Dritan, a talented young Albanian artist, was continuously denied the right to study at the Fine Arts University of Albania, by the very strict Albanian Communist officials. This unfair treatment that came at a surprise to him in his early youth during the late 1970’s, happened because he was labeled as a bourgeoisie family with “western anti-communist values,” or as it was called, “a family with a dark biography” and thus an enemy of the fatherland. As he grew up, Dritan came to learn that his maternal aunt was executed by a firing squad, his maternal uncle was in jail for life, and his father, who had tried to escape the well-guarded country, left no trace behind and no one knew if he was dead or alive. Such unfair labeling and chained tragic events continued to bring all the misfortunes to the rest of Dritan’s remaining family for many decades of the Albanian harsh communist dictatorship and kept them in constant fear and humiliation. This is a teen story for ages 13-18, where among the suffering there is perseverance, love, inspiration and determination to follow a passion. The story has a lot of dramatic moments, surprises, and an interesting ending...

During a violent and powerful mid-summer thunderstorm that shook the city of Monroe, Wisconsin, Dr. George Andrew Buckle was waiting for his wife, Dr. Ingrid Lindquist, at the country club. He was highly agitated because the storm caused his wife to cancel their dinner date. After several drinks, he made his way unsteadily to his car in the parking lot. As he approached his car, an unknown person emerged from the hedge row and fired three shots killing him. The murder rocked the city. The violent death of a world renown heart surgeon put everyone on edge. Police and Fire Commissioner, Roger Nussbaum, instructed Police Chief Brandon Johns to solve the murder quickly and restore calm to the city. The police think they have a prime suspect identified, but Detective Samantha Gates has her doubts. In the meantime, a priest at St. Michaels Catholic Church, Father Bernard, is intrigued by the case and pursues his own line of inquiry. His curiosity and interest could lead to tragic consequences.

Young Elizabeth O'Connor is the little sister John Brady always longed for. But she wants much more than that from her spiritual mentor. As she blossoms into a beautiful young woman intent on loving John, he must push back the very real attraction he feels for her. His past just won't let him go there. Unfortunately, Lizzie won't let him go anywhere else--until she discovers he is not all that he seems. Can true love survive such revelations? Full of the romance and relationships Lessman readers have come to love, A Passion Denied is the final book in the popular Daughters of Boston series.

This book is about the history of character in modern Irish drama. It traces the changing fortunes of the human self in a variety of major Irish plays across the twentieth century and the beginning of the new millennium. Through the analysis of dramatic protagonists created by such authors as Yeats, Synge, O’Casey, Friel and Murphy, and McGuinness and Walsh, it tracks the development of aesthetic and literary styles from modernism to more recent phenomena, from Celtic Revival to Celtic Tiger, and after. The human character is seen as a testing ground and battlefield for new ideas, for social philosophies, and for literary conventions through which each historical epoch has attempted to express its specific cultural and literary identity. In this context, Irish drama appears to be both part of the European literary tradition, engaging with its most contentious issues, and a field of resistance to some conventions from continental centres of avant-garde experimentation. Simultaneously, it follows artistic fashions and redefines them in its critical contribution to European artistic and theatrical diversity.

In Hold It Against Me, Jennifer Doyle explores the relationship between difficulty and emotion in contemporary art, treating emotion as an artist's medium. She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

Pulitzer Prize–winning art critic Sebastian Smee tells the fascinating story of four pairs of artists—Manet and Degas, Picasso and Matisse, Pollock and de Kooning, Freud and Bacon—whose fraught, competitive friendships spurred them to new creative heights. Rivalry is at the heart of some of the most famous and fruitful relationships in history. The Art of Rivalry follows eight celebrated artists, each linked to a counterpart by friendship, admiration, envy, and ambition. All eight are household names today. But to achieve what they did, each needed the influence of a contemporary—one who was equally ambitious but possessed sharply contrasting strengths and weaknesses. Edouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife. Henri Matisse and Pablo Picasso swapped paintings, ideas, and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant-garde. Jackson Pollock’s uninhibited style of “action painting” triggered a breakthrough in the work of his older rival, Willem de Kooning. After Pollock’s sudden death in a car crash, de Kooning assumed Pollock's mantle and became romantically involved with his late friend’s mistress. Lucian Freud and Francis Bacon met in the early 1950s, when Bacon was being hailed as Britain’s most exciting new painter and Freud was working in relative obscurity. Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon, which was later stolen. Each of these relationships culminated in an early flashpoint, a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation. Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism, Sebastian Smee explores here the way that coming into one’s own as an artist—finding one’s voice—almost always involves willfully breaking away from some intimate’s expectations of who you are or ought to be. Praise for The Art of Rivalry “Gripping . . . Mr. Smee’s skills as a critic are evident throughout. He is persuasive and vivid. . . . You leave this book both nourished and hungry for more about the art, its creators and patrons, and the relationships that seed the ground for moments spent at the canvas.”—The New York Times “With novella-like detail and incisiveness [Sebastian Smee] opens up the worlds of four pairs of renowned artists. . . . Each of his portraits is a biographical gem. . . . The Art of Rivalry is a pure, informative delight, written with canny authority.”—The Boston Globe

Written from the perspective of a practising artist, this book proposes that, against a groundswell of historians, museums and commentators claiming to speak on behalf of art, it is artists alone who may define what art really is. Jelinek contends that while there are objects called 'art' in museums from deep into human history and from around the globe - from Hans Sloane's collection, which became the foundation of the British Museum, to Alfred Barr's inclusion of 'primitive art' within the walls of MoMA, the Museum of Modern Art - only those that have been made with the knowledge and discipline of art should rightly be termed as such. Policing the definition of art in this way is not to entrench it as an elitist occupation, but in order to focus on its liberal democratic potential. Between Discipline and a Hard Place describes the value of art outside the current preoccupation with economic considerations yet without resorting to a range of stereotypical and ultimately instrumentalist political or social goods, such as social inclusion or education. A wider argument is also made for disciplinarity, as Jelinek discusses the great potential as well as the pitfalls of interdisciplinary and multidisciplinary working, particularly with the so-called 'creative' arts. A passionate treatise arguing for a new way of understanding art that forefronts the role of the artist and the importance of inclusion within both the concept of art and the art world.