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"A brilliant account of the politics of shit. It will leave you speechless." Written in Paris after the heady days of student revolt in May 1968 and before the devastation of the AIDS epidemic, History of Shit is emblematic of a wild and adventurous strain of 1970s' theoretical writing that attempted to marry theory, politics, sexuality, pleasure, experimentation, and humor. Radically redefining dialectical thought and post-Marxist politics, it takes an important—and irreverent—position alongside the works of such postmodern thinkers as Foucault, Deleuze, Guattari, and Lyotard. Laporte's eccentric style and ironic sensibility combine in an inquiry that is provocative, humorous, and intellectually exhilarating. Debunking all humanist mythology about the grandeur of civilization, History of Shit suggests instead that the management of human waste is crucial to our identities as modern individuals—including the organization of the city, the rise of the nation-state, the development of capitalism, and the mandate for clean and proper language. Far from rising above the muck, Laporte argues, we are thoroughly mired in it, particularly when we appear our most clean and hygienic. Laporte's style of writing is itself an attack on our desire for "clean language." Littered with lengthy quotations and obscure allusions, and adamantly refusing to follow a linear argument, History of Shit breaks the rules and challenges the conventions of "proper" academic discourse.
From the National Book Award nominated author of Innocents and Others and Wayward, a bold and moving novel that follows a fugitive radical from the 1970s who has lived in hiding for twenty-five years and explores themes of idealism, passion, sacrifice, and the cost of living a secret. In the heyday of the 1970s underground, Bobby DeSoto and Mary Whittaker—passionate, idealistic, and in love —organize a series of radical protests against the Vietnam War. When one action goes wrong, the course of their lives is forever changed. The two must erase their past, forge new identities, and never see each other again. Now it is the 1990s. Mary lives in the suburbs with her fifteen-year-old son, who spends hours immersed in the music of his mother's generation. She has no idea where Bobby is, whether he is alive or dead. Shifting between the protests in the 1970s and the consequences of those choices in the 1990s, Dana Spiotta deftly explores the connection between the two eras—their language, technology, music, and activism. Dana Spiotta, "wonderfully observant and wonderfully gifted...with an uncanny feel for the absurdities and sadness of contemporary life" (The New York Times), has written a character-driven, brilliant, and riveting portrait of two eras and a revelatory novel about the culture of rebellion, with particular resonance now.
An elegy for a friendship and artistic partnership cut short by death, exploring the space between activism and art, effaced histories, and abandoned futures.
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Critics and writers consider nonfiction film both as document and as creative work with strong artistic, political, and moral implications. In essays by eleven of America's foremost writers, critics, and filmmakers, Beyond Document explores the full spectrum of nonfiction film and its creative possibilities. In addition to Charles Warren's broad introductory history of the genre, the book takes a close look at ethnographic films, cinema-verité, memoir and autobiography, docudramas, essay films, and newsreels, from classics like Night and Fog and Nanook of the North to more recent important work like Film about a Woman Who. . ., Harlan County, U.S.A., Sans Soleil, and Forest of Bliss. Representations of reality are increasingly contested, in courtrooms and in Congress, as well as in art. Asking what the art of film can achieve, Helene Keyssar considers the history of nonfiction films by women; Jay Cantor discusses film investigations of the Holocaust; Patricia Hampl looks at how autobiographical films render experience into narrative; Robert Gardner questions the filmmaker's "impulse to preserve" ; and poet Susan Howe explores structures of mourning in several filmmakers. All the book's essays provide deeply felt understanding of documentary film, and of how we live with, an d within, images. CONTRIBUTORS: Jay Cantor, Robert Gardener, Patricia Hampl, Maureen Howard, Susan Howe, Helene Keyssar, Phillip Lopatte, Vlada Petric, William Rothman, Charles Warren, Eliot Weinberger.
February issue includes Appendix entitled Directory of United States Government periodicals and subscription publications; September issue includes List of depository libraries; June and December issues include semiannual index.
