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  The Stories That Haunt Us - More...

  Bill Jessome

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  Legends and lore from Canada’s rugged Maritime provinces, shrouded in the mists of the Atlantic Ocean . . .   From the host of TV’s Maritime Mysteries, this book includes forty of the best stories collected from around the Maritimes. Using his journalist’s skills, Bill Jessome weaves incredible stories that both charm us and chill us.    The region including Nova Scotia, Prince Edward Island, and New Brunswick has an extensive storytelling tradition and a large part of that lexicon consists of tales of the supernatural. Many of these stories are passed down over the generations, and Jessome has acquired dozens of haunting accounts by listening to Maritimers at the kitchen table, around the flickering campfire, and when the moon is full.  Includes illustrations

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  Museo Regional de Magallanes Inglés

  Sonusland

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  Audioguide to discover the Magallanes Regional Museum in the city of Punta Arenas, Chile

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  Beer Hall Putsch

  Doug Stanhope

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  Named after Hitler's failed coup attempt, Beer Hall Putsch takes you into acerbic comic Doug Stanhope's twisted mind at a gig filmed in Portland.

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  Langstroth on the Hive and the...

  L. Langstroth

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  Langstroth revolutionized the beekeeping industry by using bee space in his top opened hive. In the summer of 1851 he found that, by leaving an even, approximately bee-sized space between the top of the frames holding the honeycomb and the flat coverboard lying above, he was able to quite easily remove the latter, which was normally well cemented to the frames with propolis making separation hard to achieve. Later he had the idea to use this discovery to make the frames themselves easily removable. He found that, if he left a small space (less than 1/4 inch or 6.4 mm) between the combs, or between the combs and the sides of his hives, the bees would fill it with propolis thus cementing the combs into the hive. On the other hand, when he left a larger space (more than 3/8 inch or 9.5 mm) the bees would fill it with comb which had a similar effect. (Summary from Wikipedia)

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  Rowing Into The Son

  Jordan Hanssen

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  A Daring True Story"Truly an epic of adventure and perseverance, this is great inspiration for anyone who thinks of someday tackling the impossible" -- New York Times best-selling author Clive CusslerOn June 10, 2006, four college friends stepped into a 29-foot rowboat as the only American competitors in the first North Atlantic Rowing Race.From the initial idea and chaotic race planning to heaving through cold ocean swells, author and lead rower Jordan Hansen takes us along as the crew heads out from New York Harbor, racing against three other teams; catches theelusive Gulf Stream current; and makes the final dramatic push for the finish line off the coast of England. Hurricane-level winds, giant ocean eddies, passing freighters, and sharks are all elements of the journey, while the tension on board comes to a head on Day 17-with another 55 days to go when the crew realizes their supplies are running out and they must drastically ration their food.The race is set against the backdrop of Jordan's own reflections on both his biological father, who passed away many years earlier, and his stepfather. Combined with the details of how he and his teammates cope within the confines of their tiny boat, and their determination to push their limits, it creates a remarkable coming-of-age story- and an intimate account full of thrilling adventure and compelling emotion."A beautiful sense of place and a compelling portrait of four men locked in an epic struggle with the ocean and, occasionally; with themselves. Gripping."-Roz Savage, first woman to row three oceans and author of ‘Rowing the Atlantic’“Too often in our lives we are told what we cannot do. Hanssen's story deftly accomplishes the opposite. It might not catapult you into a rowboat, but be warned; you may be enticed to alter course."-Jill Fredston, author of Rowing to Latitude

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  Rembrandt

  Klaus Carl

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  Rembrandt is completely mysterious in his spirit, his character, his life, his work and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he painted, irrespective of subject; there was inequality in his work as well as the sublime, which may be seen as the inevitable consequence of such a tumultuous existence. 
  It seems as though this singular, strange, attractive and almost enigmatic personality was slow in developing, or at least in attaining its complete expansion. Rembrandt showed talent and an original vision of the world early, as evidenced in his youthful etchings and his first self-portraits of about 1630. In painting, however, he did not immediately find the method he needed to express the still incomprehensible things he had to say, that audacious, broad and personal method which we admire in the masterpieces of his maturity and old age. In spite of its subtlety, it was adjudged brutal in his day and certainly contributed to alienate his public.
  From the time of his beginnings and of his successes, however, lighting played a major part in his conception of painting and he made it the principal instrument of his investigations into the arcana of interior life. It already revealed to him the poetry of human physiognomy when he painted The Philosopher in Meditation or the Holy Family, so deliciously absorbed in its modest intimacy, or, for example, in The Angel Raphael leaving Tobias. Soon he asked for something more. The Night Watch marks at once the apotheosis of his reputation. He had a universal curiosity and he lived, meditated, dreamed and painted thrown back on himself. He thought of the great Venetians, borrowing their subjects and making of them an art out of the inner life of profound emotion. Mythological and religious subjects were treated as he treated his portraits. For all that he took from reality and even from the works of others, he transmuted it instantly into his own substance.

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