Bob Langmuir is an obsessive dealer with a remarkable eye for treasure who makes the discovery of a lifetime when he chances upon a trove of never-before-seen prints by the legendary Diane Arbus. From the moment he purchases a trunk containing the archive of Hubert’s Dime Museum and Flea Circus—a midcentury Times Square freak show frequented by Arbus—and discovers some intriguing photographs, he knows he’s on to something. Furthermore, he begins to suspect that what he’s found may add a pivotal chapter to what is now known about Arbus and the “old weird America,” in Greil Marcus’s phrase, that Hubert’s inhabited.

Langmuir’s ensuing adventure, filled with bizarre coincidences, turns into a roller-coaster ride that takes him from memorabilia shows to the curator’s office at the Metropolitan Museum of Art. Will the photos be authenticated? How will the Arbus estate react? most important, can Bob, who has seen more than a few promising deals head south, finally make his one big score?

Describes fraudulent remedies and their peddlers over the centuries, probes the reasons people are easily deceived, and offers advice on how to avoid falling prey to false promises.

An Essay on Typography was first published in 1931, instantly recognized as a classic, and has long been unavailable. It represents Gill at his best opinionated, fustian, and consistently humane. It is his only major work on typography and remains indispensable for anyone interested in the art of letter forms and the presentation of graphic information.

This manifesto, however, is not only about letters their form, fit, and function but also about man's role in an industrial society. As Gill wrote later, it was his chief object "to describe two worlds that of industrialism and that of the human workman & to define their limits."

His thinking about type is still provocative. Here are the seeds of modern advertising unjustified lines, tight word and letter spacing, ample leading. Here, too, is vintage Gill, as polemical as he is practical, as much concerned about the soul of man as the work of man; as much obsessed by the ends as by the means.

[ THE CHEESE AND THE WORMS THE COSMOS OF A SIXTEENTH-CENTURY MILLER BY GINZBURG, CARLO](AUTHOR)PAPERBACK

Descartes's notion of subjectivity changed the way characters would be written, performed by actors, and received by audiences. His coordinate system reshaped how theatrical space would be conceived and built. His theory of the passions revolutionized our understanding of the emotional exchange between spectacle and spectators. Yet theater scholars have not seen Descartes's transformational impact on theater history. Nor have philosophers looked to this history to understand his reception and impact. After Descartes, playwrights put Cartesian characters on the stage and thematized their rational workings. Actors adapted their performances to account for new models of subjectivity and physiology. Critics theorized the theater's emotional and ethical benefits in Cartesian terms. Architects fostered these benefits by altering their designs.

The Mind-Body Stage provides a dazzlingly original picture of one of the most consequential and confusing periods in the histories of modern theater and philosophy. Interdisciplinary and comparatist in scope, it uses methodological techniques from literary study, philosophy, theater history, and performance studies and draws on scores of documents (including letters, libretti, religious jeremiads, aesthetic treatises, and architectural plans) from several countries.