Generational dialogues between 40 world-renowned creatives exploring how the creative legacy of previous generations is being reinterpreted over time. Description What is this phenomenon we call ‘legacy’? This intangible inheritance that we eventually leave for our posterity? Is it the creative and intellectual heritage that one generation passes on to the next? Conceived by Lukas Feireiss, the book at hand tries to probe this open question by engaging in critical dialogue different generations of creatives, connectors and thinkers alike. In some cases, between inherent legacy of parent and child, in many cases between mentor and students, or simply between friends. The more than 40 illustrious contributors to this dialogue derive from an array of fields of knowledge and experience. Their stories often provide very personal insights into their work and life. They also reveal a broader perspective on the overall realms of art, design, architecture, music, literature, photography and curation in the 20th and 21st century. With contributions by Olafur Eliasson and Einar Thorsteinn, Lukas Feireiss and Ai Weiwei, Charlie and Rem Koolhaas, Francesca Gavin and Kerry James Marshall, Sophie Lovell and Dieter Rams, Hans-Ulrich Obrist and Yona Friedman, Shumon Basar and Ken Adam, Carson Chan and Phyllis Lambert, Rachel and Daniel Libeskind, Andres Ramirez and Denise Scott Brown, Aric Chen and Arata Isozaki, Ahmir Questlove Thompson and George Clinton and many more.

Praise for Left for Dead, first novel in the Trish LaClede series "Prepare to follow Trish LaClede through a thousand twists and turns as she battles to save her late husband's business and unravel the mysteries surrounding his death." -Larry Russell, The Wynnewood Gazette "Shipley's contemporary novel is told in a rich and descriptive voice with much wonderful dialogue. .you'll love this thriller." -Russ Long, The Oklahoman Discovery of shocking evidence of her late husband early life sends Trish LaClede to Oklahoma seeking more information. Documentation from records and old newspapers arouses suspicion of foul play and fraud that deprived Howard's ancestors of oil-rich land. An elderly woman gives Trish pictures of Howard's mother and her sister with a baby that might be Howard's sister. But Trish suspects that the woman was involved in the land fraud. Can she trust her to tell the truth? Why did Howard's mother keep him in the dark about his relatives in the area? As a stranger in unknown territory Trish doesn't know whom to trust. Can she believe anything anyone tells her? Do the ones who seem most friendly have ulterior motives? Did her research rekindle long-smoldering hatred that results in murder? Web Site: www.voncilleshipley.com

It is 1802. The struggling seafaring town of Concarneau clings to the perilous Breton Coast of France and endures Napoleon's increasing taxes and tariffs. After a cholera epidemic devastates Concarneau's population and leaves the town without a healer, Captain Louis Bedard, master mariner and bereaved patriarch, decides to seek a medisin - a doctor - but how can he amass the year's advance salary necessary to pay such a man? Bedard resorts to smuggling and finds himself, for the first time, at odds with the local law. Each month on the dark of the new moon, he slips the wharf and sails under an alias. The work is dangerous; most times he and his crew barely avoid capture by Concarneau's ambitious Captain Peder LaMotte. Bedard's plan works until one stormy night when he is betrayed by a vengeful crewmember and arrested by LaMotte. While Bedard awaits trial in the town jail he thinks his life can get no worse, until his beloved only daughter visits and tells him that she has finally met the man she wants to marry.

In The Reason of Church Government, a thirty-three-year-old John Milton writes of his hope that by labour and intent study... joyn'd with the strong propensity of nature, I might perhaps leave something so written to aftertimes, as they should not willingly let it die. Even the young Milton, committed as he was to achieving a place in the annals of poetic history, might have been surprised by the strenuous efforts in aftertimes to keep his legacy alive. The fifteen essays that comprise this collection focus, from varied perspectives, on Paradise Lost, Paradise Regained, and A Mask, poems that have attracted sustained critical attention. Several consider shorter poems, such as the Nativity Ode, The Passion, Upon the Circumcision, and Sonnet 14. Some pursue issues of sources, authorship, and audience, while still others probe extant biographical records or reflect on the author as biographical subject. Diverse though they are in subject matter, approaches, and emphases, all demonstrate how Milton scholarship in the twenty-first century continues to be committed to not willingly let ting] Milton's literary legacy die. Kristin A. Brothers University. Charles W. Durham is professor emeritus of English at Middle Tennessee State University, and is president of the Milton Society of America.

even as she lifted her hands from her lap, over the child's face spread a calculating look that was thoroughly unnerving, for it was so like Jane. "Did you know my mother?" she asked, her eyes veering away. Geneva had a sickening sensation that Jane was reaching out from the grave. "Not really. I met her once," she said. Elizabeth grew more alert. "Where?" "Here at Brookhurst at a dinner party." She thought of Jane's tidy figure in a pink chemise and silver slave bracelets; her cold blue eyes and cruel mouth set in a pale, flat complexion. The saucy way she sat with feet tucked under her on the sofa in the drawing room-the most formal chamber in the house. A considerable pause. A frown of concentration. "Then, was this before she married my father?" Elizabeth asked slowly. "Yes. Why?" Another pause. "So you knew my father before he married my mother." "Yes," Geneva said. She would have thought this obvious, given that Emelye was Tony's child with her, and was several months older than Elizabeth. Then she realized it would be far beyond the ability of a child less than eight years old to piece that sort of information together. Elizabeth pressed her bangs again, ran her tongue over her lips. Still avoiding looking at Geneva, she asked, "Was my mother was she nice then?"

After watching her father get brutally murdered, young Victoria Henry turned to painting to escape the painful memories of her childhood. Over three decades later, a house fire destroys her Texas mansion and takes the life of her cheating husband, unleashing a series of events that open up the dark past she’s tried so desperately to forget. Former Navy SEAL, Police Lieutenant Danny Dabrowski, suspects arson and while questioning the sexy, alluring wife of the late William King, he becomes suspicious when Victoria shows no signs of emotion other than a fiery attitude toward him. As Danny’s perception of Victoria becomes clouded by desire, all bets are off when he finds out that the past and present are linked to a dangerous cartel that only wants one thing from Victoria. The one thing she doesn’t even know exists. And they’re willing to kill for it.

A woman learns her husband is not the man she married. Instead of an orphaned foster child like herself, he is the scion of a billionaire. In order to avoid a family legacy, he faked his own death. When they first met sixteen years ago, Ali was convinced Ryan was a man who grew up like she did: as a foster care orphan. They married quickly and headed for the Midwest to complete college. Sixteen years later, Ryan has an independent law practice, Ali is an ER nurse, and the couple has the perfect life. Yet when Ryan leads a class action suit against a toxic industrial development by billionaire Charles Barnett, all hell breaks loose. During the case discovery, Ali learns that Ryan is really the sole son and namesake of real estate magnate Barnett who faked his death by disappearing off his sailboat near the Massachusetts coast sixteen years ago. His real name is Charles Barnett Jr., and he pulled off his deception in order to avoid the pressure of the family legacy and to marry Ali who came from a lower social status. He took the name Ryan, assuming the legal identity of a college roommate who died young. This searing novel demonstrates the strength of love and the power of class to haunt our lives while serving as a moving meditation on how to redeem the past. As Ryan says to his teenage daughter, "Status does not determine character. Character determines status."

The drama of the Old Testament comes to life as Judah's most notorious king ascends to the throne in this gripping novel from the award-winning author of Isaiah's Daughter. At eight years old, Shulle has known only life in a small village with her loving but peculiar father. When Uncle Shebna offers shelter in Jerusalem in exchange for Shulle's help tutoring King Manasseh, Judah's five-year-old co-regent who displays the same peculiarities as her father, she's eager to experience the royal court. But Shulle soon realizes the limits of her father's strict adherence to Yahweh's Law when Uncle Shebna teaches her of the starry hosts and their power. Convinced Judah must be freed from Yahweh's chains, she begins the subtle swaying of young Manasseh, using her charm and skills on the boy no one else understands. When King Hezekiah dies, twelve-year-old Manasseh is thrust onto Judah's throne, bitter at Yahweh and eager to marry the girl he adores. Assyria's crown prince favors Manasseh and twists his brilliant mind toward cruelty, beginning Shulle's long and harrowing journey to discover the Yahweh she'd never known, guided with loving wisdom by Manasseh's mother: Isaiah's daughter, the heartbroken Hephzibah. Amid Judah's dark days, a desperate remnant emerges, claiming the Lord's promise, "Though we're helpless now, we're never hopeless--because we serve El Shaddai." Shulle is among them, a girl who becomes a queen through Isaiah's legacy.