I have loved French Pastry for as long as I can remember, all the way from my Mum’s kitchen as a kid in Belgium to my own kitchen here in Melbourne. I love it so much I quit my job as an architect 6 years ago to start a blog that focuses on baking and French pastry especially! This crazy experience took me all the way back to Paris to attend a French pastry program at Ecole Ducasse in 2019 and to publish my first cookbook on French pastry at the end of 2023.
This book by the cooking school Ferrandi is the most thorough, complete, and detailed cookbook I’ve ever read about French pastry.
It breaks down hundreds of traditional and classic recipes with step-by-step instructions and photos, as well as lots of tips along the way. It is packed with information to help you create a solid foundation on French Pastry.
If I could only choose one cookbook, it would be this one!
Bringing together the best elements of Stephen King’s early stories, with a dash of Stranger Things, Christopher Farnsworth’s Reunion is the story of a group of kids who saved the world – and then grew up to pay the price for their mistakes. I loved this beautiful story, and it hit all my sweet spots.
I'm a medievalist with a focus on German and European literature. Already with my Ph.D. diss. in 1987, I endeavored to explore interdisciplinary, interlingual connections (German-Italian), and much of my subsequent work (119 scholarly books so far) has continued with this focus. I have developed a large profile of studies on cultural, literary, social, religious, and economic aspects of the pre-modern era. In the last two decades or so, I have researched many concepts pertaining to the history of mentality, emotions, everyday-life conditions, and now also on transcultural and global aspects before 1800. Numerous books and articles have dealt with gender issues, communication, and historical and social conditions as expressed in literature.
This is the most seminal study ever written regarding western culture, highlighting the connections and shared tropes and topoi from classical antiquity to the early twentieth century. Curtius demonstrates an enormous command of Latin and vernacular literature from all of Europe and knows how to draw significant lines from culture to culture and from period to period.
Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe. European Literature and the…
I’m a Distinguished Professor of art history at CUNY and biographer of artists. I grew up in Atlanta, attended college in Boston, and have worked in New York since my twenties. With a new Ph.D. in art history from Rutgers, I began as curator of the Hopper Collection at the Whitney Museum, assigned to produce a definitive catalogue of all Edward Hopper’s authentic art. His papers were missing except for his record books that recorded every time a work left for sale, loan, or gift. I traced each work as it left Hopper’s possession and discovered a massive number of undocumented artworks stolen from the estate, which the Whitney still wants to cover up.
Esterow, then employed by Larry Fleischman, assessed hundreds of Edward Hoppers that an unknown minister offered to sell.
The book’s dust jacket advertises “a lively history of certain fabulous art thefts—and the strange breed of thieves who perpetrated them.” Esterow’s book inspired one reviewer to comment that few of his criminals “are very ingenious.”
Sanborn, who must have seemed to Esterow like a character that belonged in his narrative, told me that Esterow offered him a consignment deal for what he was shown, which later turned out to be just a small part of Sanborn’s loot.
Had he known Sanborn’s story, Esterow might have added his scheme of befriending the aging sister of a famous artist, whose early works were jammed into the attic of the family home.
Hello. My name is Mike Russell. I write books (novels, short story collections, and novellas) and make visual art (mostly paintings, occasionally sculptures). I love art and books that are surreal and magical because that is the way life seems to me, and I love art and books that are mind-expanding because we need to expand our minds to perceive just how surreal and magical life is. My books have been described as strange fiction, weird fiction, surrealism, magic realism, fantasy fiction… but I just like to call them Strange Books.
This is a wonderful selection of short stories and novel extracts by early authors of strange, weird, surreal fiction; writers whose subject is the so-called supernatural and who rail against the reduction of life to rational materialism. These works would broadly now be referred to as weird fiction. They are only as weird as the world. The book also contains an excellent introduction by the editor, speaking up for the strange, weird, and surreal.
' Lachman presents a generous anthology of literary texts inspired by the weird, the supernatural and the gothic. From Beckford's Vathek to Gustav Meyrink's The Golem, there is a successful balance of the well-known, the esoteric and the curious.' Stuart Kelly in Scotland on Sunday 'The first item, from William Beckford's Vathek, indicates the feverish imaginings gathered in this "occult reader". It encompasses drugs, sacrifice, a genii and an Indian who becomes irresistibly arousing by transforming himself into a ball. ETA Hoffman's The Golden Flower Pot shows how this writer's fertile imagination can animate even everyday objects, as in his…
I hold the chair of Old Testament at the Faculty of Catholic Theology at Munich University in Germany. My main area of expertise is Semitic languages, though, which is also the field for which I previously held a chair at Leiden University in the Netherlands for fifteen years (eventually, however, Munich made me an offer one cannot refuse). Hence my main occupation concerns the interpretation of ancient texts in exotic languages such as Hebrew, Aramaic, Phoenician, and others, mostly at the baseline of individual words, grammatical forms, and syntactic constructions. Despite the seemingly dry, specialized character of my work, it is, in my view, a lifestyle rather than a job.
For half a century, this classic has introduced students to the ways and circumstances in which Greek and Latin texts, often seen as the pillars of any literate education, were transmitted from Antiquity throughout the Middle Ages into the Renaissance. While it is, despite its crisp and lucid presentation, a highly technical manual, it singles out, based on robust empirical evidence, the importance of tradition and unassuming daily labor in the formation and preservation of knowledge. The effects of unconscious or intentional changes in the manual transmission of ancient texts also constitute the core matter of my own field, philology. On a more personal note, I cherish fond memories of a class on Greek textual criticism by Nigel Wilson when I was an undergraduate at Oxford some thirty years ago.
One of the remarkable facts about the history of Western culture is that we are still in a position to read large amounts of the literature produced in classical Greece and Rome despite the fact that for at least a millennium and a half all copies had to be produced by hand and were subject to the hazards of fire, flood, and war. This book explains how the texts survived and gives an account of the reasons why it was thought worthwhile to spend the necessary effort to preserve them for future generations.
Having been an actor and a dancer, in college I became interested in the origins of those arts. Curiosity led me to study Greek theater and ancient religions. In the early 2000s, I traveled to Rome with a group of writers, including Terry Brooks, Dorothy Allison, Elizabeth Engstrom, and John Saul. As soon as I set foot in Rome, I fell in love with that magnificent city’s history—in particular Vestal Virgins, the most powerful women in the ancient world. That trip inspired me to write Vestal Virgin—suspense in ancient Rome, a bestseller in many categories on Amazon.
When I wrote, Vestal Virgin—suspense in ancient Rome, this was the only book I found specifically about the Vestals. Written in 1934, it covers topics including: religious duties, civil duties, dress, and discipline. The Virgins were sworn to chastity on penalty of death, understanding their duties and how they were disciplined was essential to my story. I couldn’t have written my historical novel without help from this book.
I am a professor of ancient art at Vassar College where I teach Roman art and archaeology. I have published widely in the field and traveled extensively in the Mediterranean. My first encounters with Roman art occurred as a child in the Metropolitan Museum of Art in NYC where I would stand before Roman portrait heads because their faces seemed stern and grim, yet ordinary and matter-of-fact. I have continued to observe Roman portraits over the years, but admit that I still sometimes find them daunting.
It is an anthology of essays that provide a range of topics and approaches to women who lived and worked in these small towns, now spectacularly preserved despite their sudden destruction by the eruption of Mt. Vesuvius in 79 CE. The lives lived here tend towards the gritty, workaday world with studies of women in business and trade, although elite women, public priestesses, also make an appearance. Two that feature women's names scratched on walls (graffiti) and drawings of women etched in or painted on Pompeian walls (by Erika Zimmermann Damer and Margaret L. Laird) argue for women's (partial) literacy and their greater visibility. These essays do much to make the fascinating archaeological material accessible.
Literary evidence is often silent about the lives of women in antiquity, particularly those from the buried cities of Pompeii and Herculaneum. Even when women are considered, they are often seen through the lens of their male counterparts. In this collection, Brenda Longfellow and Molly Swetnam-Burland have gathered an outstanding group of scholars to give voice to both the elite and ordinary women living on the Bay of Naples before the eruption of Vesuvius.
Using visual, architectural, archaeological, and epigraphic evidence, the authors consider how women in the region interacted with their communities through family relationships, businesses, and religious practices,…
I learned to dig as a teenager in the school holidays and studied the ancient world at Oxford and Cambridge before beginning my career as a university teacher. I have been lucky enough to travel all over the world for my work, and have spent time living in some amazing cities including Paris, London, Madrid, and Rome. I love exploring new urban landscapes from Moscow to Lusaka, Såo Paulo to Toronto and I am looking forward this summer to moving to another great metropolis, Los Angeles.
Historians of Greece and Rome have been arguing about how to describe ancient cities on and off since the eighteenth century and some of their debates have got stuck deep in the mud. This little book offers the best way out of these impasses. It is super clear, really up to date and incorporates the very latest research. Especially good on economy and society.
Greece and Rome were quintessentially urban societies. Ancient culture, politics and society arose and developed in the context of the polis and the civitas. In modern scholarship, the ancient city has been the subject of intense debates due to the strong association in Western thought between urbanism, capitalism and modernity. In this book, Arjan Zuiderhoek provides a survey of the main issues at stake in these debates, as well as a sketch of the chief characteristics of Greek and Roman cities. He argues that the ancient Greco-Roman city was indeed a highly specific form of urbanism, but that this does…
I’ve been fascinated by fictional royal stories ever since I was a little kid watching them unfold in children’s movies. Once I became a reader, I quickly became a fan of the genre. There’s such an escapism that comes with reading books about royals. And since America has no monarch, the books offer a fantasy and fairy-tale aspect to the reading. I read these books to relax, to fall in love with love, and to cheer for the ordinary person finding something extraordinary in their world—real orfictional.
I love the marriage-of-convenience trope and The Princess not only has that but couples it with an arranged marriage trope. There’s so much emotion in this book coupled with a Christianity arc that has endeared itself to readers for decades. I read this book decades after its release date, but I could quickly see why so many people enjoyed their royal happy ever after.
In the Land of Pendaran, Shelby Parker lives a humble but good life. Her special qualities are eventually noticed by the king and queen of the House of Markham, who seek a new wife for their widowed son, Prince Nikolai.
To uphold the tradition of their country, Shelby and Nikolai agree to an arranged marriage. But while Nikolai is a perfect gentleman in public, he remains distant at home, leaving Shelby to wonder what is in his heart. Will the prince ever love her as he did his first wife? Can the faith they…
