Editora Moinhos is an independent publishing house that aims to publish books in the most diverse genres. The proposal includes the rescue of great classics of Brazilian and foreign literature, seeking to make viable works still unpublished in Brazil and to deliver a quality work to the reader.
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Book of poems winner of the Literary Prize "Hermanos Loynaz" in 2020.
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In this book the artist makes an essay about the different shapes of the turtles by going around space and folding the paper. Eight turtle sculptures made of paper and created by Manuel Marín shows us by constructing step by space each piece the basics of concave or convex since they can be assembled either from outside or inside.
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Paper is not a boring surface if the chicharreta, lilibela, or totoleta wait to be detached, folded and bent to reveal their tridimensional volume, their balance and dimension in space. They allow us to reflect on and understand the role they play in the artistic creation of space and shape. It’s an experience that brings us closer to the basic elements of modern art.
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The first artist to enter the realm of fantasy was Hieronymus Bosch. He revels in the delights of pleasure. He relishes eating giant fruits, running on water and flying on top of a fish. He is joyful without even realizing it. Bosch is also aware that serenity and calmness let things be seen as they are. No one before had ever seen our feelings as we get lost in the madness of invisible realities.
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Life seeks the most simple ways toward efficiency. In this case, these lizards are a cylinder with variations. The form translates into volume, which in its variations presents itself as Figures. Every figure has volume that has height, width, and length, all which interact together. Form, figure, volume, simplicity, variation, variables. The combination of all of this helps us to appreciate the beauty in animals’ bodies. 10 paper cut- out sculptures to assemble the lizards.
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This book is an allegory of flat strokes, whose slopes reveal tridimensional bugs, blissful to show us their transparent shapes. A reading that goes beyond the visual and takes us away from these tiny beings whose geometry increases before our eyes. The line takes us through their folds and extensions, and over to the pages which will be swarming with bugs!
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Who is it that is painted? Who is it that sees what is painted? They can be the artist and his portrait, the viewer and the person portrayed.
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“José Clemente Orozco realized that objects and animals see us with other faces, and he drew the sensations produced by these gazes, as seen in his sketches in this book,” says Marín. Orozco paints objects, shows that they are useful artifacts for seeing things like sensations. They are rare, and their uses aren’t what they should be.
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Overzealous and indiscriminate use of many synthetic pesticides during recent decades in the control of plant pests has resulted in a number of environmental and toxicological problems. Reducing the release of synthetic chemicals into the environment requires that alternative sources of chemicals are developed that can be used safely in the management of plant pests. Botanical antimicrobials derived from plants are currently recognised as biodegradable, systemic, eco-friendly and non-toxic to mammals and are thus considered safe. Their modes of action against pests are diverse. Natural compounds are well suited to organic food production in industrialised countries and can play greater roles in the protection of food crops in developing countries Some plant based antimicrobials (e.g. neem products, pyrethoids and essential oils) are already used to manage pest populations on a large scale. Plant scientists and agriculturists now devote significant attention to discovery and further development and formulation of novel plant products with antimicrobial activity.This book is the first to bring together relevant aspects of the basic and applied sciences of natural pesticides and discussed modern trends in the use of natural products in pest management.
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With a rhythmic irregularity that breaks its own voice, this work contains a deceptive but measured movement, as if it were the footwork of a boxer, which gradually envelops the reader. There is a singular back-and-forth in this collection of poems: scenarios described through sensations, through immaterial elements; and sensations exposed through physical ingredients. There is bebop. Words are left behind. And then they come back on their own, lashing out. It is not surprising, then, that inside this book there is a reference to Thelonious Monk, an expansive creator who took harmony to its ultimate consequences. As the author himself puts it, this book is a horse on the prairie.
Fleeing was the most beautiful thing we had is a book that deals with exile as a I, an extraordinary text on the “dépaysement" (change of scenery) that is inherited from one generation to the next. It’s written by Marta Marín-Dòmine, who was born in Barcelona and now traches Literature and Memory Studies at the Wilfrid Laurier University of Waterloo (Canada). The book was originally published in Catalan by Club Editor and it reached best sellers lists for some weeks. It was awarded an special mention at the 2019 Catalan Booksellers Award and was awarded the 2019 Barcelona Award. The Spanish translation will be published by Galaxia Gutenberg this October 2020. In Fleeing was the most beautiful thing we had, the author pays tribute to her father, a boy of the war, one of many who lived the Spanish Civil War when they were teenagers and who, in 1939, went to exile and sought refuge in France, where they were interned in refugee camps. A boy who lived bombings, exile, the return and humiliation of returning to a pro-Franco Barcelona, a city that he does not recognize as his own and makes him feel like an exile in his own country. The narrator regularly packs her suitcases and goes to a new country where maybe she will end up feeling like home. But no: an instinct pushes her to refuse sedentary life. She seems to flee away. But from what? Based on texts from his father's unpublished memoir, Marin-Dòmine reflects on the impact of war, exile and repression in thousands and thousands of lives, and she does so with such stinging words that the reader’s heart shakes. We can imagine it, almost feel it. In addition, the author uses the description of photographic images of the time, some of them iconic, which impose themselves with all harsh: Children, teenagers and images of the refugee camp of Argelers (in France). But the book does not only tell of the memory of the Spanish Civil War, it talks about all the wars, about all the refugees, about all the exiles ... and it tells all this through the eyes of the exiles’ offspring, who somehow have collected the inheritance of those parents who had to leave. Fleeing was the most beautiful thing we had is a tribute to all the exiles, and a trip from Barcelona to Toronto, looking for traces of nomadic lives. Marta-Marín-Dòmine follows them with the sensitivity of a hunter and focuses on a bewildering truth: that the remembrances of others - what we call memory - are the country where we live. In dark times like today's, this is a reading to reflect on the importance of the values and the ravages of hatred, repression and lies.
In the last years, Smiljan Radic has become in one of the most renowned architects in the world, mainly due to his work’s eccentricity, his “significative contribution to architecture as an art” as recognized by the Arnold W. Brunner of the American Institute of Architects in 2018. Rough Work, written mainly by Radic himself, is an essential compilation of his work. Smiljan shares his thoughts, inspirations, heroes, and a selection of 24 key works that allows us to understand the architect’s trajectory. "In it, you will find a stolen title and other tales, together with my writing, frustrated projects, drawings and scribbles, academic excercises, happy buildings in use, others that are gone now, and many engineering plans. It is all part of what I have been able to build through 2015—a past that today takes a natural and expectant position in my present work, as if it were REMEMBERING A FORGETTING."—Smiljan Radic.
Appletown, el barri dels lleidatans de Nova York, torna a ser un lloc perillós. La lluita entre els dos clans mafiosos rivals, els Torra i els Vidal, s’ha agreujat. El detectiu Johnny Pelegrí va deixar el barri fa temps, però rebrà un encàrrec que no podrà rebutjar i que el portarà de nou als carrerons foscos d’Appletown, on els gàngsters parlen amb accent lleidatà, el jazz es barreja amb els garrotins i la vida d’un home val el mateix que un plat de caragols a la llauna. I a Lleida, l’aparició d’un cadàver al canal Segarra-Garrigues el dia de la seva inauguració i l’arribada d’una misteriosa poetessa del grup dels Irrefrenables canviaran la vida del jove Marcel Riera, cronista de comarques del diari pobre de la ciutat i indecís aspirant a novel·lista. Appletown és una novel·la que juga en diversos plans de realitat, on res no és el que sembla, on els personatges busquen el seu lloc en el món i on l’escriptor.
