It is the early 1950s. A nameless man is found on the steps of the hospital in Iasi, Romania. He is deaf and mute, but a young nurse named Safta recognizes him from the past and brings him paper and pencils so that he might draw. Gradually, memories appear on the page: the man is Augustin, the cook's son at the manor house at Poiana where Safta was the privileged daughter. Born six months apart, they had a connection that bypassed words, but while Augustin's world stayed the same size, Safta's expanded to embrace languages, society, and a fleeting love one long, hot summer. But then came war, and in its wake a brutal Stalinist regime, and nothing would remain the same. Georgina Harding's kaleidoscopic new novel will appeal to readers of Anne Michaels, Michael Ondaatje, and Sandor Marai. It is as intense and submerging as rain, as steeped in the horrors of our recent history as it is in the intimate passions of the human heart.

**THE INSTANT #1 NEW YORK TIMES BESTSELLER** "An unforgettable—and Hollywood-bound—new thriller... A mix of Hitchcockian suspense, Agatha Christie plotting, and Greek tragedy." —Entertainment Weekly The Silent Patient is a shocking psychological thriller of a woman’s act of violence against her husband—and of the therapist obsessed with uncovering her motive. Alicia Berenson’s life is seemingly perfect. A famous painter married to an in-demand fashion photographer, she lives in a grand house with big windows overlooking a park in one of London’s most desirable areas. One evening her husband Gabriel returns home late from a fashion shoot, and Alicia shoots him five times in the face, and then never speaks another word. Alicia’s refusal to talk, or give any kind of explanation, turns a domestic tragedy into something far grander, a mystery that captures the public imagination and casts Alicia into notoriety. The price of her art skyrockets, and she, the silent patient, is hidden away from the tabloids and spotlight at the Grove, a secure forensic unit in North London. Theo Faber is a criminal psychotherapist who has waited a long time for the opportunity to work with Alicia. His determination to get her to talk and unravel the mystery of why she shot her husband takes him down a twisting path into his own motivations—a search for the truth that threatens to consume him....

When she leaves the ward she feels the whiteness of the room still inside her, as if she is bleached out inside. It is the shock, she tells herself. She feels the whiteness like a dam holding back all the coloured flood of memory. Iasi, Romania, the early 1950s. A man is found on the steps of a hospital, frail as a fallen bird. He carries no identification and utters no words, and it is days before anyone discovers that he is deaf and mute. And then a young nurse called Safta brings paper and pencils with which he can draw. Slowly, painstakingly, memories appear on the page: a hillside, a stable, a car, a country house, dogs and mirrored rooms and samovars in what is now a lost world. The memories are Safta's also. For the man is Augustin, son of the cook at the manor at Poiana that was her family home. Born six months apart, they grew up with a connection that bypassed words. But while Augustin's world remained the same size Safta's expanded to embrace languages, society - and love, as Augustin watched one long hot summer, in the form of a fleeting young man in a green Lagonda. Safta left before the war. Augustin stayed. But even in the wide hills and valleys around Poiana he did not escape its horrors. He watched uncomprehending as armies passed through the place. Then the Communists came, and he found himself their unlikely victim. There are things that he must tell Safta that may be more than simple drawings can convey. Beautiful, spare and intense, Painter of Silence captures the loss and the hope of a tragic time through the extraordinary vision of a mute outsider.

In ""American Silences"", Joseph Anthony Ward offers a unique analysis of the use and effects of silence in modern American realistic art. Beginning with the nineteenth-century literature that laid the foundation for silence in art, he moves to a brief analysis of Sherwood Anderson's ""Winesburg"", Ohio and Ernest Hemingway's ""In Our Time"", showing how they, along with several other crucial works of twentieth-century American realism, incorporate the power of the silent into their expression without sacrificing the subjects and techniques of traditional realism. Examining ""Let Us Now Praise Famous Men"", James Agee's commentary on the life of tenant farmers, documented with photographs by Walker Evans, Ward traces the book's pattern of 'silence, then silence disturbed by sound, and ultimately silence restored'. Ward further supports his theory with a study of Agee's ""A Death in the Family"" and Evans' ""American Photographs"". Ward sees Agee's admiration of photography as a connection between the silence of the scenes he writes about and the silence of Evans' photographs. The use of silence is perhaps even more obvious in the paintings of Edward Hopper. Although throughout the book Ward suggests both the positive and negative qualities of silence in art, Hopper's paintings provide little in the way of postiveness. For Ward, the art of silence is an art of extreme concentration that seeks essences rather than superficiality that nearly transcends realism itself. The theme of silence in American realism is a significant new one, but Ward's interpretation of the prose and his analysis of the photographs and paintings, many of which are reproduced in this book, establish validity for art as the voice of silence.

What Urig offers us in his book "Tips for the Contemporary Painter" is his version of artistic truths in painting. He has personally tested them all. He explains that we as artists need to set a good example. Developing a "Painters Code" will help rid our profession of myths and half-truths. Painters have an important role. What we create should add value and beauty to our world while providing respect for the painter and his work.