Unreal City contains five highly charged stories about relationships: “Echoes into Eternity,” “Evelyn Dalton-Hoyt,” “Emordana,” “The Yellowknife Retrospective,” and “Objet d’Art.” The stories address gender, narcissism, marriage, subjectivity, objectification, and the thin line that divides love from hate. Bryant’s characters sometimes feel like they are navigating their way through the darkness in an attempt to make sense of love, sex, art, and life. Existential and elliptical, the stories play beautifully against Bryant’s precise and fully-realized artwork, which echoes such masters as Jaime Hernandez and Daniel Clowes. In Unreal City, characters cannot walk into a room without their world turning inside out. Readers will be similarly upended by the discovery of this major new talent.
An epic struggle over land, water, and power is erupting in the American West and the halls of Washington, DC. It began when a 4,000-square-mile area of Arizona desert called Black Mesa was divided between the Hopi and Navajo tribes. To the outside world, it was a land struggle between two fractious Indian tribes; to political insiders and energy corporations, it was a divide-and-conquer play for the 21 billion tons of coal beneath Black Mesa. Today, that coal powers cheap electricity for Los Angeles, a new water aqueduct into Phoenix, and the neon dazzle of Las Vegas. Journalist and historian Judith Nies has been tracking this story for nearly four decades. She follows the money and tells us the true story of wealth and water, mendacity, and corruption at the highest levels of business and government. Amid the backdrop of the breathtaking desert landscape, Unreal City shows five cultures colliding—Hopi, Navajo, global energy corporations, Mormons, and US government agencies—resulting in a battle over resources and the future of the West. Las Vegas may attract 39 million visitors a year, but the tourists mesmerized by the dancing water fountains at the Bellagio don’t ask where the water comes from. They don’t see a city with the nation’s highest rates of foreclosure, unemployment, and suicide. They don’t see the astonishing drop in the water level of Lake Mead—where Sin City gets 90 percent of its water supply. Nies shows how the struggle over Black Mesa lands is an example of a global phenomenon in which giant transnational corporations have the power to separate indigenous people from their energy-rich lands with the help of host governments. Unreal City explores how and why resources have been taken from native lands, what it means in an era of climate change, and why, in this city divorced from nature, the only thing more powerful than money is water.
An epic struggle over land, water, and power is erupting in the American West and the halls of Washington, DC. It began when a 4,000-square-mile area of Arizona desert called Black Mesa was divided between the Hopi and Navajo tribes. To the outside world, it was a land struggle between two fractious Indian tribes; to political insiders and energy corporations, it was a divide-and-conquer play for the 21 billion tons of coal beneath Black Mesa. Today, that coal powers cheap electricity for Los Angeles, a new water aqueduct into Phoenix, and the neon dazzle of Las Vegas. Journalist and historian Judith Nies has been tracking this story for nearly four decades. She follows the money and tells us the true story of wealth and water, mendacity, and corruption at the highest levels of business and government. Amid the backdrop of the breathtaking desert landscape, Unreal City shows five cultures colliding -- Hopi, Navajo, global energy corporations, Mormons, and US government agencies -- resulting in a battle over resources and the future of the West. Las Vegas may attract 39 million visitors a year, but the tourists mesmerized by the dancing water fountains at the Bellagio don't ask where the water comes from. They don't see a city with the nation's highest rates of foreclosure, unemployment, and suicide. They don't see the astonishing drop in the water level of Lake Mead -- where Sin City gets 90 percent of its water supply. Nies shows how the struggle over Black Mesa lands is an example of a global phenomenon in which giant transnational corporations have the power to separate indigenous people from their energy-rich lands with the help of host governments. Unreal City explores how and why resources have been taken from native lands, what it means in an era of climate change, and why, in this city divorced from nature, the only thing more powerful than money is water.
Dickens's London often acts as a complex symbol, composed of numerous sub-symbols, such as crowd, river, railway networks and police systems. This book is particularly interested in how Dickens's treatment of the city allows him to re-examine traditional Christian discourses on the issues of revelation, renunciation and regeneration.
With a property portfolio consisting of a beach hut in Essex, and a career as evanescent as it is unprofitable, the narrator of 'Unreal city' is a flaneur fallen on hard times, a creative bewildered by the slick speed of the digital age, watching as the sculptors and painters and bon viveurs begin to slip away and the advertising hipsters take over old stomping grounds. From the nights in old Soho, where an anonymous green door was the gateway to a decadently dingy paradise, to the days amid the shabby post-industrial elegance of Hackney's canalside warehouses, this is a nostalgic love song to the drifters, the artists, the glamorous misfits, the degenerate waifs and the barmaid-enchantresses of the capital's backstreets and shadowy corners.
Unreal City: a cartoon megalopolis where towers are built of cotton candy, facts scatter like pixie dust, and the truth is whatever you feel it to be. And it's no fantasy. It's where we live. "We dwell in Unreal City. We believe in un-being." With saber-like wit, poet and professor Anthony Esolen leads readers on a tour through the ruins of their own Western world—through king-size bookstores, manicured college campuses, strobe-lit choir lofts, mechanized farms, divorce courts, drag-queen libraries, and beyond. This hilarious guide to a culture gone mad with sex and self-care minces no words and spares no egos. We the people of Unreal City are no better, and certainly no smarter, than our fathers. But fear not. Sex and the Unreal City insists there's no need to settle down in the ninth circle of unreality. Esolen lights a torch and heads up the well-trod path back to our cleaner, kinder, truer homeland: Earth. Along the way, the author sings the songs of masters long forgotten—Shakespeare, Dante, Milton, the Evangelists—and asks us to join in.
Unreal City: a cartoon megalopolis where towers are built of cotton candy, facts scatter like pixie dust, and the truth is whatever you feel it to be. And it's no fantasy. It's where we live. "We dwell in Unreal City. We believe in un-being." With saber-like wit, poet and professor Anthony Esolen leads readers on a tour through the ruins of their own Western world—through king-size bookstores, manicured college campuses, strobe-lit choir lofts, mechanized farms, divorce courts, drag-queen libraries, and beyond. This hilarious guide to a culture gone mad with sex and self-care minces no words and spares no egos. We the people of Unreal City are no better, and certainly no smarter, than our fathers. But fear not. Sex and the Unreal City insists there's no need to settle down in the ninth circle of unreality. Esolen lights a torch and heads up the well-trod path back to our cleaner, kinder, truer homeland: Earth. Along the way, the author sings the songs of masters long forgotten—Shakespeare, Dante, Milton, the Evangelists—and asks us to join in.
