In this first volume of notebooks, Edward Bond reveals himself to be one of the finest and most creative minds to have emerged in the twentieth century. Exploring the meeting point between politics and the art of the writer, Bond's notes chart the creative progress of his work and thinking over a twenty-year period, from 1959, when his first plays started to be produced at London's Royal Court Theatre, to 1979, when he had achieved fame as a major writer. While providing a detailed commentary on his plays the Notebooks also contain early play drafts, poems and stories, his thoughts on life, Brecht, art and dramatic method as well as his notes on censorship.
This text is a biography of Robert Duncan, one of America's great postwar poets. The author takes the reader from Duncan's birth in Oakland, California, through his childhood in an eccentrically Theosophist household, to his life in San Francisco as an openly gay man who became an inspirational figure for many poets and painters around him.--(Source of description unspecified.)
McCandlish Phillips, whose by-line has been familiar to readers of The New York Times since 1955, has looked into just about every corner of the city and has written about nearly every aspect of its life. New York is not the same city today as it was yesterday. You cannot set foot in the same New York twice. Yet you can capture its momentary essence in City Notebook. One of the best metropolitan reporters of the 1950s, 60s, and 70s has brought together his best pieces on the City’s life. You will learn, for example, about the “rainbow rain” that sometimes falls on the City, about the Great Bee Roundup, the Case of the Garrulous Parrot, the Small World of Melvin Krulewitch, and the fate of the Gowanus Canal. The reality of New York is made up of millions of such instances, a mosaic of people, places, and things. The ones in this book have been chosen because they are compulsively fascinating, utterly irreplaceable, or just very funny. Gay Talese has called McCandlish Phillips “one of the best reporters” on The Times. People who know his byline relish his crisp style and dry wit.
Prime Suspect meets Ashes to Ashes as we see Jane Tennison starting out on her police career . The fourth in the bestselling Jane Tennison thrillers, MURDER MILE is set at the height of the 'Winter of Discontent'. Can Jane Tennison uncover a serial killer? February, 1979, 'The Winter of Discontent'. Economic chaos has led to widespread strikes across Britain. Jane Tennison, now a Detective Sergeant, has been posted to Peckham Criminal Investigation Department, one of London's toughest areas. As the rubbish on the streets begins to pile up, so does the murder count: two bodies in as many days. There are no suspects and the manner of death is different in each case. The only link between the two victims is the location of the bodies, found within a short distance of each other near Rye Lane in Peckham. Three days later another murder occurs in the same area. Press headlines scream that a serial killer is loose on 'Murder Mile' and that police incompetence is hampering the investigation. Jane is under immense pressure to catch the killer before they strike again. Working long hours with little sleep, what she uncovers leaves her doubting her own mind.
Available for the first time, Victor Serge's intimate account of the last decade of his life gives a vivid look into the Franco-Russian revolutionary's life, from his liberation from Stalin's Russia to his "Mexico Years," when he wrote his greatest works. In 1936, Victor Serge—poet, novelist, and revolutionary—left the Soviet Union for Paris, the rare opponent of Stalin to escape the Terror. In 1940, after the Nazis marched into Paris, Serge fled France for Mexico, where he would spend the rest of his life. His years in Mexico were marked by isolation, poverty, peril, and grief; his Notebooks, however, brim with resilience, curiosity, outrage, a passionate love of life, and superb writing. Serge paints haunting portraits of Osip Mandelstam, Stefan Zweig, and “the Old Man” Trotsky; argues with André Breton; and, awaiting his wife’s delayed arrival from Europe, writes her passionate love letters. He describes the sweep of the Mexican landscape, visits an erupting volcano, and immerses himself in the country’s history and culture. He looks back on his life and the fate of the Revolution. He broods on the course of the war and the world to come after. In the darkest of circumstances, he responds imaginatively, thinks critically, feels deeply, and finds reason to hope. Serge’s Notebooks were discovered in 2010 and appear here for the first time in their entirety in English. They are a a message in a bottle from one of the great spirits, and great writers, of our shipwrecked time.
Producer of Nanook of the North, Moana, Man of Aran, and other pioneering documentaries between 1920 and 1940, Robert J. Flaherty was America's first independent film artist. Popular conceptions of Flaherty have led many either to worship his work and regard him in mythical terms or to debunk him as a fraud and castigate him for lack of a social consciousness. Rarely has the attempt been made to understand him in the context of his times. This captivating study presents Flaherty through the eyes of someone who knew him personally—the brilliant British filmmaker and scholar Paul Rotha. A colleague and close friend of Flaherty, Rotha gives us s a powerfully written biography that is a balanced and intimate look at the life and work of an American genius. Editor Jay Ruby has restored the Rotha biography, including a wealth of anecdotes, letters, and memoirs that begin to bring Robert Flaherty the man into focus. An especially valuable dimension of this work is the appraisal of Flaherty the filmmaker from the viewpoint of a major figure of the British industry. He summarizes in detail the critical response to Flaherty of his contemporaries, about which only sketchy information has previously been available. Flaherty regarded himself as an explorer as well as a filmmaker. The exciting story of this biography takes us from the Arctic, where Flaherty spent years filming Nanook, to the South Pacific, England, the Aran Islands, and finally the United States. his courage and overarching vision resulted in an unprecedented recording of the human struggle and in documentary films that reached a wider audience than ever before.
The Production Sites of Architecture examines the intimate link between material sites and meaning. It explores questions such as: how do spatial configurations produce meaning? What are alternative modes of knowledge production? How do these change our understanding of architectural knowledge? Featuring essays from an international range of scholars, the book accepts that everything about the production of architecture has social significance. It focuses on two areas: firstly, relationships of spatial configuration, form, order and classification; secondly, the interaction of architecture and these notions with other areas of knowledge, such as literature, inscriptions, interpretations, and theories of classification, ordering and invention. Moving beyond perspectives which divide architecture into either an aesthetic or practical art, the authors show how buildings are informed by intersections between site and content, space and idea, thought and materiality, architecture and imagination. Presenting illustrated case studies of works by architects and artists including Amale Andraos, Dan Wood, OMA, Koen Deprez and John Soane, The Production Sites of Architecture makes a major contribution to our understanding of architectural theory.
Meticulously edited and annotated, Tennessee Williams's notebooks follow his growth as a writer from his undergraduate days to the publication and production of his most famous plays, from his drug addiction and drunkenness to the heights of his literary accomplishments.
