"Fruit of the Sixties" tells about the founding of a counterculture festival near Eugene, Oregon, in 1969. Over the next four decades, the Oregon Country Fair became a connection point for activists and change-agents around the region.
Jane Grigson?s Fruit Book includes a wealth of recipes, plain and fancy, ranging from apple strudel to watermelon sherbet. Jane Grigson is at her literate and entertaining best in this fascinating compendium of recipes for forty-six different fruits. Some, like pears, will probably seem homely and familiar until you've tried them ¾ la chinoise. Others, such as the carambola, described by the author as looking ?like a small banana gone mad,? will no doubt be happy discoveries. ø You will find new ways to use all manner of fruits, alone or in combination with other foods, including meats, fish, and fowl, in all phases of cooking from appetizers to desserts. And, as always, in her brief introductions Grigson will both educate and amuse you with her pithy comments on the histories and varieties of all the included fruits. ø All ingredients are given in American as well as metric measures, and this edition includes an extensive glossary, compiled by Judith Hill, which not only translates unfamiliar terminology but also suggests American equivalents for British and Continental varieties where appropriate.
“A very engaging collection of essays that adds much to an evolving literature on the social history of the Soviet Union and broader socialist societies.” —Choice The 1960s have reemerged in scholarly and popular culture as a protean moment of cultural revolution and social transformation. In this volume socialist societies in the Second World (the Soviet Union, East European countries, and Cuba) are the springboard for exploring global interconnections and cultural cross-pollination between communist and capitalist countries and within the communist world. Themes explored include flows of people and media; the emergence of a flourishing youth culture; sharing of songs, films, and personal experiences through tourism and international festivals; and the rise of a socialist consumer culture and an esthetics of modernity. Challenging traditional categories of analysis and periodization, this book brings the sixties problematic to Soviet studies while introducing the socialist experience into scholarly conversations traditionally dominated by First World perspectives.
The story of a tempestuous love affair—and the basis for Paul Verhoeven's Oscar-nominated film—Wolkers's controversial masterpiece comes alive in a new translation. Upon its original publication in 1969, Turkish Delight was a sensation and a scandal. Its graphic language and explicit sex scenes had an explosive effect, but just as revolutionary was its frank, colloquial style. The more straightlaced critics condemned the book, but readers saw a novel that reflected the way that they spoke, thought, and felt. Turkish Delight opens with a screed: a sculptor in his studio, raging against the love he lost and describing, in gory detail, the state of his life since she left him. Our narrator alternates between the story of his relationship with Olga—its passion and affection, but also its obsessiveness and abuse—and the dark days that followed, as he attempts to recapture what they had when they lived together, “happy as beasts.” The two only reunite during Olga’s inexorable and tragic decline into cancer—the chemo having taken her hair and rotted her teeth, she will only eat the soft, sweet Turkish Delight that her ex-lover brings to her bedside. In a new translation by Sam Garrett (Herman Koch’s The Dinner), readers get a sense of Wolkers’s revolutionary style and musical prose, Turkish Delight’s particular balance of naked impulse and profound longing. Tin House Books gratefully acknowledges the support of the Dutch Foundation for Literature, whose generous subsidy made this new translation possible.
The 1960s contains some of the very best set pieces, including Churchill's funeral. He has just completed making the film, My Fair Lady, which included rows with the director George Cukor, Rex Harrison's fondness for watching live sex, Cukor on Audrey Hepburn's figure etc. (Cecil was also the master at slicing up Hollywood social life at that period. He loathed it). His partner Kin, who has spent a year with him in England, returns to the USA, leaving Cecil to loneliness - but not for long. He is soon travelling aboard Cecile de Rothschild's yacht with Garbo - his former lover - as a fellow traveller. He visits Picasso at his home, the Rolling Stones in Marrakech; Andy Warhol in New York. Here is the young David Hockney, Peter Sellers being beastly, Paul Getty being mean. Cecil is fascinated by this new generation testing the boundaries as he and his friends had done in the 1920s. Friendships remain important - the Avons, Lady Juliet Duff, Lady Diana Cooper, Mrs Heinz. He also sees off all younger competition as photographer royal and as in the previous volume there are some very funny and often very pointed entries about the Queen, the Queen Mother, Princess Marina, Princess Marga
Evangelist Sammy Tippit sees America at the crossroads. We can continue down the road that leads to ruin, or we can by faith take the high road that leads to spiritual revival and moral renewal. The choice is ours, he says.