Few topics have inspired as much international furor and misinformation as the development and distribution of genetically altered foods. For thousands of years, farmers have bred crops for their resistance to disease, productivity, and nutritional value; and over the past century, scientists have used increasingly more sophisticated methods for modifying them at the genetic level. But only since the 1970s have advances in biotechnology (or gene-splicing to be more precise) upped the ante, with the promise of dramatically improved agricultural products--and public resistance far out of synch with the potential risks. In this provocative and meticulously researched book, Henry Miller and Gregory Conko trace the origins of gene-splicing, its applications, and the backlash from consumer groups and government agencies against so-called "Frankenfoods"--from America to Zimbabwe. They explain how a "happy conspiracy" of anti-technology activism, bureaucratic over-reach, and business lobbying has resulted in a regulatory framework in which there is an inverse relationship between the degree of product risk and degree of regulatory scrutiny. The net result, they argue, is a combination of public confusion, political manipulation, ill-conceived regulation (from such agencies as the USDA, EPA, and FDA), and ultimately, the obstruction of one of the safest and most promising technologies ever developed--with profoundly negative consequences for the environment and starving people around the world. The authors go on to suggest a way to emerge from this morass, proposing a variety of business and policy reforms that can unlock the potential of this cutting-edge science, while ensuring appropriatesafeguards and moving environmentally friendly products into the hands of farmers and consumers. This book is guaranteed to fuel the ongoing debate over the future of biotech and its cultural, economic, and political implications.

Henry Miller's 'Nexus' was censored 50 years ago, while Miller and his publishers fought for freedom of speech. 'Nexus II' was never published, and relooks at his first trip to Paris and Europe in 1928, a world on the edge of the great depression. This volume collates these unpublished memoirs as Henry Miller wished.

In 1941, Henry Miller, the author of Tropic of Cancer, was commissioned by a Los Angeles bookseller to write an erotic novel for a dollar a page. Under the Roofs of Paris (originally published as Opus Pistorum) is that book. Here one finds Miller's characteristic candor, wit, self-mockery, and celebration of the good life. From Marcelle to Tania, to Alexandra, to Anna, and from the Left Bank to Pigalle, Miller sweeps us up in his odyssey in search of the perfect job, the perfect woman, and the perfect experience.

The remarkable popularity of political likenesses in the Victorian period is the central theme of this book, which explores how politicians and publishers exploited new visual technology to appeal to a broad public. The first study of the role of commercial imagery in nineteenth-century politics, Politics personified shows how visual images projected a favourable public image of politics and politicians. Drawing on a vast and diverse range of sources, this book highlights how and why politics was visualised. Beginning with an examination of the visual culture of reform, the book goes on to study how Liberals, Conservatives and Radicals used portraiture to connect with supporters, the role of group portraiture, and representations of Victorian MPs. The final part of the book examines how major politicians, including Palmerston, Gladstone and Disraeli, interacted with mass commercial imagery. The book will appeal to a broad range of scholars and students across political, social and cultural history, art history and visual studies, cultural and media studies and literature. -- .

The intimacy between Nin and Miller, first disclosed in Henry and June, is documented further in this impassioned exchange of letters between the two controversial writers. Edited and with an Introduction by Gunther Stuhlmann; Index.

In this selection of stories and essays, Henry Miller elucidates, revels, and soars, showing his command over a wide range of moods, styles, and subject matters. Writing "from the heart," always with a refreshing lack of reticence, Miller involves the reader directly in his thoughts and feelings. "His real aim," Karl Shapiro has written, "is to find the living core of our world whenever it survives and in whatever manifestation, in art, in literature, in human behavior itself. It is then that he sings, praises, and shouts at the top of his lungs with the uncontainable hilarity he is famous for." Here are some of Henry Miller's best-known writings: an essay on the photographer Brassai; "Reflections on Writing," in which Miller examines his own position as a writer; "Seraphita" and "Balzac and His Double," on the works of other writers; and "The Alcoholic Veteran," "Creative Death," "The Enormous Womb," and "The Philosopher Who Philosophizes."

Some of the most rewarding pages in Henry Miller's books concern his self-education as a writer. He tells, as few great writers ever have, how he set his goals, how he discovered the excitement of using words, how the books he read influenced him, and how he learned to draw on his own experience.

Over the course of seven decades, Twinka Thiebaud has collaborated with thirty artists working in photography, painting, and drawing. This catalogue explores her body of work as an artist’s model alongside developments in photographic techniques and technology, and the role of nature in defining West Coast experimentation. This is the first book to highlight Twinka Thiebaud’s long career and influence as an artist’s model, while also exploring the artistic processes of numerous West Coast-based artists working today. Comprised of 120 paintings, drawings, and photographs that date from the 1940s through 2021, this catalogue’s essays and interview investigate the body/nature relationship in photographs of Thiebaud from the 1970s and 2000s, and her collaborations with such artists as Judy Dater and John Reiff Williams.

One of Henry Miller's most luminous statements of his personal philosophy of life, Stand Still Like the Hummingbird, provides a symbolic title for this collection of stories and essays. Many of them have appeared only in foreign magazines while others were printed in small limited editions which have gone out of print. Miller's genius for comedy is at its best in "Money and How It Gets That Way"-a tongue-in-cheek parody of "economics" provoked by a postcard from Ezra Pound which asked if he "ever thought about money." His deep concern for the role of the artist in society appears in "An Open Letter to All and Sundry," and in "The Angel is My Watermark" he writes of his own passionate love affair with painting. "The Immorality of Morality" is an eloquent discussion of censorship. Some of the stories, such as "First Love," are autobiographical, and there are portraits of friends, such as "Patchen: Man of Anger and Light," and essays on other writers such as Walt Whitman, Thoreau, Sherwood Anderson and Ionesco. Taken together, these highly readable pieces reflect the incredible vitality and variety of interests of the writer who extended the frontiers of modern literature with Tropic of Cancer and other great books.

Forty years have passed since Grove Press first published Henry Miller's landmark masterpiece -- an act that would forever change the face of American literature. Initially banned in America as obscene, Tropic of Cancer was first published in Paris in 1934. Only a historic court ruling that changed American censorship standards permitted its publication. Tropic of Cancer is now considered, as Norman Mailer said, "one of the ten or twenty great novels of our century". Also banned in America for almost thirty years, Tropic of Capricorn is now considered a cornerstone of modern literature.

Together, Tropic of Cancer and Tropic of Capricorn are a lasting testament to one of the greatest American writers of the twentieth century and his contribution not only to literature but to the cause of free speech.

In 1930 Henry Miller moved from New York to Paris, leaving behind -- at least temporarily -- his tempestuous marriage to June Smith and a novel that had sprung from his anguish over her love affair with a mysterious woman named Jean Kronski. Begun in 1927, Crazy Cock is the story of Tony Bring, a struggling writer whose bourgeois inclinations collide with the disordered bohemianism of his much-beloved wife, Hildred, particularly when her lover, Vanya, comes to live with them in their already cramped Greenwich Village apartment. In a world swirling with violence, sex, and passion, the three struggle with their desires, inching ever nearer to insanity, each unable to break away from this dangerous and consuming love triangle.

This tender and nostalgic work dates from the same period as Tropic of Cancer (1934). It is a celebration of love, art, and the Bohemian life at a time when the world was simpler and slower, and Miller an obscure, penniless young writer in Paris. Whether discussing the early days of his long friendship with Alfred Perles or his escapades at the Club Melody brothel, in Quiet Days in Clichy Miller describes a period that would shape his entire life and oeuvre.

'Out of the sea, as if Homer himself had arranged it for me, the islands bobbed up, lonely, deserted, mysterious in the fading light' Enraptured by a young woman's account of the landscapes of Greece, Henry Miller set off to explore the Grecian countryside with his friend Lawrence Durrell in 1939. In The Colossus of Maroussi he describes drinking from sacred springs, nearly being trampled to death by sheep and encountering the flamboyant Greek poet Katsumbalis, who 'could galvanize the dead with his talk'. This lyrical classic of travel writing represented an epiphany in Miller's life, and is the book he would later cite as his favourite. 'One of the five greatest travel books of all time' Pico Iyer

Laziness in the Fertile Valley is Albert Cossery's biting social satire about a father, his three sons, and their uncle - slackers one and all. One brother has been sleeping for almost seven years, waking only to use the bathroom and eat a meal. Another savagely defends the household from women. Serag, the youngest, is the only member of the family interested in getting a job. But even he - try as he might - has a hard time resisting the call of laziness.

In his great triptych "The Millennium," Bosch used oranges and other fruits to symbolize the delights of Paradise. Whence Henry Miller's title for this, one of his most appealing books; first published in 1957, it tells the story of Miller's life on the Big Sur, a section of the California coast where he lived for fifteen years. Big Sur is the portrait of a place-one of the most colorful in the United States-and of the extraordinary people Miller knew there: writers (and writers who did not write), mystics seeking truth in meditation (and the not-so-saintly looking for sex-cults or celebrity), sophisticated children and adult innocents; geniuses, cranks and the unclassifiable, like Conrad Moricand, the "Devil in Paradise" who is one of Miller's greatest character studies. Henry Miller writes with a buoyancy and brimming energy that are infectious. He has a fine touch for comedy. But this is also a serious book-the testament of a free spirit who has broken through the restraints and cliches of modern life to find within himself his own kind of paradise.