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.

Shocking, banned and the subject of obscenity trials, Henry Miller's first novel Tropic of Cancer is one of the most scandalous and influential books of the twentieth century -- new to Penguin Modern Classics with a cover by Tracey Emin Tropic of Cancer redefined the novel. Set in Paris in the 1930s, it features a starving American writer who lives a bohemian life among prostitutes, pimps, and artists. Banned in the US and the UK for more than thirty years because it was considered pornographic, Tropic of Cancer continued to be distributed in France and smuggled into other countries. When it was first published in the US in 1961, it led to more than 60 obscenity trials until a historic ruling by the Supreme Court defined it as a work of literature. Long hailed as a truly liberating book, daring and uncompromising, Tropic of Cancer is a cornerstone of modern literature that asks us to reconsider everything we know about art, freedom, and morality. 'At last an unprintable book that is fit to read' Ezra Pound 'A momentous event in the history of modern writing' Samuel Beckett 'The book that forever changed the way American literature would be written' Erica Jong

U?pon its release in 1960, Alfred Hitchcock's Psycho divided critical opinion, with several leading film critics condemning Hitchcock's apparent encouragement of the audience's identification with the gruesome murder that lies at the heart of the film. Such antipathy did little to harm Psycho's box-office returns, and it would go on to be acknowledged as one of the greatest film thrillers, with scenes and characters that are among the most iconic in all cinema. In his illuminating study of Psycho, Raymond Durgnat provides a minute analysis of its unfolding narrative, enabling us to consider what happens to the viewer as he or she watches the film, and to think afresh about questions of spectatorship, Hollywood narrative codes, psycho-analysis, editing and shot composition. In his introduction to the new edition, Henry K. Miller presents A Long Hard Look at 'Psycho' as the culmination of Durgnat's decades-long campaign to correct what he called film studies' 'Grand Error'. In the course of expounding Durgnat's root-and-branch challenge to our inherited shibboleths about Hollywood cinema in general and Hitchcock in particular, Miller also describes the eclectic intellectual tradition to which Durgnat claimed allegiance. This band of amis inconnus, among them William Empson, Edgar Morin and Manny Farber, had at its head Durgnat's mentor Thorold Dickinson. The book's story begins in the early 1960s, when Dickinson made the long hard look the basis of his pioneering film course at the Slade School of Fine Art, and Psycho became one of its first objects.

U?pon its release in 1960, Alfred Hitchcock's Psycho divided critical opinion, with several leading film critics condemning Hitchcock's apparent encouragement of the audience's identification with the gruesome murder that lies at the heart of the film. Such antipathy did little to harm Psycho's box-office returns, and it would go on to be acknowledged as one of the greatest film thrillers, with scenes and characters that are among the most iconic in all cinema. In his illuminating study of Psycho, Raymond Durgnat provides a minute analysis of its unfolding narrative, enabling us to consider what happens to the viewer as he or she watches the film, and to think afresh about questions of spectatorship, Hollywood narrative codes, psycho-analysis, editing and shot composition. In his introduction to the new edition, Henry K. Miller presents A Long Hard Look at 'Psycho' as the culmination of Durgnat's decades-long campaign to correct what he called film studies' 'Grand Error'. In the course of expounding Durgnat's root-and-branch challenge to our inherited shibboleths about Hollywood cinema in general and Hitchcock in particular, Miller also describes the eclectic intellectual tradition to which Durgnat claimed allegiance. This band of amis inconnus, among them William Empson, Edgar Morin and Manny Farber, had at its head Durgnat's mentor Thorold Dickinson. The book's story begins in the early 1960s, when Dickinson made the long hard look the basis of his pioneering film course at the Slade School of Fine Art, and Psycho became one of its first objects.

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."

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.

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.

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.

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.

A cult modern classic, Tropic of Capricorn is as daring, frank and influential as Henry Miller first novel, Tropic of Cancer -- new to Penguin Modern Classics with a cover by Tracey Emin A story of sexual and spiritual awakening, Tropic of Capricorn shocked readers when it was published in 1939. A mixture of fiction and autobiography, it is the story of Henry V. Miller who works for the Cosmodemonic telegraph company in New York in the 1920s and tries to write the most important work of literature that was ever published. Tropic of Capricorn paints a dazzling picture of the life of the writer and of New York City between the wars: the skyscrapers and the sewers, the lust and the dejection, the smells and the sounds of a city that is perpetually in motion, threatening to swallow everyone and everything. 'Literature begins and ends with the meaning of what Miller has done' Lawrence Durrell 'The only imaginative prose-writer of the slightest value who has appeared among the English-speaking races for some years past' George Orwell 'The greatest American writer' Bob Dylan Henry Miller (1891-1980) is one of the most important American writers of the 20th century. His best-known novels include Tropic of Cancer (1934), Tropic of Capricorn (1939), and the Rosy Crucifixion trilogy (Sexus, 1949, Plexus, 1953, and Nexus, 1959), all published in France and banned in the US and the UK until 1964. He is widely recognised as an irreverent, risk-taking writer who redefined the novel and made the link between the European avant-garde and the American Beat generation.

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.

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.

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.

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.

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.

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.

'The Rosy Crucifixion may be Miller's masterpiece. It is an extended account of Miller's efforts to become a writer and relates his struggles, financial and spiritual, in detail. At the same time, it recreates the tone and texture of Miller's environment, and brings alive his varied cronies. Written in a relaxed, naturalistic American prose, the book is at times uproariously funny, especially when Miller pokes fun at himself.

Henry Miller's monumental venture in self-revelation was begun with his Tropic of Cancer and Tropic of Capricorn, which on their American publication were hailed as "miraculous," "superb," "ribald," "brilliant," and "shamelessly shocking." Sexus is the first volume of a series called The Rosy Crucifixion, in which Miller completes his major life work. It was written in the United States during World War II, and first published in Paris in 1949. Of this remarkable project, Lawrence Durrell has said: "The completion of his seven-volume autobiography, if it fulfills the promise of what he has already given us, will put his name amongst the three or four great figures of the age."

First published in 1959, this touching fable tells of Auguste, a famous clown who could make people laugh but who sought to impart to his audiences a lasting joy. Originally inspired by a series of circus and clown drawings by the cubist painter Femand Leger, Miller eventually used his own decorations to accompany the text in their stead. "Undoubtedly," he says in his explanatory epilogue, Degrees'it is the strangest story I have yet written. . . . No, more even than all the stories which I based on fact and experience is this one the truth. My whole aim in writing has been to tell the truth, as I know it. Heretofore all my characters have been real, taken from life, my own life. Auguste is unique in that he came from the blue. But what is this blue which surrounds and envelopes us if not reality itself? . . . We have only to open our eyes and hearts, to become one with that which is."

In 1939, after ten years as an expatriate, Henry Miller returned to the United States with a keen desire to see what his native land was really like--to get to the roots of the American nature and experience. He set out on a journey that was to last three years, visiting many sections of the country and making friends of all descriptions. The Air-Conditioned Nightmare is the result of that odyssey.

'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

The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.

Nexus is the third volume of the scandalous trilogy The Rosy Crucifixion, Henry Miller's major life work The exhilarating final volume of Henry Miller's semi-autobiographical trilogy, Nexus follows his last months in New York. Trapped in a bizarre menage-a-trois with his fiery wife Mona and her lover Stasia, he finds his life descending into chaos. Finally, betrayed and exhausted, he decides to leave America and sail for Paris, to discover his true vocation as a writer.

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. -- .