Lucky Per, written at the turn from the nineteenth to the twentieth century (1898–1904), has never before been translated into English, although its author, Henrik Pontoppidan, won the Nobel Prize in literature in 1917 together with his Danish countryman Karl Adolph Gjellerup. Indeed, Pontoppidan's novel was singled out by writers like Thomas Mann and Georg Lucács as seminal in modern world literature. Lucky Per sweeps through every social, religious, literary, and philosophical circle of the 1890s, through the politics of city power brokers, the engineering of new technology, the alien correctives of provincial complacency by the ecumenical culture and complex of Copenhagen's Jewish set, the victims of the Russian pogroms, and the cosmopolitan chastisement imported from the European capitals by the self-exiled Georg Brandes, Danish critic of huge influence and presence, and a character in the novel. The contrast between the Danish capital and provinces is matched by that between Copenhagen and Berlin. The Austrian Alps are host to a clash between a form of progressive post-Darwinian naturalism and conservative Christianity, whereas Italy mediates between comparative morality and the classical and contemporary worlds. Pontoppidan dramatically incorporates the perspectives of the makers of early modernism, such as Brandes, Kierkegaard, Nietzsche, Ibsen, biblical prophets, and Bohemian artists. Trolls from Scandinavian fairy tales haunt the novels realism without ever letting them bully or appropriate either the life of the fiction or the life of the protagonist from his childhood as the son of a strict Lutheran pastor through the passionate sorrows and joys that led him to his full maturity. It is a rich and riveting work of moral, metaphysical, psychological, philosophical, and literary complexity and depth, carried by a large, varied, vivid, and vibrant cast of characters of all classes and persuasions.

Born in Denmark in 1938, Per Kirkeby gained renown as a leading figure in the New Painting movement of the 1980s, alongside artists such as Georg Baselitz and A.R. Penck. Kirkeby’s fervent excavation of art history across a range of styles and media reflect his training as a geologist. This lavishly illustrated book, the most comprehensive volume on Kirkeby ever published in English, traces the trajectory of an artistic career that has spanned half a century.Beginning with Kirkeby’s early history paintings and moving through his engagement with Pop Art, sculpture, large-scale “heroic” paintings, and his pastoral “Walden” series of the 1990s, the book contrasts his monumental works with previously unpublished small-scale watercolors of Greenland landscapes, etchings, and the blackboards on which Kirkeby mapped out his ideas. With a newly commissioned essay by Richard Shiff, an interview with the artist conducted by curator Achim Borchardt-Hume, and a selection of Kirkeby’s own extensive writings, the book provides invaluable insight into the mind of an inimitable artist. 

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For many, the face of Skid Row will always be that of outspoken frontman Sebastian Bach. But since the late '90s, three original members of the band have been carrying on the Skid Row name without Bach and instead with Johnny Solinger manning the mic. 2006 saw the release of the second Solinger-era Skid Row release, Revolutions Per Minute, and the group's sound remains largely the same. In other words, you get the same angry-yet-melodic riff rockers that you long ago came to expect from the group, while Solinger's singing style isn't that far removed from Bach's. Longtime fans will be happy to learn that the producer of their hit 1989 self-titled debut is back again behind the boards, Michael Wagener (whose '80s metal résumé is extremely extensive and includes Accept, Dokken, Megadeth, Ozzy Osbourne, etc.). However, tracks such as Disease and Another Dick in the System seem to follow the tougher approach of their post-Skid Row releases, while the lyrics to Shut Up Baby, I Love You and White Trash are pure '80s metal cliché. Revolutions Per Minute is just what you'd expect from Skid Row -- for better or for worse. ~ Greg Prato, Rovi

Born in Denmark in 1938, Per Kirkeby gained renown as a leading figure in the New Painting movement of the 1980s, alongside artists such as Georg Baselitz and A.R. Penck. Kirkeby’s fervent excavation of art history across a range of styles and media reflect his training as a geologist. This lavishly illustrated book, the most comprehensive volume on Kirkeby ever published in English, traces the trajectory of an artistic career that has spanned half a century.Beginning with Kirkeby’s early history paintings and moving through his engagement with Pop Art, sculpture, large-scale “heroic” paintings, and his pastoral “Walden” series of the 1990s, the book contrasts his monumental works with previously unpublished small-scale watercolors of Greenland landscapes, etchings, and the blackboards on which Kirkeby mapped out his ideas. With a newly commissioned essay by Richard Shiff, an interview with the artist conducted by curator Achim Borchardt-Hume, and a selection of Kirkeby’s own extensive writings, the book provides invaluable insight into the mind of an inimitable artist. 

It's a foregone conclusion that Skid Row will never repeat the success of Slave To The Grind. Sure, you can blame that on Sabo, Hill and Bolan opting to de-Bach themselves, but the fact of the matter is that said album was a moment in the BAND's history, when egos and planets aligned to create an untouchable piece of magic. Look no further that Subhuman Race to see what happens when a band is band in name only. Skid Row's last effort, Thickskin, with new voice Johnny Solinger was hit and miss and pretty much did nothing other than offer us a silly punk version of ''I Remember You''. New outing Revolutions Per Minute is better than its predecessor, but it's still a far cry from the Skid Row that gave us ''Piece Of Me', ''Here I Am'', ''Monkey Business'', ''Slave To The Grind'' and ''Quicksand Jesus''. Oddly enough, this has nothing to do with the fact that Solinger has taken Sebastian Bach's place. In fact, Solinger's voice is the most interesting thing about the album in that he sounds both like a present day Baz (see Bach's Frameshift II performance as a reference) and like a guy with his own identity, singing his balls off with his middle finger in the air. Musically, however, the band has hit a wall. Lead-off track `Disease' and `Another Dick In The System' are reminiscent of Slave To The Grind, which is a plus, but then things unravel in a big way.

En mörk höstkväll får begravningsentreprenören Axel Pettersson ett märkligt telefonsamtal: en röst han inte känner igen levererar ett förtäckt hot i vilket namnet Sankte Per figurerar....