The literary adventure of D.A.F. (1740-1814) is unique and paradoxical. He was widely read in the nineteenth century, but his books disappeared almost completely from circulation in the century. Meanwhile the exegesis of Sade poured from the presses of the Western world in a flood of words in which the writer, the novelist, and the exceptional pet disappeared.

In France today, J. J. Pauvert, who considers Sade "the greatest French writer," is publishing a new edition of the complete works with a new introduction by Annie Le Brun. Sade: A Sudden Abyss is the translation of this introduction, which shows Sade as the inventor of an entirely new language through which he fathoms human nature, desire, and relationships of power.

In this fresh and authoritative survey of Sade's work as a whole, Le Brun frees it from such critics as Bataille, Blanchot, Klossowski, and Barthes (who see Sade's language as a metaphor for history, society, or writing itself). She asks, Where is Sade himself in these texts? What exactly does Sade tell us? What is obscured when Sade's writing is placed in a "universe of discourse" rather than understood as a manifestation of a life spent in eleven prisons over twenty-seven years? Like a powerful laser beam, her reflections cut through two centuries of intellectual hide-and-seek and let Sade for the first time be seen and read in his own light.

Annie Le Brun is a French poet and literary theorist. Her books include Lachez tout, a critique of the French neofeminist movement; A distance; and Les chateaux de la subversion, a study of the Gothic tradition.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

*One of The Times Best Art Books of the Year* 'Looking to Sea is a remarkable and compelling book... I loved it.' Edmund de Waal 'In her first, transporting book, Lily Le Brun sweeps the beaches of the past century of British art, collecting treasures from sea, shingle and shore... A book to pack in your picnic basket for shivering dips, heatwave day trips and ice-cream Sundays' The Times An alternative history of modern Britain, Looking to Sea is an exquisite work of cultural, artistic and philosophical storytelling. Looking to Sea considers ten pivotal artworks, from Vanessa Bell's Studland Beach, one of the first modernist paintings in Britain, to Paul Nash's work bearing the scars of his experience in the trenches and Martin Parr's photographs of seaside resorts in the 1980s, which raised controversial questions of class. Each of the startlingly different pieces, created between 1912 and 2015, opens a window onto big ideas, from modernism and the sublime, the impact of the world wars and colonialism, to issues crucial to our world today like the environment and nationhood. In this astonishingly perceptive portrait of the twentieth century, art critic Lily Le Brun brings a fresh eye to a vast idea, offering readers an imaginative new way of seeing our island nation. 'Le Brun's writing is at once bold and delicate, far-reaching and fine-tuned. Her book explores the inexhaustible variety of human perception.' Alexandra Harris 'A smart and clear-eyed set of meditations on marine gaze, made with a painterly touch worthy of the chosen artists. Empathy and intelligence lift memoir into cultural history.' Iain Sinclair

Practical Pharmaceutics contains essential knowledge on the preparation, quality control, logistics, dispensing and use of medicines. It features chapters written by experienced pharmacists and scientists working in hospitals, academia and industry throughout Europe, including practical examples as well as information on current GMP and GMP-based guidelines and EU-legislation. In this second edition all chapters have been updated with numerous new as well as didactically revised illustrations and tables. A completely new chapter about therapeutic proteins and Advanced Therapy Medicinal Products was added. From prescription to production, from usage instructions to procurement and the impact of medicines on the environment, the book provides step-by-step coverage that will help a wide range of readers, students as well as professionals. It offers product knowledge for all pharmacists working directly with patients and it will enable them to make the required medicine available, to store medicines properly, to adapt medicines if necessary and to dispense medicines with the appropriate information for patients as well as caregivers about product care and how to maintain the quality of the product. The basic knowledge presented in the book will also be valuable for industrial pharmacists to remind and focus them on the application of the medicines manufactured. The basic and practical knowledge on the design, preparation and quality management of medicines can directly be applied by the pharmacists whose main duty is production in community and hospital pharmacies and in industry. Undergraduate as well as graduate pharmacy students will find knowledge presented in a coherent way and fully supported with relevant examples. Practical Pharmaceutics has become a reliable and recognised source for the acquisition of pharmaceutical-technological knowledge. The book is used in the curriculum of a number of international universities and schools of Pharmacy.

In his joint capacities of Premier peintre du roi, director of the Gobelins manufactory and rector of the Academie royale de peinture et de sculpture, Le Brun exercised a previously unprecedented influence on the production of the visual arts - so much so that some scholars have repeatedly described him as 'dictator' of the arts in France. The Sovereign Artist explores how Le Brun operated in his diverse fields of activities, linking and juxtaposing his portraiture, history painting and pictorial theory with his designs for architecture, tapestries, carpets and furniture. It argues that Le Brun sought to create a repeatable and easily recognizable visual language associated with Louis XIV, in order to translate the king's political claims for absolute power into a visual form. How he did this is discussed through a series of individual case studies ranging from Le Brun's lost equestrian portrait of Louis XIV, and his involvement in the Querelle du coloris at the Academie, to his scheme for 93 Savonnerie carpets for the Grande Galerie at the Louvre, his Histoire du roy tapestry series, his decoration of the now destroyed Escalier des Ambassadeurs at Versailles and the dramatic destruction of the Sun King's silver furniture. One key theme is the relation between the unity of the visual arts, to which Le Brun aspired, and the strong hierarchical distinctions he made between the liberal arts and the mechanical crafts: while his lectures at the Academie advocated a visual and conceptual unity in painting and architecture, they were also a means by which he attempted to secure the newly gained status of painting as a liberal art, and therefore to distinguish it from the mechanical crafts which he oversaw the production of at the Gobelins. His artistic and architectural aspirations were comparable to those of his Roman contemporary Gianlorenzo Bernini, summoned to Paris in 1665 to design the Louvre's East facade and to create a portrait bust of Louis XIV. Bernini's failure to convince the king and Colbert of his architectural scheme offered new opportunities for Le Brun and his French contemporaries to prove themselves capable of solving the architectural problems of the Louvre and to transform it into a palace appropriate "to the grandeur and the magnificence of the prince who [was] to inhabit it" (Jean-Baptiste Colbert to Nicolas Poussin in 1664). The comparison between Le Brun and Bernini not only illustrates how France sought artistic supremacy over Italy during the second half of the 17th century, but further helps to demonstrate how Le Brun himself wanted to be perceived: beyond acting as a translator of the king's artistic ambition, the artist appears to have sought his own sovereign authority over the visual arts.