During its 250-year history, Columbia University has produced a remarkable array of writers, poets, scientists, and statesmen--many of whom have written eloquently about their experiences at the university. My Columbia collects a broad range of these reminiscences--excerpts from memoirs, novels, and poems--that relate the experiences of students, faculty, and administrators and paint a vibrant portrait of the university and the city of which it is such a vital part.
Columbia University began the second half of the twentieth century in decline, bottoming out with the student riots of 1968. Yet by the close of the century, the institution had regained its stature as one of the greatest universities in the world. According to the New York Times, "If any one person is responsible for Columbia's recovery, it is surely Michael Sovern." In this memoir, Sovern, who served as the university's president from 1980 to 1993, recounts his sixty-year involvement with the institution after growing up in the South Bronx. He addresses key issues in academia, such as affordability, affirmative action, the relative rewards of teaching and research, lifetime tenure, and the role of government funding. Sovern also reports on his many off-campus adventures, including helping the victims of the Tuskegee syphilis experiment, stepping into the chairmanship of Sotheby's, responding to a strike by New York City's firemen, a police riot and threats to shut down the city's transit system, playing a role in the theater world as president of the Shubert Foundation, and chairing the Commission on Integrity in Government.
In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard. In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other "shadow libraries" and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb's commitment to the free-culture movement and giving access to a wide range of artistic works with today's gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify.
For seven days in April 1968, students occupied five buildings on the campus of Columbia University to protest a planned gymnasium in a nearby Harlem park, links between the university and the Vietnam War, and what they saw as the university’s unresponsive attitude toward their concerns. Exhilarating to some and deeply troubling to others, the student protests paralyzed the university, grabbed the world’s attention, and inspired other uprisings. Fifty years after the events, A Time to Stir captures the reflections of those who participated in and witnessed the Columbia rebellion. With more than sixty essays from members of the Columbia chapter of Students for a Democratic Society, the Students’ Afro-American Society, faculty, undergraduates who opposed the protests, “outside agitators,” and members of the New York Police Department, A Time to Stir sheds light on the politics, passions, and ideals of the 1960s. Moving beyond accounts from the student movement’s white leadership, this book presents the perspectives of black students, who were grappling with their uneasy integration into a supposedly liberal campus, as well as the views of women, who began to question their second-class status within the protest movement and society at large. A Time to Stir also speaks to the complicated legacy of the uprising. For many, the events at Columbia inspired a lifelong dedication to social causes, while for others they signaled the beginning of the chaos that would soon engulf the left. Taken together, these reflections present a nuanced and moving portrait that reflects the sense of possibility and excess that characterized the 1960s.
First published in Japanese in 1966, this debut novel by the critically acclaimed author of Singular Rebellion creates an unparalleled portrait of a man at odds with his society, and with himself."--BOOK JACKET.
Since 2008, the American patriot/militia movement—right-wing antigovernment groups who portray themselves as fighting encroaching tyranny—has grown exponentially. Oath Keepers is among the most visible and vocal of these organizations. Formed in 2009, Oath Keepers gained notoriety for its involvement in the Bundy Ranch standoff of 2014 and the Malheur Refuge occupation of 2016. The group gives voice to a recurrent form of American politics: virulent distrust of the government combined with a valorization of violence. Sam Jackson takes readers inside the world of the most prominent antigovernment group in the United States, examining its extensive online presence to discover how it builds support for its political goals and actions. Through an extensive textual analysis of the group’s publications, Jackson explores how Oath Keepers draws on core American political values and pivotal historical moments of conflict and crisis from the Revolutionary War to Waco to Hurricane Katrina to cast its adherents as defenders of liberty. He details how Oath Keepers makes sense of the contemporary United States, how it provides members with models of political behavior, and how it lobbies the wider American public to join the group. The first book-length investigation of the contemporary patriot/militia movement, Oath Keepers sheds new light on what animates groups that pose a growing threat to American security and political culture.
More and more, we present ourselves and encounter others through profiles. A profile shows us not as we are seen directly but how we are perceived by a broader public. As we observe how others observe us, we calibrate our self-presentation accordingly. Profile-based identity is evident everywhere from pop culture to politics, marketing to morality. But all too often critics simply denounce this alleged superficiality in defense of some supposedly pure ideal of authentic or sincere expression. This book argues that the profile marks an epochal shift in our concept of identity and demonstrates why that matters. You and Your Profile blends social theory, philosophy, and cultural critique to unfold an exploration of the way we have come to experience the world. Instead of polemicizing against the profile, Hans-Georg Moeller and Paul J. D’Ambrosio outline how it works, how we readily apply it in our daily lives, and how it shapes our values—personally, economically, and ethically. They develop a practical vocabulary of life in the digital age. Informed by the Daoist tradition, they suggest strategies for handling the pressure of social media by distancing oneself from one’s public face. A deft and wide-ranging consideration of our era’s identity crisis, this book provides vital clues on how to stay sane in a time of proliferating profiles.
NAMED A MOST ANTICIPATED BOOK OF THE YEAR BY KIRKUS REVIEWS A riveting study of the intersections between Jewish and Latin American culture, this immigrant family memoir recounts history with psychological insight and the immediacy of a thriller. In Nuestra América, eminent anthropologist and historian Claudio Lomnitz traces his grandparents’ exile from Eastern Europe to South America. At the same time, the book is a pretext to explain and analyze the worldview, culture, and spirit of countries such as Peru, Colombia, and Chile, from the perspective of educated Jewish emigrants imbued with the hope and determination typical of those who escaped Europe in the 1920s. Lomnitz’s grandparents, who were both trained to defy ghetto life with the pioneering spirit of the early Zionist movement, became intensely involved in the Peruvian leftist intellectual milieu and its practice of connecting Peru’s indigenous past to an emancipatory internationalism that included Jewish culture and thought. After being thrown into prison supposedly for their socialist leanings, Lomnitz’s grandparents were exiled to Colombia, where they were subject to its scandals, its class system, its political life. Through this lens, Lomnitz explores the almost negligible attention and esteem that South America holds in US public opinion. The story then continues to Chile during World War II, Israel in the 1950s, and finally to Claudio’s youth, living with his parents in Berkeley, California, and Mexico City.
Art after Liberalism is an account of creative practice at a moment of converging social crises. It is also an inquiry into emergent ways of living, acting, and making art in the company of others. The apparent failures of liberal thinking mark its starting point. No longer can the framework of the nation-state, the figure of the enterprising individual, and the premise of limitless development be counted on to produce a world worth living in. No longer can talk of inclusion, representation, or a neutral public sphere pass for something like equality. It is increasingly clear that these commonplace liberal conceptions have failed to improve life in any lasting way. In fact, they conceal fundamental connections to enslavement, conscription, colonization, moral debt, and ecological devastation. Now we must decide what comes after. The essays in this book attempt to register these connections by following itinerant artists, artworks, and art publics as they move across comparative political environments. The book thus provides a range of speculations about art and social experience after liberal modernity. Featuring a conversation with Amin Husain and Nitasha Dhillon of MTL Collective.
“[Eisenberg] reminds us in every line of certain saving virtues: wit, wild intelligence, great heart, the beauty of the inquiring human voice. If our culture can produce a writer this wonderful, there must be something beautiful about us yet.” — George Saunders Instead of forcing her characters’ stories into neat, arbitrary, preordained shapes, [Eisenberg] allows them to grow organically into oddly shaped, asymmetrical narratives—narratives that possess all the surprising twists and dismaying turns of real life.” — New York Times “Deborah Eisenberg, one of America’s finest writers, offers new ways of seeing and feeling, as if something were being perfected at the core.” — San Francisco Chronicle “Reading [Eisenberg] makes you wish, as you study the family in front of you in the grocery line, that you could see their thoughts rendered as one of Eisenberg’s stunning inner monologues.” — Los Angeles Times “...[S]uperlative and entertaining...Eisenberg is funny, grim, biting, and wise, but always with a light touch and always in the service of worlds that extend far beyond the page. A virtuoso at rendering the flickering gestures by which people simultaneously hide and reveal themselves, Eisenberg is an undisputed master of the short story.” — Publishers Weekly (starred review) “[Eisenberg] is always worth the wait...so instantly absorbing that it feels like an abduction...This book offers no palliatives to its characters or to its readers — no plan of action. But it is a compass.” — The New York Times “Eisenberg is a gorgeous writer...I thank my stars that there’s a writer in the increasingly imperiled world as smart and funny and blazingly moral and devastatingly sidelong as she is.” — New York Times Book Review “Every character is memorable, every situation seizes our attention, and not a single word is out of place...It’s my fervent hope...that someday we’ll have the opportunity to look back on the many more stories that Deborah Eisenberg has yet to write.” — Financial Times
