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In the final years of the last millennium, Carl Barat and Pete Doherty forged a deep musical bond, formed The Libertines and set sail for Arcadia in the good ship Albion; a decade later, Carl would emerge from his second band, the Dirty Pretty Things, after one of the most significant - and turbulent - rock 'n' roll trajectories of recent times. An inside look at life in the eye of the storm, chronicling how a pair of romantics armed with little more than poetry and a punk attitude inspired adoration in millions worldwide - and proceeded to tear apart everything they had.
Thomas Wride and Wesley’s Methodist Connexion by Clive Murray Norris Pdf
This book highlights the life and writings of an itinerant preacher in John Wesley’s Methodist Connexion, Thomas Wride (1733-1807). Detailed studies of such rank and file preachers are rare, as Methodist history has largely been written by and about its leadership. However, Wride’s ministry shows us that the development of this worldwide movement was more complicated and uncertain than many accounts suggest. Wride’s attitude was distinctive. He was no respecter of persons, freely criticising almost everyone he came across, and in doing so exposing debates and tensions within both Methodism and wider society. However, being so combative also led him into conflict with the very movement he sought to promote. Wride is an authentic, self-educated, and non-élite voice that illuminates important features of Eighteenth-Century life well beyond his religious activities. He sheds light on his contemporaries’ attitudes to issues such as the role of women, attitudes towards and the practice of medicine, and the experience and interpretation of dreams and supernatural occurrences. This is a detailed insight into the everyday reality of being an Eighteenth-Century Methodist minister. As such, this text will be of interest to academics working in Methodist Studies and Religious History, as well as Eighteenth-Century History more generally.
Blake 2.0 by Steve Clark,T. Connolly,Jason Whittaker Pdf
Blake said of his works, 'Tho' I call them Mine I know they are not Mine'. So who owns Blake? Blake has always been more than words on a page. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.
The Death and Life of Red Henley by Philip Wilding Pdf
Meet Detective Louis Green, the strangely gifted socialite Robert Walker who stalks Manhattan’s upper reaches, the Rev James Bulley sequestered away in his Soho basement calling God down to wash away the sins of the world and Red Henley, a presence rarely seen, but never out of sight. Red’s murder sets Green on a path of self-discovery if not redemption. As 1980 unfurls, Green discovers a direct line back from modern day New York City to a religious commune in the Tennessee countryside decades earlier and the story of two boys housed there who would experience a horrific tragedy that would become the spark that sets the fire in the towers and backstreets of Manhattan some twenty years later. As he follows the killer’s trail, Green finds a city filled with murderous deeds, the corrupting influence of absolute power and the madness that both love and faith can bring. With one question remaining: what draws Bulley, Walker and Red together? As the clouds gather over the city, we find men strung up in trees like broken kites, one pushed from the roof of his own building, another gagged, his teeth broken by a pool ball pushed down his throat. But in this bloody landscape stands Green trying to not only to understand this ever evolving case, but the nature of evil and the intractable battle between the good and the bad within himself. How life is sometimes lived on a plane of existence outside of our own and the everyday magic that can manifest in the most unexpected places. With the end of the year fast approaching, Green returns to the now refurbished warehouse for a bloody resolution and a reckoning that unites killer and cop in a macabre and almost intimate dance that draws them together before pulling them forever apart.
In an unusual fiction about memoir, Andrew Steinmetz tells the story of his great-aunt Eva who performed in the first workshop production of Bertolt Brecht's masterpiece The Threepenny Opera, in 1928. Steinmetz takes the story back to Eva's childhood in Germany, with her invalid mother and domineering siblings. Her training as an actress began just after her graduation from high school, and her introduction to the philosophies of Brecht and his contemporaries soon followed. With the pronouncement of the family's Jewish origins, both Eva and her brother left Germany to escape Nazi rule, Eva eventually settling in Canada. In their sessions with the tape recorder running, we see Steinmetz's own life as it intersects with Eva's, and his changing perspective on her life and work. Tied together with threads of Brecht's play, Steinmetz presents a life lived as though the world were a stage. A fictional tribute, Eva's Threepenny Theatre is as much concerned with what happened as what might have or was imagined to have been. "I'd known Eva since childhood," says Steinmetz, "and always in the back of my mind was this story I'd heard about her and The Threepenny Opera. I didn't know much about Bertolt Brecht, initially, but in my early twenties I was a songwriter and one night while I was in the studio recording, I got to talking with the engineer and later he pulled out a record of Lotte Lenya singing 'Seeräuberjenny' and 'Kanonen-Song.' That was it. Lenya's kitsch and the killer instinct: Eva talked like that. The droll, aloof, harsh cabaret style is incredibly moving, to me at least, something which seems to work almost despite itself. It was easy to see Eva as a product of Weimar Germany, of that precise period evoked by these songs. So I guess the initial and strongest connection between the novel and Brecht was through the lyrics he wrote for this music. As a socialist playwright, Brecht wouldn't touch naturalism, seeing it as an endorsement of a bourgeois or genteel world view, and I have to say, as a writer, I could never approach writing a family memoir wearing a straight face. Eva was schooled in Brecht, and so it felt right that the novel's form would reflect that, and at the same time bring about some genre consciousness. I also wanted some sort of emotional arc despite putting up with ideas of alienation and detachment. If this makes it sound like I've been working at cross purposes for the past fifteen years, which is as long as I've been at it, then that's exactly right." This book is a smyth-sewn paperback. The text is typeset in Sabon and printed offset on laid-finish paper making (estimated) 256 pages trimmed to 5.3 × 8.5 inches, bound into a paper cover and enfolded in a letterpress-printed jacket.
SHORTLISTED FOR THE $60,000 HILARY WESTON WRITERS TRUST PRIZE FOR NONFICTION “What the hell kind of great escape is this? No one escapes!” —L.B. Mayer, on the 1963 film He had fifty-seven seconds of screen time in the most lavish POW film Hollywood ever produced. He was blond. A Gestapo agent. Sauntering down the aisles of a speeding train, he speaks in terse German to Richard Attenborough, Gordon Jackson, David McCallum. The film is The Great Escape (by John Sturges, starring Steve McQueen); the actor, though uncredited, is Michael Paryla. He was part Jewish. Shortly after filming he died. In This Great Escape, Andrew Steinmetz tenderly reconstructs the life of a man seen by millions yet recognized by no one, whose history—from childhood flight from Nazism to suspicious death twenty years later—intersects bitterly, ironically, and often movingly with the plot of Sturges’s great war film. Splicing together documentary materials with correspondence, diary entries, and Steinmetz’s own travel journal, This Great Escape does more than reconstruct the making of a cinema classic: it is a poignant and moving testament to the complexity of human experience, a portrait of a family for whom acting was a matter of survival, and proof that our most anonymous, uncredited, and undocumented moments can brush against the zeitgeist of world history.
Editors’ Choice, The New York Times Book Review “The immigrant child longs to be understood and unload her truths, while simultaneously being tasked with preserving her parents’ humanity. . . Qu. . . honor[s] these complexities.” —Chanel Miller, The New York Times Book Review A young girl forced to work in a Queens sweatshop calls child services on her mother in this powerful debut memoir about labor and self-worth that traces a Chinese immigrant's journey to an American future. As a teen, Anna Qu is sent by her mother to work in her family's garment factory in Queens. At home, she is treated as a maid and suffers punishment for doing her homework at night. Her mother wants to teach her a lesson: she is Chinese, not American, and such is their tough path in their new country. But instead of acquiescing, Qu alerts the Office of Children and Family Services, an act with consequences that impact the rest of her life. Nearly twenty years later, estranged from her mother and working at a Manhattan start-up, Qu requests her OCFS report. When it arrives, key details are wrong. Faced with this false narrative, and on the brink of losing her job as the once-shiny start-up collapses, Qu looks once more at her life's truths, from abandonment to an abusive family to seeking dignity and meaning in work. Traveling from Wenzhou to Xi'an to New York, Made in China is a fierce memoir unafraid to ask thorny questions about trauma and survival in immigrant families, the meaning of work, and the costs of immigration.
Table Talk by Wendy Lesser,Jennifer Zahrt,Mimi Chubb Pdf
Table Talk is a portable dinner party and a book to read alone while laughing out loud. Table Talk is a salon attended by your smartest friends and by all of the wittiest people they know. Table Talk is a collection of brief but critically acclaimed, half serious/half tongue–in–cheek pieces that borrow the format of The New Yorker's "Talk of the Town" column. Selected from several decades of The Threepenny Review, known colloquially as the West Coast's New York Review of Books, these anecdotal essays debate the historical, artistic, and technological developments of our time. Released to coincide with the 35th anniversary of The Threepenny Review in January 2015, Table Talk, edited by Wendy Lesser, Mimi Chubb and Jennifer Zahrt, includes essays by Christopher Ricks, who unfolds a dazzling literary history of the phrase "Table Talk"; Leonard Michaels on why the waltz should be viewed as an aggressive, imperialist dance; and Claire Messud on the art of digression in fiction and conversation. Sigrid Nunez engages with the contemporary vogue for memoir and autobiography, while Luc Sante draws conclusions about postmodern art from a stray bit of graffiti glimpsed on a New York street. Other contributions include Alexander Nehamas on the NEA controversy that roiled the culture wars of the 1990s and Paula Fox's tips for interacting with difficult children. Ninety–nine pieces become a garden of literary delights, as Table Talk takes an irreverent walk on the wild side of philosophical and cultural speculation that will resonate with readers of any age.
Field Notes from an Unintentional Birder by Julia Zarankin Pdf
When Julia Zarankin saw her first red-winged blackbird at the age of thirty-five, she didn’t expect that it would change her life. Recently divorced and auditioning hobbies during a stressful career transition, she stumbled on birdwatching, initially out of curiosity for the strange breed of humans who wear multi-pocketed vests, carry spotting scopes and discuss the finer points of optics with disturbing fervour. What she never could have predicted was that she would become one of them. Not only would she come to identify proudly as a birder, but birding would ultimately lead her to find love, uncover a new language and lay down her roots. Field Notes from an Unintentional Birder tells the story of finding meaning in midlife through birds. The book follows the peregrinations of a narrator who learns more from birds than she ever anticipated, as she begins to realize that she herself is a migratory species: born in the former Soviet Union, growing up in Vancouver and Toronto, studying and working in the United States and living in Paris. Coming from a Russian immigrant family of concert pianists who believed that the outdoors were for “other people,” Julia Zarankin recounts the challenges and joys of unexpectedly discovering one’s wild side and finding one’s tribe in the unlikeliest of places. Zarankin’s thoughtful and witty anecdotes illuminate the joyful experience of a new discovery and the surprising pleasure to be found while standing still on the edge of a lake at six a.m. In addition to confirmed nature enthusiasts, this book will appeal to readers of literary memoir, offering keen insight on what it takes to find one’s place in the world.
Bernard Malamud was one of the most accomplished American novelists of the postwar years. From the Pulitzer Prize winner The Fixer as well as The Assistant, named one of the best "100 All–Time Novels" by Time Magazine—to mention only two of the more than a dozen published books—he not only established himself in the first rank of American writers but also took the country's literature in new and important directions. In her signature memoir, Smith explores her renowned father's life and literary legacy. Malamud was among the most brilliant novelists of his era, and counted among his friends Philip Roth, Saul Bellow, Theodore Roethke, and Shirley Jackson. Yet Malamud was also very private. Only his family has had full access to his personal papers, including letters and journals that offer unique insight into the man and his work. In her candid, evocative, and loving memoir, his daughter brings Malamud to vivid life.
"Wendy Lesser's extraordinary alertness, intelligence, and curiosity have made her one of America's most significant cultural critics," writes Stephen Greenblatt. In Why I Read, Lesser draws on a lifetime of pleasure reading and decades of editing one of the most distinguished literary magazines in the country, The Threepenny Review, to describe her love of literature. As Lesser writes in her prologue, "Reading can result in boredom or transcendence, rage or enthusiasm, depression or hilarity, empathy or contempt, depending on who you are and what the book is and how your life is shaping up at the moment you encounter it." Here the reader will discover a definition of literature that is as broad as it is broad-minded. In addition to novels and stories, Lesser explores plays, poems, and essays along with mysteries, science fiction, and memoirs. As she examines these works from such perspectives as "Character and Plot," "Novelty," "Grandeur and Intimacy," and "Authority," Why I Read sparks an overwhelming desire to put aside quotidian tasks in favor of reading. Lesser's passion for this pursuit resonates on every page, whether she is discussing the book as a physical object or a particular work's influence. "Reading literature is a way of reaching back to something bigger and older and different," she writes. "It can give you the feeling that you belong to the past as well as the present, and it can help you realize that your present will someday be someone else's past. This may be disheartening, but it can also be strangely consoling at times." A book in the spirit of E. M. Forster's Aspects of the Novel and Elizabeth Hardwick's A View of My Own, Why I Read is iconoclastic, conversational, and full of insight. It will delight those who are already avid readers as well as neophytes in search of sheer literary fun.