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This Beckoning Ceaseless Beauty

Author: Heidi Rose Robbins
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Poetry by Heidi Rose Robbins. Heidi is a poet, speaker, astrologer, and one of the founders of the Hello Love Experiment, a radical, joyous practice about greeting others with love. She regularly offers Radiant Life Retreats in Ojai, California, where she teaches groups of women to live more full, passionate and expressive lives. She lives in Southern California with her husband, Andrew Heffernan, and their two children, Kate and Dylan.


The Beckoning Land

Author: Donelson Farquhar Hoopes
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Manet and Modern Beauty

Author: Gloria Groom
Publisher: Getty Publications
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This stunning examination of the last years of Édouard Manet's life and career is the first book to explore the transformation of his style and subject matter in the 1870s and early 1880s. The name Manet often evokes the provocative, heroically scaled pictures he painted in the 1860s for the Salon, but in the late 1870s and early 1880s the artist produced quite a different body of work: stylish portraits of actresses and demimondaines, luscious still lifes, delicate pastels, intimate watercolors, and impressionistic scenes of suburban gardens and Parisian cafés. Often dismissed as too pretty and superficial by critics, these later works reflect Manet’s elegant social world, propose a radical new alignment of modern art with fashionable femininity, and record the artist’s unapologetic embrace of beauty and visual pleasure in the face of death. Featuring nearly three hundred illustrations and nine fascinating essays by established and emerging Manet specialists, a technical analysis of the late Salon painting Jeanne (Spring), a selection of the artist’s correspondence, a chronology, and more, Manet and Modern Beauty brings a diverse range of approaches to bear on a little-studied area of this major artist’s oeuvre.


Liturgy and the Beauty of the Unknown

Author: Dr David Torevell
Publisher: Ashgate Publishing, Ltd.
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Contemporary culture is rediscovering the importance of beauty for both social transformation and personal happiness. Theologians have sought, in their varied ways, to demonstrate how God's beauty is associated with notions of truth and goodness. This book breaks new ground by suggesting that liturgy is the means par excellence by which an experience of beauty is communicated. Drawing from both secular and religious understandings, in particular the mystical and apophatic tradition, the book demonstrates how liturgy has the potential to achieve the one ultimately reliable form of beauty because its embodied components are able to reflect the disturbing beauty of the One to whom worship is always offered. Such components rely on understanding the aesthetic dynamics upon which liturgy relies. This book draws from a broad range of disciplines concerned with understanding beauty and self-transformation and concludes that while secular utopian forms have much to contribute to ethical transformation, they ultimately fail since they lack the Christological and eschatological framework needed, which liturgy alone provides.


Theatre Arts Monthly

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Theatre for Social Change

Author: Harry Justin Elam
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Theatre arts magazine

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William Sharp Fiona Macleod

Author: Elizabeth Amelia Sharp
Publisher: NEW YORK DUFFIELD & COMPANY
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Example in this ebook When the secret of the identity of Fiona Macleod—so loyally guarded by a number of friends for twelve years—was finally made known, much speculation arose as to the nature of the dual element that had found expression in the collective work of William Sharp. Many suggestions, wide of the mark, were advanced; among others, that the writer had assumed the pseudonym as a joke, and having assumed it found himself constrained to continue its use. A few of the critics understood. Prof. Patrick Geddes realised that the discussion was productive of further misunderstanding, and wrote to me: “Should you not explain that F. M. was not simply W. S., but that W. S. in his deepest moods became F. M., a sort of dual personality in short, not a mere nom-de-guerre?” It was not expedient for me at that moment to do so. I preferred to wait till I could prepare as adequate an explanation as possible. My chief aim, therefore, in writing about my husband and in giving a sketch of his life, has been to indicate, to the best of my ability, the growth and development in his work of the dual literary expression of himself. The most carefully compiled record of a life can be but partially true, since much of necessity must be left unsaid. A biographer, moreover, can delineate another human being only to the extent of his understanding of that fellow being. In so far as he lacks, not only knowledge of facts, but also the illumination of intuition and sympathy, to that extent will he fail to present a finished study of his subject. And because no one can wholly know another: because one of necessity interprets another through the colour of his or her mind, I am very conscious of my own limitations in this respect. As, however, I have known William Sharp for more consecutive years than any other of his intimate friends, I perhaps am able therefore to offer the fullest survey of the unfolding of his life; though I realise that others may have known him better than I on some sides of his nature: in particular as he impressed those who had not discovered, or were not in sympathy with, the “F. M.” phase in him. The life of William Sharp divides itself naturally into two halves: the first ends with the publication by W. S. of Vistas, and the second begins with Pharais, the first book signed Fiona Macleod. It has been my endeavour to tell his story by means of letters and diaries; of letters written by him, and of others written to him, concerning his work and interests. To quote his own words: “A group of intimate letters, written with no foreseen or suspected secondary intention, will probably give us more insight into the inner nature of a man than any number of hypothetical pros and cons on the part of a biographer, or than reams of autobiography.... I know Keats for instance far better through his letters than by even the ablest and most intimate memoirs that have been written of him: the real man is revealed in them and is brought near to us till we seem to hear his voice and clasp his hand.” The diaries are fragmentary. They were usually begun at each New Year, but were speedily discontinued; or noted down intermittently, during a sojourn abroad, as a record of work. He was a good correspondent, both as W. S. and F. M. I have thus tried to make the book as autobiographic as possible, by means of these letters and diaries, and I have added only what has seemed to me necessary to make the narrative sequent. Unfortunately, letters have not been available from several valuable sources; and I regret the absence of any written by him to Walter Pater, George Meredith, Theodore Watts-Dunton, Arthur Symons, and to one or two of his most intimate friends. To be continue in this ebook


Skin

Author: April Lindner
Publisher: Texas Tech University Press
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Haven’t we all been told how beauty is thin as truth? And don’t we believe and disbelieve this “lie we’d carve and starve for. / We’d suck it till the juice ran down our arms”? Skin compels us, repels us. Beauty may be only skin deep, a fine covering—sensuous, at times translucent, almost transparent, and yet so obdurate. Skin insulates, guarding its vital organs just beneath this surface that teases us to peek, to try to penetrate. We call this desire by many names, the best of which is love. April Lindner’s sensuously orchestrated collection of poems conveys the beauty and truth of love, how we know it to be paradoxical, obsessive, fearful, rapacious, holy.—Robert FinkFontanelHere’s the ravine, a stretch of skinspanning the breach like a footbridge.Canvas-thin, it trembles with the bloodthat runs beneath. Something less tangiblecourses there too, a whitewater flumeof images: the stretching housecat;car keys that sing and catch light;floorboards knotted with dark, animal eyes;the window with its shifting square of sky.All things equal, each thing startling,and everything unmediated by the mind’shabitual grapple with whyand so what. You frown at a fadedwallpaper pineapple, and the membraneflutters harder. I’m carefulwhen I comb your sparse brown hair.When I sing your name I borrow a liltI’d never use in speech. The wordsdon’t matter; I’m saying drink me while you can,like milk. Let me be flesh and flannel,hands that loosen your tangled blanket.Know me by scent before you learn my name,before doorknobs turn into doorknobs,before the gates knit shut.


Arthur s Illustrated Home Magazine

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