"Pulp Art Book--the multi-media collaboration between photographer Neil Krug and model Joni Harbeck--has become a virtual sensation online, and is now the subject of the artists' first monograph. Pulp Art Book: Volume One is an LP-sized hardcover book, split into several vignettes ranging from a spaghetti western theme to a Bonnie and Clyde revival and to the struggles of a 1950s housewife. These series tell the story of each character, and will be expanded in subsequent volumes. The inspiration for the pulp theme comes from the artists' collective appreciation of societal life and the artistic expressions of the 1960s and 70s. Old LP jackets, Giallo posters, vintage book covers, and B-movie cinema themes have defined their taste for this project. Initially they set out to capture something simple and sexy; as the shoots progressed, however, natural story lines emerged. The resulting work captures the smell of those decades and expresses them in a fresh way."--
Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.
A deep dive into mid-century African American newspapers, exploring how Black pulp fiction reassembled genre formulas in the service of racial justice In recent years, Jordan Peele’s Get Out, Marvel’s Black Panther, and HBO’s Watchmen have been lauded for the innovative ways they repurpose genre conventions to criticize white supremacy, celebrate Black resistance, and imagine a more racially just world—important progressive messages widely spread precisely because they are packaged in popular genres. But it turns out, such generic retooling for antiracist purposes is nothing new. As Brooks E. Hefner’s Black Pulp shows, this tradition of antiracist genre revision begins even earlier than recent studies of Black superhero comics of the 1960s have revealed. Hefner traces it back to a phenomenon that began in the 1920s, to serialized (and sometimes syndicated) genre stories written by Black authors in Black newspapers with large circulations among middle- and working-class Black readers. From the pages of the Pittsburgh Courier and the Baltimore Afro-American, Hefner recovers a rich archive of African American genre fiction from the 1920s through the mid-1950s—spanning everything from romance, hero-adventure, and crime stories to westerns and science fiction. Reading these stories, Hefner explores how their authors deployed, critiqued, and reassembled genre formulas—and the pleasures they offer to readers—in the service of racial justice: to criticize Jim Crow segregation, racial capitalism, and the sexual exploitation of Black women; to imagine successful interracial romance and collective sociopolitical progress; and to cheer Black agency, even retributive violence in the face of white supremacy. These popular stories differ significantly from contemporaneous, now-canonized African American protest novels that tend to represent Jim Crow America as a deterministic machine and its Black inhabitants as doomed victims. Widely consumed but since forgotten, these genre stories—and Hefner’s incisive analysis of them—offer a more vibrant understanding of African American literary history.
Twenty-three-year-old Jimmi struggles for a sense of identity and an understanding of the world as he travels to London and Paris while under the influence of drugs, alcohol, and tumultuous sex. With a pocket full of borrowed money and a head full of rain, Jimi sits in a pub in London, where he has traveled for no reason except that London isn't Boston, or Manhattan, or the college where Jimi wasted four years, or the brick alleyways where he's puked and made love and crawled and laughed at the night. Jimi Banks is 23: went to school as a hockey player and now just skates: diseased and innocent, criminal and pure. His summer love that started on a posh island crashed on the dusty mainland. And his best friend is dead. From London in a cloud of hashish and tobacco, booze and beer...to Paris to stay with the daughter of a banker who wants to be a patron of the arts...back to London, broke again, where a man named Rosie declares his undying love and it's all right with Jimi if it just comes with a meal....Jimi Banks is dodging shadows. There's his friend, Ray, who hung himself in a gorge outside Aspen; his family who won't return his phone calls anymore; and the vast quantities of booze he has to drink to call them. Out of money, out of favors, Jimi is just not out of places to run.
A survey of works by leading contemporary artists made in residency at Dieu Donné. The Dieu Donné Studio is the site of unparalleled creative exploration and experimentation in paper-based art, where resident artists create innovative works that employ traditional materials and 21st-century technology. This collection highlights residents since 2000 who are known for their work in sculpture, painting, photography, performance, and conceptual art. Collecting the work of 20 acclaimed artists, this book includes a statement from each artist, essays about the residency program, and conversations with the studio collaborators.
Screenwriter Nunn draws on her true-life experience growing up in Africa to create this darkly romantic crime novel set in 1950s apartheid South Africa. Detective Emmanuel Cooper is caught up in a time and place where racial tensions and the raw hunger for power make for dangerous times.
Orietta Da Rold provides a detailed analysis of the coming of paper to medieval England, and its influence on the literary and non-literary culture of the period. Looking beyond book production, Da Rold maps out the uses of paper and explains the success of this technology in medieval culture, considering how people interacted with it and how it affected their lives. Offering a nuanced understanding of how affordance influenced societal choices, Paper in Medieval England draws on a multilingual array of sources to investigate how paper circulated, was written upon, and was deployed by people across medieval society, from kings to merchants, to bishops, to clerks and to poets, contributing to an understanding of how medieval paper changed communication and shaped modernity.
**Selected for Doody's Core Titles® 2024 with "Essential Purchase" designation in Dentistry** Stay up on the latest research and techniques in endodontics with Cohen's Pathways of the Pulp, 12th Edition. Written by a team of internationally renowned experts and trusted for more than 40 years, this definitive guide covers the science, theory, and practice of endodontics. Full color illustrations and detailed radiographs guide readers through each step of endodontic care — from diagnosis and treatment planning to proven techniques for managing pulpal and periapical diseases. This new twelfth edition also boasts the very latest evidence-based research and techniques, reorganized and condensed chapters, plus other features designed to help you locate important information quickly and easily. Complete with access to Expert Consult, it's everything you need to stay ahead in the field of endodontics. - Extensive illustration collection includes over 2,000 full-color photos, line art, and radiographs to clearly demonstrate core concepts and reinforce the essential principles and techniques of endodontics. - Video clips and case studies demonstrate key procedures such as palpation of the masseter muscle, introsseous anesthesia with the X-tip system, dentin hypersensitivity, and more. - Diverse and respected contributor pool includes experts from many national- and international-based dental education programs. - NEW! Updated content and new images incorporate the most recent developments in research and clinical endodontic techniques. - NEW! Additional topics cover pulp biology, pathobiology, diagnosis, treatment planning, pain control, isolation, access, cleaning and shaping, obturation, restoration, assessment of outcomes, emergencies and surgery. Each online topic comes with assigned reading lists, a PowerPoint lecture, written lesson objectives, and example exam questions. - NEW! Compliance with the Commission on Dental Accreditation Curriculum ensures that the needs of all dental programs are met. - NEW! Reorganized sections now divide chapters by those covering clinical endodontics, those covering the biological basis of endodontics, and chapters which detail endodontics in private practice to make content easier for both clinicians and students to navigate. - NEW! Condensed chapters remove unnecessary duplication of content across the text and make the physical text lighter and easier to use.
SAMSON POLLEN (1931-2018) painted it all-spectacularly. Illustrating authors like Mario Puzo, Martin Cruz Smith, Richard Stark, Norman Mailer, Ed McBain, Richard Wright, Don Pendleton and others with dynamic, immersive, explosive, outrageous artwork, transporting readers to steamy jungles, raging seas, and mean city streets.
