John Banville, the Man Booker Prize–winning author of The Sea and Ancient Light, now gives us a new novel—at once trenchant, witty, and shattering—about the intricacies of artistic creation, about theft, and about the ways in which we learn to possess one another, and to hold on to ourselves. Equally self-aggrandizing and self-deprecating, our narrator, Oliver Otway Orme (“O O O. An absurdity. You could hang me over the door of a pawnshop”), is a painter of some renown and a petty thief who has never before been caught and steals only for pleasure. Both art and the art of thievery have been part of his “endless effort at possession,” but now he’s pushing fifty, feels like a hundred, and things have not been going so well. Having recognized the “man-killing crevasse” that exists between what he sees and any representation he might make of it, he has stopped painting. And his last act of thievery—the last time he felt its “secret shiver of bliss”—has been discovered. The fact that the purloined possession was the wife of the man who was, perhaps, his best friend has compelled him to run away—from his mistress, his home, his wife; from whatever remains of his impulse to paint; and from a tragedy that has long haunted him—and to sequester himself in the house where he was born. Trying to uncover in himself the answer to how and why things have turned out as they have, excavating memories of family, of places he has called home, and of the way he has apprehended the world around him (“one of my eyes is forever turning towards the world beyond”), Olly reveals the very essence of a man who, in some way, has always been waiting to be rescued from himself.

Nerves crunch at the international classical guitar competition in Montreal where musicians fly in from all over the world to compete in a gruelling week. A career can be made or lost, and the slightest mishap - a lapse of memory, a shaking right hand - can ruin years of preparation. There is more than pretty music being performed on this stage.

For 25 years, Maxine Greene has been the philosopher-in-residence at the innovative Lincoln Center Institute, where her work forms the foundation of the Institute's aesthetic education practice. Each summer she addresses teachers from across the country, representing all grade levels, through LCI's intensive professional development sessions. Variations on a Blue Guitar contains a selection of these never-before-published lectures touching on the topics of aesthetic education, imagination and transformation, educational renewal and reform, excellence, standards, and cultural diversity, powerful ideas for today's educators.

(Guitar Educational). A comprehensive source designed to help guitarists develop both lead and rhythm playing. Covers: Texas, Delta, R&B, early rock and roll, gospel, blues/rock and more. Includes 21 complete solos; chord progressions and riffs; turnarounds; moveable scales and more. The audio features leads and full band backing.

This is a musician’s tale: the story of a boy growing up on the Iron Range, playing his guitar at family gatherings, coming of age in the psychedelic seventies, and honing his craft as a pro in Minneapolis, ground zero of American popular music in the mid-eighties. “There is a drop of blood behind every note I play and every word I write,” Paul Metsa says. And it’s easy to believe, as he conducts us on a musical journey across time and country, navigating switchbacks, detours, dead ends, and providing us the occasional glimpse of the promised land on the blue guitar highway. His account captures the thrill of the Twin Cities when acts like the Replacements, Husker Dü, and Prince were remaking pop music. It takes us right onto the stages he shared with stars like Billy Bragg, Pete Seeger, and Bruce Springsteen. And it gives us a close-up, dizzying view of the roller-coaster ride that is the professional musician’s life, played out against the polarizing politics and intimate history of the past few decades of American culture. Written with a songwriter’s sense of detail and ear for poetry, Paul Metsa’s book conveys all the sweet absurdity, dry humor, and passion for the language of music that has made his story sing.

Capturing the unique beauty of an unparalleled collection of specially-made blue guitars, this compendium contains cutting-edge design and layout, as well as interviews with the guitarmakers. 133 color photos.

Americans conceive of the process of political representation as operating like a "transmission belt." Elections convey citizens' preferences unchanged into the legislative assembly and thereby allow them to participate, through their representatives, in the political affairs of the nation. This conception stands firmly in the tradition of liberal thought, as does much theory about political representation. In that tradition, government is defined primarily in terms of power, and elections are little more than the means by which that power is transferred from the people to their representatives. In The Blue Guitar (the title alludes to a poem by Wallace Stevens), Nancy L. Schwartz offers a radically new understanding of representation. As she sees it, representatives should be—and, in the past, have been—more than mere delegates or trustees of individual desires and interests and the process of representation more than the appropriation of power and control. Ideally, representation should transform both representative and citizen. Representatives should be caretakers of the community, not the watchdogs of special interest groups or individuals. Citizens in turn should feel increased personal responsibility for the whole that membership in the community entails. Moreover, representatives should serve as founders of their constituencies, constituting communities whose members value citizenship as an end in itself. In her analysis, Schwartz canvasses the political experience of ancient, medieval, and Renaissance city-states to discover the communitarian meaning of citizenship, and she draws on classical political theory from Plato to Rousseau and Hegel, on the political sociology of Marx and Weber, and on such contemporary theorists as Arendt and Pitkin. Schwartz also enters the controversy over whether local, state, and national legislators should be selected by district or at-large elections. After examining a set of key Supreme Court cases on voting rights and district elections, she proposes that representatives come from single-member geographic districts.