The author became interested in male prostitution while researching populations susceptible to AIDS. He found such a population in male prostitutes in Times Square which had developed a community to deal with common problems. Among these changing the community were AIDS, crack cocaine, and urban redevelopment. This work is directed to sociologists, social workers, and those interested in popular culture.
The author became interested in male prostitution while researching populations susceptible to AIDS. He found such a population in male prostitutes in Times Square which had developed a community to deal with common problems. Among these changing the community were AIDS, crack cocaine, and urban redevelopment. This work is directed to sociologists, social workers, and those interested in popular culture.
American Hipster: The Life of Herbert Huncke, The Times Square Hustler Who Inspired the Beat Movement tells the tale of a New York sex worker and heroin addict whose unrepentant deviance caught the imagination of Jack Kerouac, Allen Ginsberg, and William S. Burroughs. Teetering between exhaustion and existential despair, Huncke (rhymes with “junky”) often said, “I’m beat, man.” His line gave Kerouac the label for a down-at-the-heels generation seeking spiritual sustenance as well as “kicks” in post-war America. Recognizable portraits of Huncke appear in Junky (1953), Burroughs's acerbic account of his own heroin addiction; “Howl” (1956), the long, sexually explicit poem that launched Ginsberg’s career; and On the Road (1957), Kerouac’s best-selling novel that immortalized the Beat Generation. But it wasn’t just Huncke the character that fascinated these writers: they loved his stories. Kerouac called him a “genius” of a storyteller and “a perfect writer.” His famous friends helped Huncke find publishers for his stories. Biographies of Kerouac and the others pay glancing tribute to Huncke’s role in shaping the Beat Movement, yet no one until now has told his entire life story. American Hipster explores Huncke’s youthful escapades in Chicago; his complicated alliances with the Beat writers and with sex researcher Alfred Kinsey; and his adventures on the road, at sea, and in prison. It also covers his tumultuous relationship with his partner Louis Cartwright, whose 1994 murder remains unsolved, and his idiosyncratic career as an author and pop-culture icon. Written by Hilary Holladay, a professor of American literature, the book offers a new way of looking at the whole Beat Movement. It draws on Holladay’s interviews with Huncke's friends and associates, including representatives of the literary estates of Kerouac, Ginsberg, Burroughs, and Huncke; her examination of Huncke’s unpublished correspondence and journals at Columbia University; and her longtime study of the Beat Movement.
Jane Dickson in Times Square is a time machine back to a New York City that was truly wild: lawless, manic, sometimes squalid, sometimes magnificent featuring a career of artwork by the artist.
After Chester lands, in the Times Square subway station, he makes himself comfortable in a nearby newsstand. There, he has the good fortune to make three new friends: Mario, a little boy whose parents run the falling newsstand, Tucker, a fast-talking Broadway mouse, and Tucker's sidekick, Harry the Cat. The escapades of these four friends in bustling New York City makes for lively listening and humorous entertainment. And somehow, they manage to bring a taste of success to the nearly bankrupt newsstand. Join Chester Cricket and his friends in this classic children's book by George Selden, with illustrations by Garth Williams. The Cricket in Times Square is a 1961 Newbery Honor Book.
One of the seminal artists of contemporary photography, Philip-Lorca diCorcia produces work that exists on a wide spectrum of fictionalized documentary. Yet a thematic and conceptual unity, most often realized in serial form and particularly suited to monograph format marks each series in his oeuvre. With Thousand, diCorcia effectively inverts his own tendency: the monograph is now the work itself. The sheer volume of material, which spans over 20 years of personal and artistic creation, shifts notions of context, narrative, and individual perception. Flipping through the pages of Thousand is not so much a retrospective or summation of the artist s life as it is an exercise in the construction of memory. An unwashed pan soaking in the sink precedes an unknown woman resembling an odalisque; the familiar linoleum aisles of a generic supermarket give way to a verdant swatch of lawn. These images are bothalien and deeply familiar, and just as one moment in our lives may recall another, these photos echo among one another, within the book, within the canon of diCorcia's work, and within our personal experience. The Polaroid proves to be the perfect souvenir unique and subject to reinterpretation, like memory itself. Philip-Lorca diCorcia was born in Hartford, Connecticut, in 1951. He received his MFA in Photography from Yale University in 1979. Published volumes accompany his solo exhibits at the Museum of Modern Art (Philip-Lorca diCorcia, 1995) and PaceWildenstein Gallery, New York (Streetwork 1993-1997, 1997; Heads, 2001; A Storybook Life, 2003). His work is included in the collections of the Bibliotheque Nationale de France, the Museum of Modern Art, and the Metropolitan Museum of Art, among others. He has been named a Guggenheim Foundation Fellow and has received multiple grants from the National Endowment for the Arts. DiCorcia lives and works in New York City.
The author became interested in male prostitution while researching populations susceptible to AIDS. He found such a population in male prostitutes in Times Square which had developed a community to deal with common problems. Among these changing the community were AIDS, crack cocaine, and urban redevelopment. This work is directed to sociologists, social workers, and those interested in popular culture.
Bold and inventive in style, City of Night is the groundbreaking 1960s novel about male prostitution. Rechy is unflinching in his portrayal of one hustling 'youngman' and his search for self-knowledge among the other denizens of his neon-lit world. As the narrator moves from Texas to Times Square and then on to the French Quarter of New Orleans, Rechy delivers a portrait of the edges of America that has lost none of its power. On his travels, the nameless narrator meets a collection of unforgettable characters, from vice cops to guilt-ridden married men eaten up by desire, to Lance O'Hara, once Hollywood's biggest star. Rechy describes this world with candour and understanding in a prose that is highly personal and vividly descriptive.
The Broadway Books Library of Larceny Luc Sante, General Editor McGoorty is master billiards writer Robert Byrne’s racy account of the life of Danny McGoorty, a billiards champion of that bygone era when cue artists were often scam artists and pool rooms were held to be dens of iniquity. Hustler and hobo, womanizer and fashion plate, McGoorty was at once eyewitness to Capone’s Chicago and the feats of greats like Willie Hoppe and Willie Mosconi. In an all-American voice at once sarcastic, profane, humorous, and chock full of colorful lingo, he relates his colorful and seedy life and times with a unique style and brio.
This important new book, which focuses on the 1940s, 1950s and 1960s, but which looks back to the earlier decades of the century and has a conclusion dealing with the 1970s to 1990s, maps the world of those known as "trade" -- ostensibly straight men who would engage in homosexual sex -- and hustlers -- those who were paid for it. It was a milieu that was central to the sexual histories of several generations of twentieth-century American men and also influenced American literary and visual culture; the "trade aesthetic" informed the work of a variety of artists, filmmakers, and writers. This sexual culture, though compelling in itself, also allows us to explore some key aspects of modern sexual history. This pioneering work, which draws on a wide range of visual and literary sources, including previously unpublished material from the Kinsey archives, will appeal to a wide range of readers, especially those interested in the histories of sex, the city, masculinity, and American culture.
