This personal history chronicles the triumph and loss of a 1960s initiative to recruit minority students to Columbia University’s School of Architecture. At the intersection of US educational, architectural, and urban history, When Ivory Towers Were Black tells the story of how an unparalleled cohort of ethnic minority students overcame institutional roadblocks to earn degrees in architecture from Columbia University. Its narrative begins with a protest movement to end Columbia’s authoritarian practices, and ends with an unsettling return to the status quo. Sharon Egretta Sutton, one of the students in question, follows two university units that led the movement toward emancipatory education: the Division of Planning and the Urban Center. She illustrates both units’ struggle to open the ivory tower to ethnic minority students and to involve those students in improving Harlem’s slum conditions. Along with Sutton’s personal perspective, the story is narrated through the oral histories of twenty-four fellow students who received an Ivy League education only to find the doors closing on their careers due to Nixon-era urban disinvestment policies.
Across America, universities have become big businesses—and our cities their company towns. But there is a cost to those who live in their shadow. Urban universities play an outsized role in America’s cities. They bring diverse ideas and people together and they generate new innovations. But they also gentrify neighborhoods and exacerbate housing inequality in an effort to enrich their campuses and attract students. They maintain private police forces that target the Black and Latinx neighborhoods nearby. They become the primary employers, dictating labor practices and suppressing wages. In the Shadow of the Ivory Tower takes readers from Hartford to Chicago and from Phoenix to Manhattan, revealing the increasingly parasitic relationship between universities and our cities. Through eye-opening conversations with city leaders, low-wage workers tending to students’ needs, and local activists fighting encroachment, scholar Davarian L. Baldwin makes clear who benefits from unchecked university power—and who is made vulnerable. In the Shadow of the Ivory Tower is a wake-up call to the reality that higher education is no longer the ubiquitous public good it was once thought to be. But as Baldwin shows, there is an alternative vision for urban life, one that necessitates a more equitable relationship between our cities and our universities.
James Ivory in Conversation is an exclusive series of interviews with a director known for the international scope of his filmmaking on several continents. Three-time Academy Award nominee for best director, responsible for such film classics as A Room with a View and The Remains of the Day, Ivory speaks with remarkable candor and wit about his more than forty years as an independent filmmaker. In this deeply engaging book, he comments on the many aspects of his world-traveling career: his growing up in Oregon (he is not an Englishman, as most Europeans and many Americans think), his early involvement with documentary films that first brought attention to him, his discovery of India, his friendships with celebrated figures here and abroad, his skirmishes with the Picasso family and Thomas Jefferson scholars, his usually candid yet at times explosive relations with actors. Supported by seventy illuminating photographs selected by Ivory himself, the book offers a wealth of previously unavailable information about the director's life and the art of making movies. James Ivory on: On the Merchant Ivory Jhabvala partnership: "I've always said that Merchant Ivory is a bit like the U. S. Govenment; I'm the President, Ismail is the Congress, and Ruth is the Supreme Court. Though Ismail and I disagree sometimes, Ruth acts as a referee, or she and I may gang up on him, or vice versa. The main thing is, no one ever truly interferes in the area of work of the other." On Shooting Mr. and Mrs. Bridge: "Who told you we had long 18 hour days? We had a regular schedule, not at all rushed, worked regular hours and had regular two-day weekends, during which the crew shopped in the excellent malls of Kansas City, Paul Newman raced cars somewhere, unknown to us and the insurance company, and I lay on a couch reading The Remains of the Day." On Jessica Tandy as Miss Birdseye in The Bostonians: "Jessica Tandy was seventy-two or something, and she felt she had to 'play' being an old woman, to 'act' an old woman. Unfortunately, I'couldn't say to her, 'You don't have to 'act' this, just 'be,' that will be sufficient.' You can't tell the former Blanche Du Bois that she's an old woman now." On Adapting E. M. Forster's novels "His was a very pleasing voice, and it was easy to follow. Why turn his books into films unless you want to do that? But I suppose my voice was there, too; it was a kind of duet, you could say, and he provided the melody." On India: "If you see my Indian movies then you get some idea of what it was that attracted me about India and Indians...any explanation would sound lamer than the thing warrants. The mood was so great and overwhelming that any explanation of it would seem physically thin....I put all my feeling about India into several Indian films, and if you know those films and like them, you see from these films what it was that attracted me to India." On whether he was influenced by Renoir in filming A Room with a View "I was certainly not influenced by Renoir in that film. But if you put some good looking women in long white dresses in a field dotted with red poppies, andthey're holding parasols, then people will say, ‘Renoir.’" On the Critics: "I came to believe that to have a powerful enemy like Pauline Kael only made me stronger. You know, like a kind of voodoo. I wonder if it worked that way in those days for any of her other victims—Woody Allen, for instance, or Stanley Kubrick." On Andy Warhol as a dinner guest: "I met him many times over the last twenty years of his life, but I can't say I knew him, which is what most people say, even those who were his intimates. Once he came to dinner with a group of his Factory friends at my apartment. I remember that he or someone else left a dirty plate, with chicken bones and knife and fork, in my bathroom wash basin. It seemed to be a symbolic gesture, to be a matter of style, and not just bad manners."
Ivory Tower is a campus crime thriller about Margolis Santos, a charismatic film professor in her prime, who risks her career and life to uncover sexual corruption inside her university’s football program where rich boosters pay sorority girls to have sex with star recruits. Embroiled in a sex scandal of her own, Margolis’s life goes into a tailspin. She unthinkingly sleeps with a student from another school, and when the parents find out, they threaten to sue her University. To protect its reputation, the conniving university president, Art ‘Lightning’ Lane, takes revenge on Margolis and has her fired. At rock bottom, Margolis decides to make a documentary to expose the exploitation and violence at “The U.” The trouble is, her husband, Frank Sinoro, is the head football coach, while her daughter, Brie, loves the sorority. So Margolis has to make a choice: she has to find a way to protect her family, while also saving the women on campus and, eventually, her own soul. Publisher's Weekly made Ivory Tower and Editor's Pick and said that it is "a smoothly written first novel…Jenkins has made an impressive start as a novelist.” “A fast-paced thriller that tackles contemporary issues with confidence and insight. Jenkins gives voice to a wide variety of characters, demonstrating how complex real-world conflicts often are. This is a book you won't want to put down, won't want to end, and will be glad you read.” –William Bernhardt, author of The Last Chance Lawyer and the Ben Kinkaid series "This is an engrossing, evenly paced drama about how a woman lost in her own world discovers a real sense of purpose in helping other women. Suspense fans with an interest in current events will thrill to this riveting, insightful deep dive into corruption at an elite university." –Booklife “Timely and fearless, Ivory Tower is a resonant meditation on power, family, and sexual predation that rings particularly poignant in today's social climate. Tackling many of today's most controversial and essential issues facing collegiate campuses and broader society, Ivory Tower pulls no punches, painting an at-times scathing picture of authority, corruption, and modern morality. A hard-hitting and insightful work of contemporary fiction.” –Self-Publishing Review
“Exquisitely written, ferocious, and haunting. Don’t miss this one!” —Sarah J. Maas, New York Times bestselling author of the Throne of Glass series “Julie Eshbaugh is a unique new voice with talent enough for a whole team of writers. I’m still under the spell of her storytelling.”—Amie Kaufman, New York Times bestselling co-author of Illuminae and These Broken Stars Loosely inspired by Pride and Prejudice, Ivory and Bone is an enthralling tale of high-stakes survival, blinding betrayal, and star-crossed love. Hunting, gathering, and keeping his family safe—that’s the life seventeen-year-old Kol knows. Then bold, enigmatic Mya arrives from the south with her family, and Kol is captivated. He wants her to trust him, but any hopes of impressing her are ruined when he makes a careless—and nearly grave—mistake. What Kol doesn’t know is that underneath Mya’s cool disdain is a history wrought with loss that comes to light when another clan arrives. With them is Lo, an enemy from Mya’s past who Mya swears has ulterior motives. As Kol grows closer to Lo, tensions between Mya and Lo escalate until violence erupts. Faced with shattering losses, Kol is forced to question every person he’s trusted. One thing is for sure: this was a war that Mya or Lo—Kol doesn’t know which—had been planning all along. With riveting action and illustrative prose that leaps from the page, Julie Eshbaugh will have readers mesmerized and thirsty for more…So don’t miss the sequel, Obsidian and Stars.
Building the Ivory Tower examines the role of American universities as urban developers and their changing effects on cities in the twentieth century. LaDale C. Winling explores philanthropy, real estate investments, architectural landscapes, and urban politics to reckon with the tensions of university growth in our cities.
