rawlins paul (10 Ergebnisse)

Zustand: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Paperback. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Trade Paperback. Zustand: Good - Cash. Bryan Haslam (illustrator). Minor wear to edges and corners. Clean pages. Secure binding. Stock photos may not look exactly like the book.

Zustand: Very Good. Used book that is in excellent condition. May show signs of wear or have minor defects.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Brand New. reissue edition. 164 pages. 8.25x5.50x0.75 inches. In Stock.

Kartoniert / Broschiert. Zustand: New. The people in Rawlins s debut collection brave the Big Questions about relationships, love, and death, finding that just getting by is not enough. Asking for truth or understanding, they struggle with feelings often too deep, too new, too disquieting to art.

Taschenbuch. Zustand: Neu. Neuware - The people in Rawlins's debut collection brave the Big Questions about relationships, love, and death, finding that just getting by is not enough. Asking for truth or understanding, they struggle with feelings often too deep, too new, too disquieting to articulate.

Glen Iris, Vic. : Baker Publishing Co., October 1966. Quarto newspaper (270 x 215 mm), pictorial wrappers printed in red and black, staple bound, 24 pp (including wrappers), photographic illustrations, cartoons; a very good copy. A sleazier and intellectually less ambitious counterpart to Oz magazine, Tom Thumb did however provide some biting and witty social and political satire to complement its soft-core pornographic pictorial content (the latter clearly being what sold copies). The publication was very much a product of its time: the age of sexual liberalism and the permissive society in Western capitalist culture.Two legendary identities in the Mebourne arts scene worked on Tom Thumb: the art director for the majority of the issues was Peter Russell-Clarke, and the editorial advisor was Adrian Rawlins; the cartoonist was Ron Tandberg. Although the magazine had distribution in Sydney, Adelaide, Perth and Hobart (and later in Brisbane), many of the short articles reference Melbourne landmarks, lifestyle and events, making Tom Thumb an important primary source for the study of the social history of Melbourne in this period. Issue Number 13 includes on the centre-pages an article satirising the stereotypical characteristics of the (white, hetereosexual) Australian male,Anatomy of an Australian."For the benefit of tourists and immigrants to Australia, Tom Thumb presents this scorching, clinical survey into a unique member of the human species".

Softcover. Zustand: Very Good. Quarto. Screenprinted color pictorial wrappers. Illustrations of African subjects and black and white photographs throughout text. Toning and a faint dampstain on front wrap, very good. *Black Orpheus* was the first African literary periodical published in English, Nigerian-based that helped encourage a global readership for African writing. Over time, the editorial board would include some of the most influential modern African writers, among them Aimé Césaire, Chinua Achebe, and Wole Soyinka. *Black Orpheus* was founded in 1957 by Ulli Beier, a German-Jewish lecturer at Ibadan University. Beier read widely in traditional Yoruba folklore, as well as in the modern francophone literature of Négritude. *Black Orpheus* reflected both influences, and expanded them. Before the magazine's publication, "it was not widely considered that anglophone black Africa had any modern art or literature," notes Paul Benson in his authoritative history of the magazine, *Black Orpheus, Transition, and Modern Cultural Awakening in Africa*. Distribution of the magazine was erratic, and individual issues are very uncommon. The magazine's vibrant covers, designed by Beier's wife, the artist Suzanne Wenger, isolated details of traditional African art forms to produce an immediately recognizable, strikingly modern aesthetic. *Black Orpheus* was active in providing a vehicle for new African writers; more than half of its material in the early years was written expressly for publication in its pages. The book review section that closed each number of *Black Orpheus* provided an opportunity for African writers to critique a diasporic literature increasingly engaged with the experience and idea of blackness, featuring early reviews of works by Langston Hughes, James Baldwin, and V.S. Naipaul.