Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

This elucidation and defense of naturalism argues that an uncompromising secular orientation is the best framework for the search for meaning and interprets religion in purely naturalistic terms. Part One seeks to demonstrate that religious symbols arise from facts about human beings and the societies in which they live, specifically our needs, fears, and aspirations. Part Two examines arguments for and against naturalism, including the defenses of naturalism by Sidney Hook, Ernest Nagel, Antony Flew, and critical reactions to their views. The forceful and rigorously analytical case made by Jean Hampton against naturalism is also examined, resulting in a clarification of the substantial and sound methodological grounds for naturalism and atheism. Part Three considers the strongest intellectual challenge to secularism and naturalism, namely that of Ludwig Wittgenstein and some of his followers - Norman Malcolm, D. Z. Phillips, Hilary Putnam, Rush Rhees, and Peter Winch.
Nielsen concludes that none of these critiques diminish the cogency and viability of naturalism as the most reasonable basis for viewing our world today.

Is there a God? What is the evidence for belief in such a being? What is God like? Or, is God a figment of human inspiration? How do we know that such a being might not exist? Should belief or disbelief in God's existence make a difference in our opinions and moral choices, in the way we see ourselves and relate to those around us? These are fundamental questions, and their answers have shaped individual lives, races, and nations throughout history. On March 24, 1988, at the University of Mississippi, J.P. Moreland, a leading Christian philosopher and ethicist, and Kai Nielsen, one of today's best-known atheist philosophers, went head-to-head over these questions. Does God Exist? records their entire lively debate and includes questions from the audience, the debaters' answers, and the responses of four recognized scholars - William Lane Craig, Antony Flew, Dallas Willard, and Keith Parsons. Noted author and philosopher Peter Kreeft has written an introduction, concluding chapter, and appendix - all designed to help readers decide for themselves whether God is fact or fantasy.

A collection of Hans Christian Andersen's best loved fairy tales is here illustrated with the magnificent Art Nouveau colour illustrations of Kay Nielsen. This was a project that took Nielsen 12 years to complete, and his illustrations perfectly capture the other-worldly spirit of the subject matter. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. About the Author: Hans Christian Andersen (1805-1875) was a Danish poet and author celebrated for his children's stories but perhaps best known for his immortal Fairy Tales meant for both adults and children and frequently written in a colloquial style to veil their sophisticated moral teachings. He broke new ground in terms of style and content by using idioms and constructions of spoken language in a way that had previously not been seen in Danish literature. His poetry and stories have been translated into over 150 languages, inspiring a wealth of films, plays and ballets. About the Illustrator: Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Noted philosopher Kai Nielsen offers an answer to this fundamental question - a question that reaches in to grasp at the very heart of ethics itself. Essentially, this innocent inquiry masks a confusion that so many of us get caught in as we think about moral issues. We fail to realise that there is a difference between judging human behaviour within an ethical context, or set of moral principles, and justifying the principles themselves. According to Nielsen, it is precisely this basic muddle that has spawned all sorts of challenges to morality, from relativism and institutionism to egoism and scepticism.Nielsen first argues the case for these challenges in the strongest possible terms; then he shows that their failure to establish themselves demonstrates a fundamental flaw - an inability to understand what it means to have good reasons for the moral claims we make. In his search for "good reasons" Nielsen must face the innocent question "Why be moral?" He tries to show us that skirmishes among supporters of specific moral principles require a different sort of resolution than those that occur between groups of ethical principles. Justifying an action within a moral point of view is quite different from making the case for having a moral point of view in the first place.

This book presents a chain of argument as well as a conversation conducted in the presence of the major contributors to the "end-of-philosophy" debate: the critics of the dominantly Platonic-Cartesian-Kantian tradition and its defenders.

Fifteen stories from Norwegian folklore illustrated by Kay Nielsen including: East of the Sun and West of the Moon -- The Blue Belt -- Prince Lindworm -- The Lassie and her Godmother -- The Husband who was to Mind the House -- The Lad who went to the North Wind -- The Three Princesses fo White Land -- Sorie Moria Castle -- The Giant who had no Heart in his Body -- The Princess on the Glass Hill -- The Widow's Son -- The Three Billy Goats Gruff -- The Three Princesses in the Blue Mountain -- The Cat on the Dovrefell -- One's own Children are Always Prettiest.

Marxism and the Moral Point of View attempts to say what consistent Marxists working within the parameters of the canonical conceptions of Marxism should say about morality. This includes what they should say about the function of morality in society, about the extent of moral comment they can justifiably make, and about freedom, equality, and justice, including the justice of whole social formations. Karl Marx-and most Marxists follow him-was opposed.

Marxism and the Moral Point of View attempts to say what consistent Marxists working within the parameters of the canonical conceptions of Marxism should say about morality. This includes what they should say about the function of morality in society, about the extent of moral comment they can justifiably make, and about freedom, equality, and justice, including the justice of whole social formations. Karl Marx-and most Marxists follow him-was opposed.

This ambitious book addresses the "end-of-philosophy" debate and the challenge it presents to contemporary philosophy, both continental and analytic. It is a chain of argument as well as a conversation conducted in the presence of the major contributors to that debate: the critics (especially Richard Rorty) of the dominantly Platonic-Cartesian-Kantian tradition on the one hand and its defenders on the other. Nielsen's account draws on Wittgenstein, Quine, Davidson, Habermas, and Foucault, among others. Nielsen takes Rorty's arguments seriously and insists that they demand a rethinking of the role of philosophy in a world in which the claims of relativism, nihilism, and historicism loom increasingly larger. But, unlike most who are impressed with the end-of-philosophy argument, he provides an original and constructive response: the development of a holistic, antifoundationalist account of philosophy that utilizes a form of critical theory and wide reflective equilibrium in carving out a positive role for a new kind of philosophy. This is an important book not just for philosophers but tor social theorists, for literary critics, and indeed for scholars in any field in which the status of knowledge has become problematic.

Since Rorty, the crisis of method and interests in philosophy has been at the forefront of metaphilosophy. In this book, Kai Nielsen, one of the most prominent critics of philosophy-as-usual, examines critically the most important claims made on behalf of philosophy. After rejecting as chimerical the ambitious claims of traditional, especially foun

When I first conceived of this book, I intended to write a short book and one, the great philosophical figures of the past and a few very eminent contemporaries aside, which made no reference to other philosophers and contained no quotations, footnotes and the like. I ended up doing neither. Indeed I went nearly to the exact opposite. I wrote a rather long book with, among other things, extensive discussions of my contemporaries and near contemporaries.

Argues that morality cannot be based on religion, and that there is no evidence to show that non-believers despair or lose their sense of identity and purpose. This book shows that the implications of Christian absolutism are more likely to be monstrous than are those of a secular ethic that incorporates an independent principle of justice.

Along with Arthur Rackham and Edmund Dulac, Kay (pronounced "kigh") Nielsen was one of a triumvirate of great artists from the golden age of illustration. Known for his soft yet ornate pastels and a splendid use of various design elements, the Danish-American artist became famous for his memorable illustrations of stories by the Brothers Grimm and Hans Christian Andersen, as well as the Nordic fables recounted in "East o' the Sun and West o' the Moon" and the tales collected in "In Powder and Crinoline."
This enchanting compilation of 59 full-color illustrations draws upon Nielsen's images from scores of beloved tales, from the nasty characters in "Rumpelstiltskin" to the mysterious and magical figures in "The Blue Belt," "The Hardy Tin Soldier," "The Nightingale," "The Real Princess," "Hansel and Gretel," "Snowdrop," and many more.
Certain to delight fans of fairy tales, this dazzling collection will also thrill lovers of fine art, as well as Nielsen admirers.

These essays make a single central claim: that human beings can still make sense of their lives and still have a humane morality, even if their worldview is utterly secular and even if they have lost the last vestige of belief in God. "Even in a self-consciously Godless world life can be fully meaningful," Nielsen contends.

Some of our most well-known tales were originated by the pen of Hans Christian Andersen. A prolific writer, Andersen's oeuvre includes plays, novels, and poems but he is most well-regarded for his fairy tales. Stories such as "The Princess and the Pea"," "The Ugly Duckling," and "The Emperor's New Clothes" are incredibly well-known and all from the mind of this illustrious fairy tale author. This lovely edition features color and black and white illustrations by Danish artist Kay Nielsen as well as all new foreword by Joan D. Vinge. There is an otherworldly quality in Nielsen's art-deco styled pieces that provide adventurous and vibrant versions of these sixteen stories. The art still feels completely fresh and unique in this collection of masterworks featuring including "The Nightingale," "The Red Shoes," "The Snow Queen," and others. These enchanting stories are wonderful for children, and collectors of fine art alike. Experience these classics again, and pick up this beautiful edition of Hans Christian Andersen's Fairy Tales.

"East of the Sun and West of the Moon: Old Tales from the North" is a collection of Norwegian folk tales, collected by Peter Christen Asbjornsen and Jorgen Moe in the mid-nineteenth century. The haunting and compelling nature of these folk tales from the frozen lands of the North and the renowned illustrator Kay Nielsen's spellbinding illustrations therefore make this one of the most stunning and beautiful children's books ever produced. Scandinavian folk tales have had many interpretations through the years, but never have they been so beautifully depicted as in this wonderful edition by the Danish illustrator Kay Rasmus Nielsen, the master of Art Nouveau and fantasy and brought to life in this full color and unabridged edition. Nielsen was popular in the early 20th century - the "golden age of illustration" and joined the ranks of Arthur Rackham and Edmund Dulac in enjoying the success of the gift books of the early 20th century. He is also known for his collaborations with Disney, for whom he contributed many story sketches and illustrations, and especially for his work on this text, lavishing its pages with 25 intricately detailed color and numerous black-and-white images that showcase his unique and otherworldly style and complement these folk tale perfectly.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.

Pook Press celebrates the great Golden Age of Illustration in children's literature. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. Kay Nielsen (1886-1957) was a Danish illustrator of the golden age of illustration. He was influenced by Japanese art and the Swedish fairy tale illustrator John Bauer and contributed to the Art Nouveau movement. His illustrations are bold, and vibrant - often reproduced by a 4-colour process which set him apart from his contemporaries who typically used a 3-colour process. His art is characterised by long, swooping lines, open spaces and a certain macabre quality and his ephemeral illustrations are intricately inventive, flirting with implausibility. The shift in taste from fantasy to realism after WWII meant that Nielsen did not retain his pre-war popularity. However, interest in his exquisite illustrations has since been revived, and they now command a high price in today's art world.