Phillip Lopate has been obsessed with movies from the start. As an undergraduate at Columbia, he organized the school's first film society. Later, he even tried his own hand at filmmaking. But it was not until his ascent as a major essayist that Lopate found his truest and most lasting contribution to the medium. And, over the past twenty-five years, tackling subjects ranging from Visconti to Jerry Lewis, from the first New York Film Festival to the thirty-second, Phillip Lopate has made film his most cherished subject. Here, in one place, are the very best of these essays, a joy for anyone who loves movies.
Presents a collection of essays on a life well lived, sharing provocative observations on topics ranging from the challenges of a Brooklyn childhood and the pleasures of baseball to movies and friendship.
A one-of-a-kind anthology of American essays on a wide range of subjects by a dazzling array of mid-century writers at the top of their form—from Normal Mailer to James Baldwin to Joan Didion—selected by acclaimed essayist Phillip Lopate The three decades that followed World War II were an exceptionally fertile period for American essays. The explosion of journals and magazines, the rise of public intellectuals, and breakthroughs in the arts inspired a flowering of literary culture. At the same time, the many problems that confronted mid-century America—racism, sexism, nuclear threat, war, poverty, and environmental degradation among them—proved fruitful topics for America's best minds. In The Golden Age of the American Essay, Phillip Lopate assembles a dazzling array of famous writers, critics, sociologists, theologians, historians, activists, theorists, humorists, poets, and novelists. Here are writers like James Agee, E. B. White, A. J. Liebling, Randall Jarrell, and Mary McCarthy, pivoting from the comic indignities of daily life to world peace, consumerism, and restaurants in Paris. Here is Norman Mailer on Jackie Kennedy, Vladimir Nabokov on Lolita, Martin Luther King, Jr.'s "Letter from Birmingham Jail," and Richard Hofstadter's "The Paranoid Style in American Politics." Here are Gore Vidal, Rachel Carson, James Baldwin, Susan Sontag, John Updike, Joan Didion, and many more, in a treasury of brilliant writing that has stood the test of time.
In this collection of nonfiction pieces, John Updike gathers his responses to nearly two hundred invitations into print, each “an opportunity to make something beautiful, to find within oneself a treasure that would otherwise remain buried.” Introductions, reviews, and humorous essays, paragraphs on New York, religion, and lust—here is “more matter” commissioned by an age that, as the author remarks in his Preface, calls for “real stuff . . . not for the obliquities and tenuosities of fiction.” Still, the novelist’s shaping hand, his gift for telling detail, can be detected in many of these literary considerations. Books by Edith Wharton, Dawn Powell, John Cheever, and Vladimir Nabokov are incisively treated, as are biographies of Isaac Newton, Abraham Lincoln, Queen Elizabeth II, and Helen Keller. As George Steiner observed, Updike writes with a “solicitous, almost tender intelligence. The critic and the poet in him . . . are at no odds with the novelist; the same sharpness of apprehension bears on the object in each of Updike’s modes.”
Film critic David Sterritt presents an interdisciplinary exploration of the Beat Generation, its intersections with main-stream and experimental film, and the interactions of all of these with American society and the culture of the 1950s. Sterritt balances the Beat countercultural goal of rebellion through both artistic creation and everyday behavior against the mainstream values of conformity and conservatism, growing worry over cold-war hostilities, and the "rat race" toward material success. After an introductory overview of the Beat Generation, its history, its antecedents, and its influences, Sterritt shows the importance of "visual thinking" in the lives and works of major Beat authors, most notably Jack Kerouac, Allen Ginsberg, and William S. Burroughs. He turns to Mikhail Bakhtin's dialogic theory to portray the Beat writers-who were inspired by jazz and other liberating influences-as carnivalesque rebels against what they perceived as a rigid and stifling social order. Showing the Beats as social critics, Sterritt looks at the work of 1950s photographers Robert Frank and William Klein; the attack against Beat culture in the pictures and prose of Life magazine; and the counterattack in Frank's film Pull My Daisy, featuring key Beat personalities. He further explores expressions of rebelliousness in film noir, the melodramas of director Douglas Sirk, and other Hollywood films. Finally, Sterritt shows the changing attitudes toward the Beat sensibility in Beat-related Hollywood movies like A Bucket of Blood and The Beat Generation; television programs like Route 66 and The Many Loves of Dobie Gillis; nonstudio films like John Cassavetes's improvisational Shadows and Shirley Clarke's experimental The Connection; and radically avant-garde works by such doggedly independent screen artists as Stan Brakhage, Ron Rice, Bruce Connor, and Ken Jacobs, drawing connections between their achievements and the most subversive products of their Beat contemporaries.
?Over the years I have developed a distaste for the spectacle of joie de vivre, the knack of knowing how to live,? begins the title essay by Phillip Lopate. This rejoinder to the cult of hedonism and forced conviviality moves from a critique of the false sentimentalization of children and the elderly to a sardonic look at the social rite of the dinner party, on to a moving personal testament to the ?hungry soul.? ø Lopate?s special gift is his ability to give us not only sophisticated cultural commentary in a dazzling collection of essays but also to bring to his subjects an engaging honesty and openness that invite us to experience the world along with him. Also included here are Lopate?s inspiring account of his production of Chekhov?s Uncle Vanya with a group of preadolescents, a look at the tradition of the personal essay, and a soul-searching piece on the suicide of a schoolteacher and its effect on his students and fellow teachers. ø By turns humorous, learned, celebratory, and elegiac, Lopate displays a keen intelligence and a flair for language that turn bits of common, everyday life into resonant narrative. This collection maintains a conversational charm while taking the contemporary personal essay to a new level of complexity and candor.
Why do African Americans have exceptionally high rates of hypertension, diabetes, and obesity? Is it their genes? Their disease-prone culture? Their poor diets? Such racist explanations for racial inequalities in metabolic health have circulated in medical journals for decades. Blood Sugar analyzes and challenges the ways in which “metabolic syndrome” has become a major biomedical category that medical researchers have created to better understand the risks high blood pressure, blood sugar, body fat, and cholesterol pose to people. An estimated sixty million Americans are well on the way to being diagnosed with it, many of them belonging to people of color. Anthony Ryan Hatch argues that the syndrome represents another, very real crisis and that its advent signals a new form of “colorblind scientific racism”—a repackaging of race within biomedical and genomic research. Examining the cultural discussions and scientific practices that target human metabolism of prescription drugs and sugar by African Americans, he reveals how medical researchers who use metabolic syndrome to address racial inequalities in health have in effect reconstructed race as a fixed, biological, genetic feature of bodies—without incorporating social and economic inequalities into the equation. And just as the causes of metabolic syndrome are framed in racial terms, so are potential drug treatments and nutritional health interventions. The first sustained social and political inquiry of metabolic syndrome, this provocative and timely book is a crucial contribution to the emerging literature on race and medicine. It will engage those who seek to understand how unjust power relations shape population health inequalities and the production of medical knowledge and biotechnologies.
Once derided as senseless entertainment, movies have gradually assumed a place among the arts. Raymond Haberski's provocative and insightful book traces the trajectory of this evolution throughout the twentieth century, from nickelodeon amusements to the age of the financial blockbuster. Haberski begins by looking at the barriers to film's acceptance as an art form, including the Chicago Motion Picture Commission hearings of 1918–1920, one of the most revealing confrontations over the use of censorship in the motion picture industry. He then examines how movies overcame the stigma attached to popular entertainment through such watershed events as the creation of the Museum of Modern Art's Film Library in the 1920s. The arguments between Pauline Kael and Andrew Sarris's heralded a golden age of criticism, and Haberski focuses on the roles of Kael, Sarris, James Agee, Roger Ebert, and others, in the creation of "cinephilia." Described by Susan Sontag as "born of the conviction that cinema was an art unlike any other," this love of cinema centered on coffee houses, universities, art theaters, film festivals, and, of course, foreign films. The lively debates over the place of movies in American culture began to wane in the 1970s. Haberski places the blame on the loss of cultural authority and on the increasing irrelevance of the meaning of art. He concludes with a persuasive call for the re-emergence of a middle ground between art and entertainment, "something more complex, ambiguous, and vexing—something worth thought."
A groundbreaking new book, Still the Same Hawk: Reflections on Nature and New York brings into conversation diverse and intriguing perspectives on the relationship between nature and America’s most prominent city. The volume’s title derives from a telling observation in Robert Sullivan’s contribution that considers how a hawk in the city is perceived so much differently from a hawk in the countryside. Yet it’s still the same hawk. How can a hawk nesting above Fifth Avenue become a citywide phenomenon? Or a sudden butterfly migration at Coney Island energize the community? Why does the presence of a community garden or an empty lot ripple so differently through the surrounding neighborhood? Is the city an oasis or a desert for biodiversity? Why does nature even matter to New Yorkers, who choose to live in the concrete jungle? Still the Same Hawk examines these questions with a rich mix of creative nonfiction that ranges from analytical to anecdotal and humorous. John Waldman’s sharp, well-crafted introduction presenting dualism as the defining quality of urban nature is followed by compelling contributions from Besty McCully, Christopher Meier, Tony Hiss, Kelly McMasters, Dara Ross, William Kornblum, Phillip Lopate, David Rosane, Robert Sullivan, Anne Matthews, Devin Zuber, and Frederick Buell. Together these pieces capture a wide range of viewpoints, including the myriad and shifting ways New Yorkers experience and consider the outdoors, the historical role of nature in shaping New York’s development, what natural attributes contribute to New York’s regional identity, the many environmental tradeoffs made by urbanization, and even nature’s dark side where “urban legends” flourish. Still the Same Hawk intermingles elements of natural history, urban ecology, and environmental politics, providing fresh insights into nature and the urban environment on one of the world’s great stages for the clash of these seemingly disparate realms—New York City.
A long-awaited and illuminating book on personal writing from Phillip Lopate—celebrated essayist, professor of writing at Columbia University, and editor of The Art of the Personal Essay. Distinguished author Phillip Lopate, editor of the celebrated anthology The Art of the Personal Essay, is universally acclaimed as “one of our best personal essayists” (Dallas Morning News). Here, combining more than forty years of lessons from his storied career as a writer and professor, he brings us this highly anticipated nuts-and-bolts guide to writing literary nonfiction. A phenomenal master class shaped by Lopate’s informative, accessible tone and immense gift for storytelling, To Show and To Tell reads like a long walk with a favorite professor—refreshing, insightful, and encouraging in often unexpected ways.
