"It should have won all the prizes" DORIS LESSING "Enthralling, chilling and memorable" Sunday Telegraph "So original that the text is illuminating" The Times "Remarkable and haunting" Guardian In a London pub in the 1950s, editor William Maginn is intrigued by a reference to the reputedly shameful demise of a remote mountain village in Kerry, Ireland, where he was born. Maginn returns to Kerry and uncovers an astonishing tale: both the account of the destruction of a place and a way of life which once preserved Ireland s ancient traditions, and the tragedy of an increasingly isolated village where the women mysteriously die leaving the priest, Father McGreevy, to cope. McGreevy struggles to preserve what remains of his parish, and against the rough mountain elements, the grief and superstitions of his people, and the growing distrust in the town below. Rich in the details of Irish lore and life, and a gripping exploration of both the locus of misfortune and the nature of evil, its narrative evokes both a time and a place with the accuracy of a keen unsentimental eye, and renders its characters with heartfelt depth. Shortlisted for the Man Booker Prize

When these essays first appeared in Artforum in 1976, their impact was immediate. They were discussed, annotated, cited, collected, and translated-the three issues of Artforum in which they appeared have become nearly impossible to obtain. Having Brian O'Doherty's provocative essays available again is a signal event for the art world. This edition also includes "The Gallery as Gesture," a critically important piece published ten years after the others. O'Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system. These essays are essential reading for anyone interested in the history and issues of postwar art in Europe and the United States. Teeming with ideas, relentless in their pursuit of contradiction and paradox, they exhibit both the understanding of the artist (Patrick Ireland) and the precision of the scholar. With an introduction by Thomas McEvilley and a brilliantly cogent afterword by its author, Brian O'Doherty once again leads us on the perilous journey to center to the art world: Inside the White Cube.