Using exceptional precious and semi-precious stones mounted in rare and unusual metals, JAR jewels are classics with a twinkle. Galconda diamonds, Kashmir sapphires, natural pearls, Indian emeralds, Burma rubies as well as demantoid garnets, pink sapphires and spinels are regularly used in his creations. Rosenthal's demand for perfection in the production of each piece is so high that only 60 to 70 jewels are made each year. All of them are unique - never duplicated. In this book you will discover 400 JAR creations, photographed using Rosenthal's personal vision via the photographer's special technique. For everyone even remotely interested in jewellery, this is a book you have to own. The release of this book will coincide with the exhibition The Jewels of JAR Paris commencing on November 2, 2002 at Somerset House, London.

Called "the Fabergé of our time" by Diane von Furstenberg, Joel A. Rosenthal, who works in Paris under the name JAR, is one of the most acclaimed jewellery designers of the past thirty years. JAR is known for his use of precious and semi-precious stones resplendent with myriad shades of vibrant colour and set in organic shapes: one brooch, for instance, features lifelike petals in subtly differentiated hues, made from a thousand pavé sapphires and amethysts. The New York Times has described his jewellery as "belligerent, stubborn, audacious, funny, contradictory", while JAR himself has characterised his work as "somewhere between geometry and a bouquet of flowers". This book, featuring nearly 70 pieces from throughout JAR's career, provides a concise, accessible, elegantly designed retrospective of the best of his jewellery creations, and is the only book of its kind on his work available in English.

The Bottom of the Jar is the journey of a boy finding his footing in the heart of Fez during the 1950s, as Morocco began freeing itself from the grip of the French colonial occupation. The narrator vividly recalls his first encounters with the ebullient city, family dramas, and the joys and turbulence of his childhood. He recalls a renegade, hashish-loving uncle, who at nightfall transforms into a beloved Homer, his salt-of-the-earth mother's impassioned pleas to a Divine ear, and his father's enduring generosity. Told in the spirit of a late-night ramble among friends where hilarious anecdotes and poignant recollections flow in equal parts, Laâbi's autobiographical novel offers us a generous glimpse into the formative experiences of a great poet, whose integrity and commitment to social justice earned him an eight-and-a-half year prison sentence during Morocco's "year of lead" in The 1970s.

The Belly of Paris (Le Ventre de Paris) is the third novel in Émile Zola's twenty-volume series Les Rougon-Macquart, first published in 1873. It is a novel of the teeming life which surrounds the great central markets of Paris. The book was originally translated into English by Henry Vizetelly and published in 1888 under the title Fat and Thin. After Vizetelly's imprisonment for obscene libel the novel was one of those revised and expurgated by his son, Ernest Alfred Vizetelly. The heroine is Lisa Quenu, a daughter of Antoine Macquart. She has become prosperous, and with prosperity her selfishness has increased. Her brother-in-law Florent had escaped from penal servitude in Cayenne and lived for a short time in her house, but she became tired of his presence and ultimately denounced him to the police. Émile Zola (1840 – 1902) was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France.

This book is the first comprehensive monographic treatment of the New Kingdom (1539–1078 BCE) necropolis at Saqqara, the burial ground of the ancient Egyptian city of Memphis, and addresses questions fundamental to understanding the site’s development through time. For example, why were certain areas of the necropolis selected for burial in certain time periods; what were the tombs’ spatial relations to contemporaneous and older monuments; and what effect did earlier structures have on the positioning of tombs and structuring of the necropolis in later times? This study adopts landscape biography as a conceptual tool to study the long-time interaction between people and landscapes.