The primal experience of gathering is inscribed in every human’s DNA, and this book invites us to look beyond the refrigerator and cupboard to the abundance of wild edible plants that can be found and harvested everywhere. Part reference guide, part cookbook, A Feast of Weeds encourages readers to forage diverse natural environments for food, even in our city parks and streets. Luigi Ballerini shows tremendous breadth and depth of knowledge in an opening literary and historical analysis that explains how we have come to eat and cultivate wild plants. Each chapter that follows is devoted to a single ingredient―greens such as nettles, fennel, mint, chicory, and dandelion; and fruits such as berries, pomegranate, and prickly pear. Ballerini’s delightful commentary helps foragers recognize, gather, and cook their harvest. Delicious and straightforward recipes from Southern Italy bring out the flavor and wholesomeness of each ingredient, highlighting the peasant roots of each dish.

A Feast of Weeds: A Literary Guide to Foraging and Cooking Wild Edible Plants (Volume 38) (California Studies in Food and Culture)

Cookbooks, Food & Wine

Ballerini, Luigi

Regional & International

University of California Press

Poetry. Fiction. Translated from the Italian by Evgenia Matt. CEPHALONIA 1943-2001 is a narrative poem in the form of a dialogue or rather, a two- voiced monologue: a fragmented epic, contextualizing the massacre of Italian soldiers perpetrated by German troops in the days following the armistice, signed between Italy and the Allied Forces on September 8, 1943. The voices belong to Ettore B, an Italian soldier fallen in combat, but possibly executed, and Hans D, a German businessman born with a silver spoon in his mouth, that is a man who always lands on his feet, before, during and above all after the war.

Cephalonia

Literature & Fiction

Poetry

Rail Editions

Boasting to everyone that his forum would be grander than the Colosseum, Mussolini created the Stadio dei Marmi, or Stadium of Statues, an arena built outside Rome for the 1944 Olympic Games that were postponed by World War II. Believing a fascist state required the top level of physical fitness, Il Duce provided inspiration for his nation in the form of monumental art, commissioning sculptors from all over the country to create sixty Herculean statues of white marble to be put atop six-foot pedestals surrounding the stadium. The statues, based on figures from Italian war memorials, embodied the glorification of the athlete and the mannered heroism of the soldier. Startlingly erotic and poetic, each statue stands twelve feet tall, nude but for the occasional headband or sandals. So blatant was their sexual presence that the statues later provoked furtive attempts at “decency” involving fig leaves and loincloths. Once relegated to the category of political kitsch, these statues have, in recent times, been re-evaluated and are being recognized as objects of beauty and merit. “The Foro Italico…sustains a guileless, perhaps unique, male eroticism which is at odds with the grandiloquent intentions of its planner and creators in Mussolini’s fascist regime,” explains George Mott, who first glimpsed the statues in 1962 and photographed them twenty years later. His black-and-white and color images of the statues have been sought by collectors in Europe and America, and have been used repeatedly by fashion designers and art directors. In Foro Italico, for the first time, these photographs are being shown collectively, exquisitely reproduced in a remarkable, deluxe, slip-cased edition that includes an introduction by Giorgio Armani, himself a connoisseur of 1930s art and architecture.

Foro Italico

Arts & Photography

Sabatino, Michelangelo

History & Criticism

powerHouse Books

The snapshots that make up this provocative book were taken "on the fly," the by-product of twenty years of Charles Traub's exotic travel and busy life. They were left in a plastic box for years. Recently Traub's new interest in still life painting turned his attention back to the saved images which themselves were still lifes, using the frame to bar from the image any temptation that might jeopardize pictorial excitement. Things happen, people collide and improbably juxtapositions are snapped at a fraction of a second. Traub is quire sure that his encounters with the absurdities of our everyday lives, whether in Tokyo or Rio, New York or Tel Aviv are far more interesting than anything that might be contrived for the camera's lens. Here they are "still lives", frozen moments on the street, often in poignant or ironic pairs that comment on each other and broaden the moments in our minds. 110 color photographs.

In The Still Life

TRAUB, Charles

Biographies & Memoirs

Quantuck Lane Pr & the Mill rd

La signorina Euforbia (Italian Edition)

Contemporary

San Paolo Edizioni

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