Most of the archaeological sites and features, which date back to prehistoric, classical, medieval and early modern periods, were discovered as a result of stringent planning permit monitoring procedures and field surveys carried out by MEPA and the Superintendence of Cultural Heritage (SCH).

These newly unearthed archaeological sites include extensive areas characterised by a high density of prehistoric and classical pottery scatters, classical tombs, rural walls with long stretches of megaliths and ashlar stones, historic paths, ancient enclosures and water systems. Rural structures worthy of preservation such as giren (corbelled huts), apiaries and small vernacular buildings were also identified.

These archaeological sites and features are of local and national importance and contribute towards the understanding of the cultural landscape of the area.

A number of single chamber tombs and small catacombs have been recorded in Mġarr and Żebbiegħ. These tombs indicate a well established human presence in the classical period and could provide data for establishing the location of settlements and ancient roads in this period. The classical period features provide an archaeological landscape which is distinct from the prehistoric one, even if both overlap the same geographical space.

The undeveloped landscape in Mġarr and Żebbiegħ is characterized by the presence of extensive stretches of karstland, interspersed with small pockets of reclaimed agricultural areas. Within the surviving karstland, a large number of cart-rut systems and ancient quarries are recorded. An industrial site containing a kiln complete with water channels and a cistern has also been discovered. Some of these rock-cut archaeological features date as far back as the Bronze Age.

As expected, within such a primarily natural landscape characterized by active agricultural areas, one comes across a number of traditional rural structures in various degrees of conservation. These rural structures include old pathways, apiaries, giren, animal pens (some of which underground), cisterns, silos, post-holes, vine trenches and water channels which have a varying level of cultural or historic importance, but which collectively presents one of the most interesting agricultural and historically rural landscape in Malta.

A WWII shelter at Jubilee Square (Wesgħat il-Ġublew) and Fisher Street have also been scheduled by the Authority.

This area, with its substantial number of archaeological sites as well as rural and military heritage features is one of the most complete and complex rural and cultural landscapes in Malta with a history that spans over 7,000 years.

Source: Malta Today [December 23, 2014]

I haven't read a lot about Africa or a lot of postcolonial literature, but I was really struck by this satirical essay in my essay film class this week. How to Write About Africa by Binyavanga Wainaina is a look at the Western perception of Africa and how Westerners portray Africa in literature, film, and other media. I'm not a big fan of satire, but Wainaina does a great job of controlling his comments and returning to ideas over the course of this very short essay. He talks a lot about the African landscape; it has to be portrayed as beautiful, orange, and rolling, but people on the landscape must be black, thin, and starving. The following passage encompasses a lot of the feelings that come out in the essay:

Make sure you show how Africans have music and rhythm deep in their souls, and eat things no other humans eat. Do not mention rice and beef and wheat; monkey-brain is an African's cuisine of choice, along with goat, snake, worms and grubs and all manner of game meat. Make sure you show that you are able to eat such food without flinching, and describe how you learn to enjoy it—because you care.
Africans are often associated with music, and while there is some truth to that there are other cultures that are highly musical that we don't pay as much attention to. With the bit about food I think he is trying to point out how Westerners push the differences between the West and Africa and really dehumanize it. Earlier in the essay he says we "should" talk about Africa as if it were an entire country, which of course Africa is not. It's a continent. The final sentence is what really interests me though-- "because you care." As Westerners we feel the need to talk about Africa and discuss it to show that we care about it. But we only care about it in a cultural sense.

You can go to Granta to read the essay, or you can listen to it by watching this video. I like the video, but I'll warn you that some parts of the essay are missing-- not a lot, you'll still get the idea.

I am an Amazon Affiliate. If you make a purchase using one of my links I will earn a small percentage which will then go back into this blog.

Based on such images and conversations with some looters whose confidence they gained, archaeologists try to follow the trail of stolen pots and other artifacts to traders and buyers. They hope to get a better understanding of the black market and perhaps stop future plunder.

It's sophisticated detective work that stretches from the site, not far from the famed Dead Sea in Jordan, to collectors and buyers the world over.

The aerial photography detects spots where new looting has taken place at the 5,000-year-old Fifa graveyard, which can then sometimes be linked to Bronze Age pots turning up in shops of dealers, said Morag Kersel, an archaeologist at DePaul University in Chicago. Kersel, who heads the "Follow The Pots" project, also shares the data with Jordan's Department of Antiquities, to combat looting.

On a recent morning, team members walked across ravaged graves, their boots crunching ancient bones, as a tiny, six-bladed flying robot buzzed overhead. In recent years, drone use in archaeology has become increasingly common, replacing blimps, kites and balloons in surveying hard-to-access dig sites, experts said.

Chad Hill, an archaeologist at the University of Connecticut who built the drone, piloted it over a part of the graveyard that had not been mapped yet. The drone snapped photographs that allowed Hill to see in great detail how looting altered the landscape.

"We can see the change through time, not just of `a huge pit has been dug' but where different stones have moved," Hill said. "It's a level of resolution of spatial data collection that's never really been possible until the last couple of years."

As the drone's batteries ran low, Hill overrode the automatic pilot and guided the landing with a remote control. Flipping the drone on its back, he checked the camera, nodding approvingly at the afternoon's work.

The cemetery in Jordan's Dead Sea plain contains about 10,000 graves, part of the vast archaeological heritage of the region.

It looks like a moonscape as a result of looting, with about 3,700 craters stretching to the horizon and strewn with shards of skeletons and broken ceramics. Looters typically leave human remains and take only well preserved artifacts.

"I spend my days stepping on dead people," said Kersel, picking up a broken shell bracelet, presumably from ancient Egypt.

An underlying cause for looting is high unemployment, said Muhammed al-Zahran, director of the nearby Dead Sea Museum. "Looting happens all across the region," he said.

In Jordan, unemployment is 12 percent, and it's twice as high among the young.

Yet stolen antiquities rarely enrich local looters, said Neil Brodie, a researcher at the University of Glasgow's Scottish Centre for Crime and Justice Research.

Rather, the profits end up in Europe or America, Brodie said, describing high markups as the artifacts move from looter to middleman, dealer and then customer.

Brodie studied looting at another site in Jordan, the ruins of the early Bronze Age community of Bab adh-Dhra, though without the help of drones.

He estimated that diggers were paid about $10,500 for 28,084 pots that were subsequently sold in London for over $5 million, sometimes marketed as "Old Testament" artifacts.

An artifact that later sold for $275,000 was initially traded for a pig, Brodie's research showed. And he also found that a dancing Hindu deity bought for about $18 sold eventually for $372,000.

Some of the artifacts stolen from Jordan's sites, including tombstones, end up in neighboring Israel, said Eitan Klein, a deputy at the Israeli Antiquities Authority's robbery unit.

Kersel, from the "Follow the Pots" project, said looters told her they sell their goods to middlemen from the Jordanian capital of Amman or the southern town of Karak. She said the trail stops with the shadowy middlemen, but that she can sometimes pick it up on the other end, by comparing the looting timeline with what eventually ends up on the market all across the world.

In addition to monitoring the cemetery, Kersel also teaches local workshops on profiting from antiquities legally, including by making and selling replicas, to discourage robbing graves.

Yet, looting will be difficult to stop as long as demand remains high, she said.

"People don't ask the sticky questions about where artifacts come from," said Kersel, standing inside a robbed grave in Fifa. "They just want to own the piece regardless of what kind of background the artifact has, and that is what causes people on the ground to loot."

Author: Sam McNeil | Source: The Associated Press [April 03, 2015]

New Fine Arts Center

New Fine Arts Center becomes the first public building constructed in a small Texas city for last thirty years. Local artists and active workers, parents and teachers, historians and collectors of national creativity participated in center building. All of them thought over what should be their place for public meetings

Hi-tech Audience

Project by Kell Muñoz Architects is almost 2000 sq.m., a hall 975 places and an audience completed with the hi-tech audio-visual equipment.
The project budget has been limited enough, $5.7 million dollars. This building of time declaring a multicultural modernism, traditional for district (Rio Grande Valley), mixed with the international modernism associating with Mexico.

Art Center in Texas

To allocate a new public place, the construction facade has been raised. The front composition from the bright vertical strips organized according to a color spectrum, very brightly allocates a building in a silent and harmonious landscape.

VIA «The Architecture of the National Traditions»

Blood Red Road by Moira Young is one of those books that you just need to read to get it. I didn't know a lot about this book when I started it. I knew that the cover gives the impression of desolation, barrenness and heat. I knew that it was a somewhat post-apocalyptic novel, set sometime after the end of the known world. And, I knew that the main character was on a mission to find and save her twin brother, who she viewed as the light to her shadow.

And I'm glad. I think that knowing so little about this book before I started reading made the book more exciting, made the level of tension I felt while reading so much stronger. I want others to have that same experience, to be able to experience that same level of surprise and excitement as they read, learning about the new world with Saba, learning about Saba's strengths as she does.

The cover of Blood Red Road sets the perfect tone for the novel. Saba and her family live in a vast desert. The nearby lake is drying up, taking with it their only source of water. Their family is almost completely isolated and Saba and her siblings know very little of the world outside their home. As is often the case in the post-apocalyptic novels, when things change for Saba and her family, the change is drastic and there is no going back.

Saba starts out with a very basic, very simple understanding of the world. She knows what she knows, believes what her father tells her, and has a very narrow, very specific and fixed world view. She doesn't leave a lot of room for gray areas. But as her world begins to change, she is forced to analyze and examine the possibility of change. She begins to realize that there are other ways to view the world and that she is, perhaps, too hard on others, too hard on herself and too quick to cast things and people aside. Watching Saba grow into herself, watching her become this amazing and strong person was insane. From the beginning of the novel to the end, she changes completely. And yet, she also stays exactly the same. She does not lose the essential pieces that make her who she is, but they grow and mature to allow for a deeper understanding of people and the world. I want this girl to be on my side. I want to be her friend.

The secondary characters were also amazing. Each was fully formed and with many of them, we see them change, and they also help us measure the changes in Saba. Her perceptions and interactions with varying characters show us this, help us understand that integral role that character had on Saba's growth without ever needing to tell us about it. The growth doesn't need to be told, because it is plainly visible.

I also loved the writing in this book. It's just as sparse as the landscape of the story, but it's rich. The dialect writing might throw some readers off initially, and it does take a few pages to get used to, but by the end of the novel, Saba's voice is so strong that the words just pour off the pages. You don't need to stop and analyze or verify the specific words, because you just know. It's what Saba would say. It's what Saba does say, and it's plain as day.

I would say that this is one of the strongest debuts that I have read this year and it's a book that I highly recommend. The story is paced perfectly. And for me, the ending left nothing to be desired. It is obvious that there are plans for a sequel but this book doesn't leave you in the middle of a scene, chomping at the bit to see what happens next. You will want to know. You will need to know. But it's more because you just have to spend more time with these wonderful people that the need to know how the scene you just cut off will end. As far as the characters go — they characters are far from perfect, far from ideal but they grow and mature and are so very, very real that their flaws are just another sign of life. I feel like Saba and the rest of this cast are just waiting to be born, just waiting for the world to destroy itself so that they have the chance to redeem themselves.

*Disclaimer: I received an ARC of this from the publisher in exchange for a fair and honest review.

Under the agreement, Pfalzner and his project team – part of the DFG-backed collaborative research center ResourceCultures – plan to expand on surveys taken over an area of 4400 square kilometers in 2013 and 2014, which were aimed at discovering ancient and historical settlements. The archaeologists used drone-mounted cameras to make 3D models of the landscape and have already located 92 relevant sites. Many of the settlements can be dated by finds such as pottery shards.

Cooperation between the archaeologists and the local authorities will enable important sites to be protected. The Bronze Age settlement of Bassetki became famous due to objects such as a bronze statue of the Akkadian god-king Naram-Sin found during excavations in the 1970s. Pfalzner’s latest survey of the area revealed an extensive lower city at the site – and the Kurdish authorities have agreed to suspend expansion there of the main road from Baghdad to Istanbul and to change part of the route to allow archaeological work to be carried out. Going ahead with the road-building would have destroyed this part of the ancient site.

Despite the explosive political situation in nearby regions, Governor Atrushi stressed that Dohuk is one of the safest provinces in Iraq. It is located between two mountain ranges and is protected by Peshmerga troops. The United Nations estimates the region now hosts more than half a million refugees from the campaigns of the IS terrorist movement. Governor Atrushi underlined that it was important to protect the region’s history despite the tremendous political and humanitarian challenges: “We must send a signal that normal life continues. That includes protecting our historical sites. And we will not approve new building applications without a green light from the Department of Antiquities.”

“This agreement gives us the opportunity to survey a region which has largely been a blank space on the archaeological map,” says Pfalzner. “Finding a lower city at Bassetki raised new questions. Until now, we didn’t know why the statue of an important ruler like Naram-Sin was found here on the periphery of his empire. We think now that this settlement may have been a major administrative center.”

In their 2013 survey, the archaeologists discovered that rock carvings at Mila Mergi showing the Assyrian king Tiglat-Pileser III had been badly damaged – probably by modern treasure hunters – and collected the fragments. A doctoral student in the ResourceCultures collaborative research center is now reconstructing and translating the tablets of cuneiform writing, which represent a valuable source of information. They describe the conquest of the land of Ulluba by the Assyrians, listing 20 captured cities. To date, it was believed the expansion of the Assyrian empire was driven by the need for raw materials; now the ResourceCultures researchers will examine whether cultural and religious resources – such as the control of holy places – could have played a role.

Source: Tubingen University [February 09, 2015]

According to Environment, Energy and Climate Change Minister Yiannis Maniatis, the budget for the project amounts to 5,650,000 euros. The purpose of the initiative is to make improvements to the landscape surrounding this important archaeological site, including the addition of a herb garden with healing plants, new pathways for tourists, kiosks that will provide information about the history of medicine and promote local agricultural products with healing properties, etc.

Located in a small valley in the Peloponnesus, the shrine of Asclepius, comprises of three principal monuments, the temple of Asclepius, the Tholos and the Theatre – considered one of the purest masterpieces of Greek architecture – that date from the 4th century.

The vast site, with its temples and hospital buildings devoted to its healing gods, is a precious testimony to the practice of medicine in antiquity.

Source: Protothema [December 18, 2014]

Bonnie from A Backwards Story is with us again today, bringing us another fantastic interview — this time with Carolyn Turgeon!

Carolyn Turgeon is the author of three novels, Rain Village, Godmother, and Mermaid. Her next novel, The Next Full Moon, is scheduled to come out in August/September 2011. Based on Te Swan Maiden, this will be Turgeon’s debut novel for young readers. Her novels tend to be twisted versions of fairy tales you’ve never seen before, such as The Little Mermaid from the princess’ perspective in addition to the mermaid’s or a version of Cinderella where the godmother is banished from the fairy realm when something goes horribly wrong... For a review of Turgeon’s work, please visit the above links. Reviews of her other titles will come to A Backwards Story later this year. Godmother and Mermaid are also featured in a FTF guest post titled FRACTURED FAIRY TALES.

1) What were your favorite fairy tales growing up? What drew you to them?
I can recall loving all kinds of stories, such as Thumbelina and The Princess and the Pea, with all their strange and wonderful images—the tiny girl floating along in an acorn, the princess with her stack of mattresses. I think my favorite fairy tales were by Oscar Wilde: The Happy Prince, The Nightingale and the Rose… but my favorite was The Selfish Giant. It’s very sad and strange and beautiful—the ghostly little boy, the lush garden, the endless snow and frost, the giant who gets struck down, covered in white blossoms… I’ve always tended to like stories that are very sad.

2) What made you decide to write alternative versions of fairytales from unique perspectives?
I didn’t really start out intending to write alternative versions of fairy tales. When I started Godmother: The Secret Cinderella Story, I just wanted to tell the Cinderella story straight, with lots of wonderful, lush detail and full, fleshed-out characters and all kinds of weirdness and darkness, etc. That’s what I love about fairytales, by the way—that strange combination of beauty and darkness you find in all of them. After my first book, Rain Village, which took forever to write, I wanted to do something that I thought would be a lot of fun, something that I would really love writing. I only decided to tell the story through the perspective of the fairy godmother when I realized how limited Cinderella’s perspective was—back then I only ever wrote in first person—so I figured that if the fairy godmother was narrating she could be pretty omniscient, tell you what was going on with Cinderella and the other characters. Plus, she could tell you her own story, too, which I thought might be interesting. Later, I decided to set the book in contemporary New York City and only have the godmother remembering everything that had happened in the other world. The book is set half in New York and half in the fairy tale world (in flashbacks). I only decided to do that after joining a writing workshop and seeing that the people in the workshop didn’t seem to be responding to the straight-out fairy tale I was writing. I wanted to win them over and I thought maybe I could lure them in with a present-day story set in the city, win them over that way, and then plunge them into the fairy tale.
So the book only slowly evolved into this alternative version. Once I put the fairy tale in via flashbacks, I knew something had to have gone terribly wrong. Why else would the fairy godmother be an old woman in New York?
After writing the book, though, I felt there was something really powerful in taking a story as well known as Cinderella, a story that’s in our blood and bones, and telling the “real” story from a perspective you never think or care about.

3) Can you tell us more about your upcoming book, The Next Full Moon?
The Next Full Moon is my first children’s book, a middle-grade novel about a 12-year-old girl who’s being raised alone by her father in Pennsylvania and who starts growing feathers, which is totally mortifying and confusing for her of course. She then comes to discover that her mother, whom she thought died when she was an infant, was (and is) a swan maiden. The story’s based on the old tales in which a man steals a swan maiden’s feathered robe when she’s in her human form, takes her home, marries her and has children with her. One day she discovers the robe and flies away—there are various reasons for this, depending on the version you read. I wondered: what happens when those kids she leaves behind hit puberty? In my book, the man and woman had only one child, and now here’s the kid ten years later with feathers appearing on her arms and back, having no idea that her mother is still alive and, of course, no idea that she’s a swan maiden.
I like the idea of a 12-year-old girl, full of shame and embarrassment, slowly discovering that she’s magical and amazing.

4) What other ideas are you working on right now?
Well, I’m working on a few things right now. Because of Mermaid, I started this blog, I Am a Mermaid, where I talk to all kinds of people about mermaids. I’ve realized that there’s this whole mermaid culture out there that’s really fascinating and lovely. So I’m writing my first non-fiction (but still quite fantastical!) book. And I’m working on a new novel that has to do with Weeki Wachee and a YA novel about a drowning pool, and I have this half-done thriller that I hope to finish this year…

5) Was it hard coming up with your own lore when you began world-building? How did you bring everything together?
It was challenging for me to write about magical worlds, I think, in that I was afraid of making them too Disney-ish or corny. So with Godmother, at first I was very vague when talking about the fairy world; in fact in the first draft, the flashbacks start with the godmother meeting Cinderella and we don’t really see her in her own world at all. It was only after the book sold that my editors pushed me to make the fairy world more defined and vivid, to explain the rules of that world and the landscape of it and so on. So I added in the first couple of flashback chapters that are in the book now, and they were probably the hardest chapters for me to write, even though they’re probably the lightest ones in the whole book.
With Mermaid, I mainly had to explain the rules we see in the original Hans Christian Andersen story… like why the mermaids can only visit the human world once, on their birthdays, and so on. It was more like putting together a puzzle than anything else, trying to create the worlds in that book and make them adhere to specific points from the original story.

6) Which of the books you've written is your favorite so far? What makes it the most special to you?
Hmmm. I think that would always tend to be the latest one. Right now I’m very excited about The Next Full Moon and writing for this younger age group. I found it surprisingly easy to write as a twelve-year-old, which is possibly a little worrisome, and was able to draw on my own memories and experiences more than I have for any other book. Like the characters all go to the lake in their town, where there’s an old carousel and people sell lemonade and they can all go swimming or lie out on the beach. And I was just directly describing the lake my friends and I used to go to in East Lansing, Michigan, where I lived from when I was twelve to fourteen, and I hadn’t thought about that lake in years. We moved around a lot when I was growing up, and so I’m really distanced from some of those memories and places. It was kind of nostalgic and wonderful, writing that book and slipping into those memories and this old self. Also, I have to say, I think the trauma and awkwardness of being twelve mixes really well with the fairy tale elements in the book, and I like the idea that something magical is happening to you as you hit puberty and you just have to figure that out.

7) What are some of your favorite fairy tale inspired novels and/or authors?
I love Angela Carter and her weird, gorgeous visions. I love Alice Hoffman, Francesca Lia Block, Joanne Harris, Isabel Allende, Jeanette Winterson, Gabriel Garcia Marquez, Italo Calvino... They’re not all fairy tale writers and I don’t know to what extent they’ve all been inspired by fairy tales, but they all write in that vein I think, lush and magical. I really enjoyed Erzebet Yellowboy’s Sleeping Helena. And I also, by the way, really loved the way the Pied Piper story is used in the movie The Sweet Hereafter. It’s pretty brilliant.

8) If you could live out any fairy tale, what would it be and why?
Oh, I think maybe Thumbelina. I mean, who wouldn’t want to ride around in an acorn? For the most part, I think fairy tales are not the stories I would like to live out. Though I wouldn’t mind being the little mermaid for a day, before she goes and sees the sea witch and ruins her life…

9) What's your favorite Disney rendition of a fairy tale? What makes it so special?
I’m going to have to defer to my childhood self, who loved all those movies quite passionately. As an adult, I could barely even get through The Little Mermaid, which I was totally swept away by as a teenager. Probably my favorite, though, is Snow White. The old versions of that tale are really very shockingly weird and violent, and even the Disney version is incredibly creepy, with our semi-dead heroine lying gorgeously in a glass coffin in the forest and our hot prince having a thing for dead chicks.

FUN AND CRAZY ROUND!

~Best fairy tale villain and why?
Oh, the stepmother from Snow White. She’s a gorgeous witch with a magic mirror who has her stepdaughter murdered in the forest and then eats her heart (or lungs or what have you). Even though she’s betrayed by her huntsman and actually eats a stag’s heart, she believes she’s eating Snow White’s. It’s hard to think of a more perverse female villain! And I love the image of her skulking through the forest with her cloak and her basket full of poisoned apples.

~Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
Oh, I love Rapunzel and the lettuce that is so delicious and addictive that Rapunzel’s mother craves it above all else and even makes her husband climb into a witch’s garden to get more for her. I mean, who pines for lettuce? Now I totally want some lettuce, now that I’m thinking about it...
I’d like to be something equally un-chocolate-y, if you know what I mean, some other pedestrian, unsexy vegetable with hidden powers of seduction. Like a rutabaga or a turnip. Turnip is kind of a cute word, not too far off from the delightful “tulip.” I’d like some fairytale character to be sitting in a room wasting away from a mad desire for turnips.

~ Using that name, give us a line from your life as a fairy tale:
She stared out the window at the impossibly lush turnips growing outside just beyond reach, their leaves shooting into the air like hands, their bodies dense and purple, as round as breasts. Her mouth watered as she watched the turnip leaves undulating in the breeze. As if they were bellydancing, she thought.

Meanwhile, Turnip was enjoying a large slice of chocolate cake at Jean Georges.

~Would you rather:

- — eat magic beans or golden eggs? Golden eggs. Don’t those sound delectable? A magic bean is just wrong.

- — style 50ft long hair or polish 100 pairs of glass slippers? I think polishing the glass slippers would be much more manageable. And I love things made out of glass, especially slippers and dresses. Are you aware of Karen LaMonte’s glass dresses? Look:

- — have a fairy godmother or a Prince Charming? Oh, a fairy godmother. Who wouldn’t want an endless supply of dresses and carriages? And let’s face it: Prince Charming isn’t all he’s cracked up to be.
Come to think of it, though… if we’re talking about the fairy godmother from my own book, then I’d really have to go for the hot prince, or even one of the coachman or mice. Anyone but the godmother, please!

-----------------------------------------
Okay, okay, here’s the part you’re all waiting for: The giveaway! Carolyn has generously agreed to give away three—yes, THREE—autographed copies of Mermaid as well as some fun mermaid tattoos! You know you want to win this contest and read this fantastic book.

To enter,. In addition, please leave a comment answering this question: What would you do if you could be a mermaid for a day? Also, what would you be willing to sacrifice in order to become a mermaid?

Entries must be received by MAY 5th. May 8th This giveaway is INTERNATIONAL!
Good luck and I can’t wait to see your responses!

PS from Misty: I love this picture! ----->

City design

VIA «Fosters and FXFOWLE have won award World Architecture News»

The Economic Moon

Financial crisis — not a hindrance for scale building of the landscape park Zabil. «The new Moon» becomes the central construction of the project. The construction in the form of a half moon — a symbol of force and energy of the countries of the East — will tell about today's prosperity of the United Arab Emirates.

The New Moon in Dubai

Monument interiors contain 5 floors. Everyone symbolizes one of five postulates of Islam: belief, a pray, mercy, mutual aid and pilgrimage. The design contains in itself a conference hall, cafe, children library and an information desk.

The New Moon Monument

The external part of a building decorated by the Arabian inscriptions represents a steel skeleton with emptiness. Such decision will give the chance to supervise illumination and air temperature on all platforms of the New Moon, will protect an interior from a direct sunlight and will provide free circulation of air streams. Inside there will be a special microclimate which will unload the central systems of safety. The project completely corresponds to ecological building standards. Solar batteries will be built in a building covering, and it considerably will lower energy consumption.

VIA «Rising of the New Moon»

Hotel from the Australian architects

VIA «Architectural luxury Fiji»

With us today we have the lovely Elizabeth C. Bunce, author of A Curse Dark as Gold, a fantastic retelling of Rumplestiltskin (set in the Industrial Revolution! Brilliant!) and the "Thief Errant" series, which is about Digger, a spy and thief who unwittingly finds herself at the center of a magical rebellion. The first book, StarCrossed, is out now, and the second, Liar's Moon, comes out in November!
Make sure to stick around till the end of the interview for a chance to win your own copy of StarCrossed!
Without further ado, I give you: Elizabeth C. Bunce!

~What inspired you to set the tale of Rumplestiltskin in the Industrial Revolution?
A couple of things, actually. First, I wanted to set the novel in the time and place of fairy tales—that imaginary Fairy Tale Country—and thanks to classic artwork by Dulac, Dore, and others, for me that's the 18th century. Second, it was a natural extension of the decision to set the story in an ailing textile mill, because the social and economic changes of the Industrial Revolution presented an existing set of realistic obstacles and conflict for the plot. And, to be perfectly honest, I was in love with the clothes of the era, and just couldn't imagine Uncle Wheeler dressed any other way!

~What was the research process like for the story, both on the fairy tale front and the historical front?
On the fairy tale front, I read as many traditional versions of Name of the Helper tales as I could—not just early "Rumpelstiltskins," but also pieces like England's "Tom Tit Tot" and Scotland's "Whuppity Stoorie." But my goal was always to focus on the story of the girl who bargains away her infant son, so I did stick pretty close to the "Rumpelstiltskin" framework. The rest of the research—oh, mercy! I dug into everything from everyday life in the 18th century, to traditional folk magic and ghost stories, and, of course, a huge amount of research (both book learnin' and the hands-on kind) into the woolen textile industry. I have monographs on wigmaking, esoteric economic histories of individual mill towns, even the journals of period woolworkers. For me, research uncovers not just the things you know you're looking for—but almost more importantly, the things you had no idea you needed.

~Will we ever see more stories set in Charlotte’s world?
Yes! I have one published now, a ghost story called "In for a Penny" in the Scholastic anthology Bones, edited by Lois Metzger (July 2011). And I have a few more ideas—including more retellings—up my sleeve, as well.

~Why fairy tales? What is it that calls to you, personally,as a writer, and why do you think readers connect to them the way they do?
As a reader, I'm even a bigger fan of retellings than I am of the original tales. I am fascinated by the ways authors expand and adapt the source material while keeping the stories fresh and accessible to today's readers. There's so much potential in the fairy tales, and I find it really comes to life in a brilliant retelling. I'm particularly drawn to the fairy tale landscape—the dark woods, the impenetrable briar hedge, the castles. But as a writer, I like the challenge of re-imagining those classic settings; expanding the borders of Fairy Tale Country, as it were!

~StarCrossed seems pretty different from Curse; did you feel it was a departure for you? How does StarCrossed’s Digger compare to Curse’s Charlotte?
I like to say that Curse was written for my adult literary and fairy-tale scholar self, while StarCrossed and Liar's Moon were written for my inner 16-year-old fantasy fan. So in that way, I can't say the series is a departure, although it did feel very different to write Digger's story than Charlotte's. As characters, Digger is a complete 180 from Charlotte. Charlotte thinks over everything before she makes any move, and Digger is very much more a Shoot First, Ask Questions Later kind of girl. Oddly enough, their goals end up being the same (saving the people they care about), but their methods are a little different. I have a feeling Digger would have taken one look at Shearing and Stirwaters, said, "To hells with this," grabbed everyone, and lit out of there.

~StarCrossed is a series, so I know you’re in the middle of that, but are there any plans to tell more straightforward fairy tale retellings in the future?
Definitely! The first novel I ever wrote was a retelling, I have a collection of short retellings that's been in the works for a while, and I've just started collecting research materials for a Victorian-era fairy tale project I'm excited about.

~What’s your favorite scene you’ve ever written?
I don't know! What a great question. Since we're talking about Curse, let's narrow it down some. I still think that book has some great scenes (I especially love the conjuring of Jack Spinner, the introduction of Biddy Tom, the crossroads, and the denouement)... but today I'm feeling romantic, so I'm going to say Randall's gift of the watch. There's something magical about those rare moments where you can capture everything about a story in just a few lines, and I think this scene between Randall and Charlotte tells us so much about both characters.

Lightning Round!

~Rapunzel is named after lettuce; what odd thing would you be named after if you were in a fairy tale?
Hopefully I'd get a name! But it would probably be something like Donkeyskin or Aschenputtel. Maybe Doghair. Hundehaare. That sounds about right.

~ Using that name, give us 1 line from your life as a fairy tale:
Hard by a great prairie, in a cottage surrounded by mud in all seasons, guarded by a pack of hounds, lived a woman known as Hundehaare, whose back was permanently bent from bending over her books, her fingers gnarled and pricked from the needle. But from her muddy cottage, Hundehaare crafted things of great wonder, and her work was sought by folk from distant lands.
(Ok, that's two lines!)
[The judges confer... Two lines is acceptable, since they are such good lines.:) ]

~Best fairy tale villain and why?
Well, see, I tend to take a longer, more sympathetic view of my fairy tale villains, so it's difficult to come up with a list of inexcusable baddies. The thirteenth fairy in "Sleeping Beauty" is awfully petty, but, then, who hasn't felt wounded at being excluded from a party? And for mismatched dishes? But after giving this some deep thought, I'm going to have to go with The Pea.

~Favorite tale from childhood? Favorite tale as an adult? Least favorites?
My favorite always was and will probably always be "Beauty and the Beast." The least favorite one is hard to answer; it used to be "Rumpelstiltskin," hands down—but I feel kind of bad about saying that now, since the story has actually been very good to me!

~If you could be any fairy tale character, or live through any fairy tale "happening," who/what would it be?
Although it directly contradicts another answer below, I'm going to say I'd like to accompany the soldier as he follows the dancing princesses to Faerie.

~Would you rather:
- — eat magic beans or golden eggs?
Eggs

- — live under a bridge with a troll, or all alone in a high tower?
Tower

- — be forced to spin straw into gold for hours on end, or dance every night until your shoes are worn through?
Spin. Was there ever any doubt?

Thanks so much for stopping by and chatting with us, Elizabeth! For those of you who haven't read A Curse Dark as Gold (was there ever a better title?), Misty and Ashley both highly recommend it! And if you haven't read StarCrossed, here's your chance!

Misty's review of A Curse Dark as Gold | Ashley's review of StarCrossed ***GIVEAWAY*** Thanks to the awesome people at Scholastic, we have a beautiful finished hardcover copy of StarCrossed to give away to 1 winner!
To enter, answer this question: If you were to retell a fairy tale, what would it be and where/when would you set it?
Then, fill out this form.
International
Ends May 5th May 8th!

The new project, entitled Endangered Archaeology, has been launched at Oxford and Leicester Universities, funded by the Arcadia Fund. The researchers are using satellite imagery and aerial photos, such as Google Earth, to record and monitor the most endangered, and often undocumented, archaeological sites across the Middle East and North Africa. Nearly all the archaeological remains are made of stone or earth and are visible from the air.

They include tombs, settlements, forts, towns, cities, and field and irrigation systems of all periods – from prehistory to the 20th century.  Many of the countries are currently inaccessible on the ground due to ongoing conflicts. Recent work in Jordan by Professor David Kennedy and Dr Robert Bewley has already shown the scale and intensity of development, and that the methodology works, which is why it is being applied on a larger scale across the region.

Project director Dr Bewley, from Oxford University’s School of Archaeology, said: 'This exciting project is very timely as the threats to the region’s most important archaeological sites are increasing at an unprecedented pace and the situation is only going to become more critical if we don’t act now.'

The research team estimates that across the Middle East and North Africa there could be as many as 3-5 million archaeological sites, many of which are under immediate threat, and even more are likely to become endangered in the future. Information about the historical context and condition of each of the sensitive sites will be made available in an open-access database. The information can then be used by everyone, but especially by local archaeologists and volunteers in each of the countries.

Where possible, the project will cooperate with local authorities responsible for the protection of sites, Departments of Antiquities or similar agencies. It is hoped that through the project, a network of local 'wardens' will be created to manage and preserve the landscape and sensitive sites.

Professor Andrew Wilson, the project’s Principal Investigator, said: 'The project will provide tools and strategies for the future conservation and management of threatened heritage, both individual sites and entire archaeological landscapes. This region contains the world’s richest concentration of significant archaeological remains spanning prehistory, the Persian, Greek, Roman, and Islamic empires.'

The project’s website http://ea.arch.ox.ac.uk will be available next month and the database with images and contextual information will follow later in the year.

Source: University of Oxford [February 20, 2015]

The interconnected domes

VIA «National Ecological Institute in South Korea»

Charcoal dug up from the Mesolithic encampment at Blick Mead in the world heritage site, around one and a half miles from the stones, has been tested and dated to around 4,000 BC, archaeologists said.

A dig by the University of Buckingham has also unearthed evidence of possible structures, but more investigation is needed to see what the site contains. There is also evidence of feasting, including flints and giant bulls known as aurochs, the experts said.

They warn that the chance to find out about the earliest chapter of Britain’s history could be damaged by the plans for the 1.8-mile tunnel as part of efforts to relieve the A303 bottleneck at Stonehenge.

The £2bn scheme would see the road put into a dual carriageway tunnel past Stonehenge, reducing congestion and improving the setting of the stones - giving the public greater access to the wider prehistoric landscape and benefiting wildlife, supporters say.

But archaeologist David Jaques, who made the discovery of the encampment, said: “The prime minister is interested in re-election in 140 days – we are interested in discovering how our ancestors lived six thousand years ago.”

He added: “Blick Mead could explain what archaeologists have been searching for for centuries – an answer to the story of Stonehenge’s past.

“But our chance to find out about the earliest chapter of Britain’s history could be wrecked if the tunnel goes ahead.”

Source: The Guardian [December 19, 2014]

Last week's assignment involved creating a review or a scene out of random words and a random phrase. Participation was pretty sparse (was it too hard? Are you all on vacation? Were you trying to make it easy on me when I posted the answers?) but those intrepid Geeks who did it wrote such fun posts! If you haven't had a chance to read them, go do it now, before I give away the answers.

OK, ready? Did you post your guesses in the comments?

Go ahead, the answers will still be here when you're done, and it won't be nearly as fun if you've already peeked at them.

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Ready now?

Let's start with the real books.

1. First of all, please welcome Gigi, the Solitary Spinster. This was her first WG post and she did such a good job that for a moment I thought she hadn't followed the directions. She reviewed a tattoo book called Body Type, using the random phrase psychological sizing therapy, the sentence, the killer listens and the words orientation, indicator, and regret.

2. Jason of Moored at Sea is a relatively new Geek, and I enjoyed checking out his blog for the first time. Beautiful poetry, among other things. He did a stunning job modifying an Elizabeth Barrett Browning poem, Aurora Leigh, modifying the random sentence Extremist trade charms a crown to fit the meter, and adding the random words Junior, Adaptor, and Escape.

3. The book I reviewed is one I got from Mini Book Expo, called Something Drastic. I made up a quote using the random sentence, The debt rattles into the Jack coach, and my random words were robot, slogan, and bus.

4. Lahni, of Nose in a Book, included a scene from a real book but she didn't tell me which one. Her random words were annoyance, delivery and opening. Her random sentence was The hardened likelihood passes the wish.

5. At Farm Lane Books, Jackie reviewed a short piece. Yes, F. Scott Fitzgerald really entitled it Mr. Icky, and the quotes are real. Her random words were Happiness, Prize, and Garble, and her random phrase was The jazz lusts through the pot.

6. Bookworm Kristen used a passage from A Lady Raised High by Laurien Gardner. The added words and phrases were: modeling, sinking, crush, 'furry mixture' and 'The reckless stair weds.'

7. Emily chose a book about an artist, replacing the artist's name to make it especially tricky to guess. She says, "The entry I came up with is a description of an actual piece of art by installation artist and sculptor Louise Bourgeois, and the actual book referred to is Louise Bourgeois: Memory and Architecture." Her random sentence was The cage closes on a lighted landscape, and her three words were career, minus, and conducting.

Now, on to the fake books.

1. Unfinished Person (Just a Reading Fool) kept his short and sweet, using only three sentences to write an intriguingly bizarre scene with the random words wow, Fall, Pumping, and the random sentence, An every realm persists.

2. By contrast, Coversgirl wrote a scene that was almost a short story in itself (not that it was too long, but she managed to fit in some suspense and a plot!), using the random words: pedestrian, notation, miss; the random sentence: The juice disables an idle independence, and the unnecessary random phrase: worthwhile scarlet.

3. Another Cookie Crumbles reviewed a fake book, which the random phrase generator entitled Circumferential Dragon. I want to read this one! The random words were drink, taxi and sneak
and the sentence was The machine despairs.

4. Gautami made up a book with the randomly phrased title, Seraphic Mandrake. Her random words were Hypothesis, hero and enterprising, and she says, "The random sentences were obvious!" so I think we can assume they are the quotes from the book.

5. And, saving the first poster for last, Kerrie was inspired by the random phrase Hot Typewriter to review a fake mystery. Her random words were Witch, Neck and Mean, and her random sentence was An urban heaven blinks.

That's it--but if more come in today, I'll get them added to this post by the end of the weekend.

How'd you do with the guessing?

VIA «Expocentre in Addis Ababa»

Copyright by Malgorzata Dudek | Photography Christoph Musiol | Styling Jadwiga Pokryszka | Hair Margo Wegierek | Make-Up Patricia Bontscheff | Set-Design Uli Gajsa | Model Katarzyna Nawrocka | Sunglasses Slav Nowosad | Shoes Kazar
An homage to the Swiss surrealist, H.R. Giger. Always being fascinated by the artwork of Giger and the massive impact of his Biomechanical vision on the world of architecture, film, music, tattoo art, fashion and industrial design, Malgorzata Dudek, with H.R. Giger's prior approval, transferred his cultural influence onto fabric. the collection includes a series of one-off couture pieces with adapted Giger prints. Some of the standout pieces are an elegant skin-tight gown with a Giger Li print and a hautingly beautiful black, skin-tight gown with 3-D baby heads from Giger's Landscape XVIII adorning the back and train. Throughout the collection, there are also laser-cut leather elements which were inspired by the artists airbrushing. the collection was accessorized with metal sunglasses by designer Slav Nowosad which are inspired by Giger’s Birth Machine.
My desire with this collection is to honor to H.R. Giger, pay him tribute, and show how his influence resonates in the world of fashion. When I started sketching this collection and planning the fabrics, I couldn’t see it complete without elements of Giger’s artwork. And what better way for me, as a designer, to honor a man who’s Biomechanical vision has massively influenced architecture, film, music, tattoo art, fashion and industrial design. Last February, I sent sketches to him through his agent and to my surprise, I heard back almost immediately and was given creative freedom to incorporate a jointly agreed upon selection of Giger's art! It’s such an honor to work with this artist because he’s so influential that I was aware of and appreciated his work, long before I knew his name.
MALGORZATA DUDEK
H. R. GIGER | Museum

VIA Malgorzata Dudek Giger’s Goddess Spring/Summer 2012 Women’s Collection

The castles are the Tavolese manor near Florence and Sapia castle near Siena. From northern to southern Italy, dozens of private castles are on the market, according to a statement by Lionard Luxury Estate.

Prices range from 1,200 to 8,500 euros per square meter for mansions of great charm and prestige, perfectly maintained, some of which have already been fitted as hotels or farms.

''On our website alone we have 37 castles on sale, but there are over 70 across Italy in the portfolio'', said the CEO of Lionard Luxury Real Estate, Dimitri Corti.

High maintenance costs and growing fiscal pressure on real estate have convinced many owners, in many cases for many generations, to consider selling to foreign buyers, at the moment the only ones interested in investing in this type of property.

The most advantageous properties are currently located in Piedmont: one of the most stunning castles in Monferrato, located in a park with secular trees, a manor of 5,962 square metres in perfect condition, with a 16th century guesthouse, is on sale for 7 million euros, just over 1,000 euro per square meter. Similar occasions can be found in Umbria, Emilia Romagna, Lazio, Liguria and Tuscany, one of the most sought after for this type of property.

It is the case of the 19th century Castello di Acquabella, in the splendid natural reserve of Vallombrosa, near the abbey by the same name, which has been perfectly renovated, for a total of 5,000 square meters inside.

On the coast between Livorno and Castiglioncello, a castle dating back to the beginning of the 1900s with splendid sea views is on sale - 700 square metres on four floors with two towers. The park includes palm trees, secular pines and exotic plants.

The castle of Sapia - from the name of Sapia Salviati - near Monteriggioni, just 7 km from Siena, is also on sale. Set in a splendid landscape, the hotel needs a full renovation and is on sale for 2.5 million euros.

More expensive are stunning castles in the Chianti countryside near Siena and Florence, like the imposing Castello di Tavolese, which belonged to the house of Farinata degli Uberti, the family of Petrarca's mother: 7,676 covered square meters and 67 hectares of park, which includes buildings such as a church and farms.

Source: ANSAmed [December 15, 2014]

Inflatable cloud

VIA «Over a city high overcast is expected»