Brian May

The past few years have witnessed a resurgence in the study of British literary modernism. With recent publications on modernist American poetry and increasingly appreciative attitudes toward modern British novelists like Joseph Conrad and E. M. Forster, many scholars are experiencing a renewed interest in modernism. In The Modernist as Pragmatist, Brian May investigates modernist works that have been, until recently, regarded largely as mere exercises in stale Victorian liberal ideology. Breaking from one current interpretation of Forster as an innovative and perhaps objectionable representative of modernist fictional audacity, May keenly argues that Forster is neither a traditional liberal nor an imperial modernist stylist. He is, rather, a pragmatic liberal critic of both unreconstructed Victorian liberalism and unreckoning modernist aestheticism. May also looks at the debate between two contemporary progressive pragmatists, Richard Rorty and Cornel West, who have turned to the liberalism of the past as an avenue toward the future. By bringing British literary history to American neopragmatist philosophy, May allows the reader to understand both more concretely, historically, and imaginatively. Persuasive new readings of A Passage to India, Howards End, and The Longest Journey are used to illustrate how Rorty and West offer a choice between pragmatisms.

Third book in a series about 19th century 3-D Stereoscopic photographs, this one centers on literal works of art - how museum paintings inspired a vast array of stereoscope cards and how the cards themselves influenced various mediums of art. Beginning with this book, the series becomes Wikipedic, with references and footnotes listed at the end of each chapter.

Stereoscopic 3-D viewers were all the rage in 1860s France, when a series called "Diableries" flooded the market. The photos depicted table-top sculptures of demons and skeletons cavorting in the underworld, often with political and social implications. What made these cards particularly interesting is the black-and-white images seemed to magically transform to color when held up to the light. The team behind this book (including Brian May, founder of the popular British rock band "Queen"), attempted to unearth not only all of the Diableries cards, but also the stories behind them. The lengthy Series "A" collection is complete, digitally restored and presented as full-page stand-alone photos as well as color and black-and-white stereosopic images, available to view with accompanying "Owl" viewer designed by May. Dwindling attention is shown to later series, with 'E', 'E-H' & ''F" presented as thumbnails, and two images were unaccounted for at the time of publication.

Photographic historian Dennis Pellerin and "Queen" founding band member Brian May re-team again for this fourth Stereoscopic 3-D history book. This time the subject is Crinoline, the hoop-skirt fashion fad that took the world by storm in the 19th century, when stereoscopic photography was at the height of its popularity. Utilizing not only photos but also vintage illustrations and various other mediums of artwork, Pellerin tells the fascinating history of the fashion, which was beloved by women of the era and an irritant to their husbands.

Queen guitarist Brian May's recollection of his years with the band, filled with more than more than 300 photos (most in 3-D when viewed with the included stereoscopic Owl viewer which May patented).