Spadework for a Palace
4.390 kr.Spadework for a Palace bears the subtitle “Entering the Madness of Others” and offers an epigraph: “Reality is no obstacle.” Indeed. This high-octane obsessive rant vaults over all obstacles, fueled by the idées fixe of a “gray little librarian” with fallen arches whose name—mr herman melvill—is merely one of the coincidences binding him to his lodestar Herman Melville (“I too resided on East 26th Street . . . I, too, had worked for a while at the Customs Office”), which itself is just one aspect of his also being “constantly conscious of his connectedness” to Lebbeus Woods, to the rock that is Manhattan, to the “drunkard Lowry” and his Lunar Caustic, to Bartok. And with this consciousness of connection he is not only gaining true knowledge of Melville, but also tracing the paths to “a Serene Paradise of Knowledge.” Driven to save that Palace (a higher library he also serves), he loses his job and his wife leaves him, but “people must be told the truth: there is no dualism in existence.” And his dream will be “realized, for I am not giving up: I am merely a day-laborer, a spade-worker on this dream, a herman melvill, a librarian from the lending desk, currently an inmate at Bellevue, but at the same time—may I say this?—actually a Keeper of the Palace.”
Live Long And . . . – What I Learned Along the Way
1.290 kr.Still, a brief health scare in 2016 forced him to take stock. After mulling over the lessons he’s learned, the places he’s been, and all the miracles and strange occurrences he’s witnessed over the course of an enduring career in Hollywood and on the stage, he arrived at one simple rule for living a long and good life: don’t die.
It’s the only one-size-fits-all advice, Shatner argues in Live Long and..:What I Learned Along the Way, because everyone has a unique life―but, to help us all out, he’s more than willing to share stories from his unique life. With a combination of pithy humor and thoughtful vulnerability, Shatner lays out his journey from childhood to peak stardom and all the bumps in the road. (Sometimes the literal road, as in the case of his 2,400-mile motorcycle trip across the country with a bike that didn’t function.)
William Shatner is one of our most beloved entertainers, and he intends never to stop entertaining. His funny, provocative, and poignant reflections offer an unforgettable read about a remarkable man.
I Am Spock
990 kr.Leonard Nimoy’s portrayal of the ever-logical Vulcan, Mr. Spock, is one of the most recognizable, loved, and pervasive characterizations in popular culture. He had been closer to the phenomenon of Star Trek than anyone, having played the pivotal role of Spock in the original series, in six motion pictures, and in a special two-part episode of Star Trek: The Next Generation. I AM SPOCK gives us Nimoy’s unique perspective on the beginnings of the Star Trek phenomenon, on his relationship with his costars, and particularly on the reaction of the pointed-eared alien that Nimoy knew best.
Here, Nimoy shared the true story behind his perceived reticence to re-create the role and wrote frankly about how his portrayal defined an icon.
The Mysterious Case of the Missing Crime Writer
4.390 kr.One winter evening bestselling crime author, Elín S. Jónsdóttir goes missing.
There are no clues to her disappearance and it is up to young detective, Helgi, to crack the case before it’s leaked to the press.
As he interviews the people closest to her – a publisher, an accountant, a retired judge – he realises that Elín’s life wasn’t what it seemed. In fact, her past is even stranger than her stories.
As the case of the missing crime writer becomes more mysterious by the hour, Helgi must uncover the secrets of a very unexpected life . . .
Annah, Infinite
5.490 kr.This is an escape story.
In Annah, Infinite, the dominant narratives surrounding Paul Gauguin’s famous painting Annah la Javanaise (1893-94) are turned upside down. The book argues a simple point: what if the portrait is not one of a consenting muse, but a child in pain?
Annah, Infinite questions the colonial power that has defined the infamous subject’s unknown history. Through the mythology of Annah, Okka draws attention to the systems of ablenormativity, racism, and sexism that shape what we learn of art history and what we see on museum walls.
Alongside her critique, the author engages with Annah la Javanaise through poetry, fiction, and visual art. A work of emotional heft, Okka asks us to acknowledge the possibility of pain in every single portrait, as well as the possibility of escape.