Fever: The Andrew Cunanan Story and in 2003 by Depraved Indifference) chronicling the more-or-less permanent state of "depraved indifference" that characterized American life at the millennium's end.

In Resentment, Seth, a New York--based writer arrives in Los Angeles (where he has history and friends) in mid-August, 1994, to observe what will become the marathon parricide trial of the wealthy, athletic, and troubled Martinez brothers, broadcast live every day on Court TV. Still reeling from the end of his obsessive courtship of a young SoHo artist/waiter, Seth moves between a room at the Chateau Marmont and a Mount Washington shack owned by his old cab-driving, ex-Marxist friend, Jack, while he writes a profile of Teddy Wade -- one of the era's hottest young actors, who has "dared" to star as a gay character in a new Hollywood film. Studded throughout with scathing satirical portraits of media figures, other writers, and the Martinez trial teams,Resentment captures an era that seems, two decades later, at once grotesque, familiar, and a precursor to our own.

Sylvie wanted to believe that misery could simply be replaced with happiness. Time was a straight line, stretching out before you. If you could create a golden kind of time and lay it right beside the other time, the time of horror, Bad History could just recede into the distance without ever having to be resolved. -- from Torpor

Set at the dawn of the New World Order, Chris Kraus's third novel, Torpor loops back to the beginning of the decade that was the basis ofI Love Dick, her pseudo-confessional cult-classic debut. It's summer, 1991, post-MTV, pre-AOL. Jerome Shafir and Sylvie Green, two former New Yorkers who can no longer afford an East Village apartment, set off on a journey across the entire former Soviet Bloc with the specious aim of adopting a Romanian orphan. Nirvana's on the radio everywhere, and wars are erupting across Yugoslavia.

Unhappily married to Jerome, a 53-year-old Columbia University professor who loathes academe, Sylvie thinks only of happiness. There are only two things, Sylvie thinks, that will save them: a child of their own, and the success of The Anthropology of Unhappiness, her husband's long-postponed book on the Holocaust. But as they move forward toward impoverished Romania, Jerome's memories of his father's extermination at Auschwitz and his own childhood survival impede them. Savagely ironic and deeply lyrical,Torpor is Kraus's most personal novel to date.

This volume examines the remarkable legacy of Jason Rhoades's complex body of work. The Los Angeles-based sculptor Jason Rhoades was widely celebrated for sprawling, ambitious, and daring installations, editions, and events prior to his untimely death in 2006. Although he was far better known in Europe than America, many of Rhoades's peers considered him to be one of the most important artists of his generation. In his work, cultural touchstones ranged from high to low, including the artists Marcel Duchamp, Donald Judd, and Paul McCarthy, race-car driver Ayrton Senna, actor Kevin Costner, the big bang, Swedish erotica, and the California gold rush. This volume, accompanying the first US survey of his works, centers on four highly sensory, large-scale pieces that incorporate neon, radio, smoke rings, and even a model train into large environments that engulf the viewer. These four canonical installations are navigated via five critical essays that help unify Rhoades's labyrinthine, often-overwhelming methods into the single overarching project he envisioned. The book also features illustrations of each major work dating from 1991 to 2006, accompanied by explanatory texts that illuminate Rhoades's materials and methods as both highly accessible and artistically complex.

This volume, which includes the author’s own software package, tracks the development of evolutionary computation since 1990, with detailed evaluations of key approaches, pseudocode representations of each algorithm, and industry-applicable BBOB benchmarking.

First published in 2000, Chris Kraus's second novel, Aliens &Anorexia, defined a female form of chance that is both emotional and radical. Unfoldinglike a set of Chinese boxes, with storytelling and philosophy informing each other, the novel weavestogether the lives of earnest visionaries and failed artists. Its characters include Simone Weil,the first radical philosopher of sadness; the artist Paul Thek; Kraus herself; and'Africa,' Kraus's virtual S&M partner, who is shooting a big-budget Hollywood film inNamibia while Kraus holes up in the Northwest woods to chronicle the failure of Gravity& Grace, her own low-budget independent film.

In Aliens& Anorexia, Kraus makes a case for empathy as the ultimate perceptive tool, andreclaims anorexia from the psychoanalytic girl-ghetto of poor 'self-esteem.' Anorexia,Kraus writes, could be an attempt to leave the body altogether: a rejection of the cynicism thatthis culture hands us through its food. As Palle Yourgrau writes in the book's new foreword,'Kraus's rescue operation for aliens like Weil from behind enemy lines on planet Earth is agift, if, in the end, like all good deeds, it remains -- as Weil herself would be the first toinsist -- a fool's errand.'

Presents an catalog to accompany an exhibition highlighting the work of the Pakistani artist that combines traditional motifs and techniques with contemporary abstract painting.

'In his journal, Paul liked to make lists: What he ordered from Commissary(shaving cream, toothpaste, deodorant, the transistor radio he had for a week before the guards tookit away). The books he picked off the cart (The Bible, Dean Koontz, Stephen King, Codependent NoMore.) What phone calls he made and received; also, Bible Study certificates, letters and cards, hisworkout routines and his moods (Anxious, Nervous, Trusting in God, but mostly Depressed). Paul has arecord of every push-up he did while he was in prison but he cannot remember shit about whathappened before his arrest.'--from Summer of Hate

Wakingup from the chilling high of a near-death sex game, Catt Dunlop travels to Albuquerque in 2005 toreinvest some windfall real-estate gains and reengage with something approximating 'reallife.' Aware that the critical discourse she has used to build her career as a visitingprofessor and art critic is really a cipher for something else, she hopes that buying and fixingslum buildings will bring her more closely in touch with American life than the essays shewrites.

In Albuquerque, she becomes romantically involved with Paul Garcia, arecently sober ex-con who has just served sixteen months in state prison for defrauding HalliburtonIndustries, his former employer, of $873. Almost forty years old, Paul is highly intelligent buthas only been out of New Mexico twice. He has no information. With Catt's help, he makes plans toattend UCLA, only to be arrested on a ten-year-old bench warrant en route.

Caughtin the nightmarish Byzantine world of the legal system, Catt and Paul's empathic attempts to saveeach other's lives seems doomed to dissolve. Summer of Hate is a novel aboutflawed reciprocity and American justice, recording recent events through the prism of a beleagueredromance. As lucid and trenchant as ever, Kraus in her newest novel reminds us that the writer can bea first responder of sorts when power becomes invisible, or merely banal.

In 2000, Ryan McGinley, then a student, staged his first exhibition of photographs in an abandoned SoHo gallery. To coincide with the show, the artist created several handmade books featuring a sampling of his work entitled The Kids Are Alright. A copy eventually found its way into the hands of Sylvia Wolf, then a curator of photography at the Whitney Museum of American Art. In 2003, Wolf mounted an exhibition of his work at the venerable institution, the youngest artist to ever have a solo show at the museum.
            What Wolf recognized—and what other critics, curators, and collectors would quickly discover—was an artist who understood and chronicled his own generation (habituées of New York City's downtown) as no artist had before him. McGinley had managed to capture the hedonistic adventures of youth culture—kids hanging out and enjoying life—but without the dark underbelly of earlier artists who mined similar themes. As the work evolved, he moved away from the more documentary aspect of the early photographs and began to create scenarios where he could explore different ideas (aesthetic and otherwise). This eventually led to the now legendary summer-long road trips, capturing groups of twenty-somethings amongst a variety of American landscapes. In his most recent body of work, McGinley continues to explore—in black and white as well as in color—the body but in the still, pared down atmosphere of his studio.
            In this first major monograph chronicling the entirety of the artist's career, McGinley's work is considered by three extraordinary figures: Chris Kraus, novelist and critic; John Kelsey, writer, artist and activist; and Gus Van Sant, the auteur filmmaker. Each attends—through the lens of their own rich insights—to various aspects of the artist's work and creative process, offering in-depth and unique perspectives on McGinley's work and import.