Billy Carlyle is a professional fighter starting to lose. His eyes cut too easily and his friends—Gabriel, an aspiring actor, and Sam, an artist preparing for her first gallery show—try to persuade Billy to leave the ring. From the streets of Manhattan to the gyms of Paris, from struggling with hard pasts to harnessing the primal pull, Both Members of the Club is a story of friendship and ambition and violence set against the world of boxing, a place where bodies get tested and truths are exposed. “This astonishingly personal and touching account of a trio of friends who have emerged from a parentless, family-less childhood to form a lifetime bond is reminiscent of the best of short fiction from the previous century. The narrator and narrative voice of the story is compelling and fascinating, and the two principal characters who round out this small circle are driven by such a power of love and mutual responsibility that it’s moving in almost every way. It’s a stunning story that resonates long after the last page is turned.”—Clay Reynolds
Jared Chiziver is a single father and professional pick-pocket, devotee of Jean-Paul Belmondo and foreign films, and a suave ladies' man. His son Ben is sixteen, a bookish semi-introvert, a star on his school's track team, college bound and gay. Two things happen that cause repercussions -- Jared meets Anna, a woman photographer he finds engaging and Jared commits a big crime in response to a brutal attack upon his son Ben. The only thing for Jared to do is to leave town before the police find him. Explores the relationship between this unusual father and his remarkable son.
Expelled from college after beating another wrestler senseless during a match, former wrestling star Odessa Rose parks cars in downtown New York, struggling to control the violent temper that gets him into trouble.
Ardor, inspiration, the soul, the sublime: Such terms have long since fallen from favor among critics and artists alike. In his new collection of essays, Adam Zagajewski continues his efforts to reclaim for art not just the terms but the scanted spiritual dimension of modern human existence that they stake out. Bringing gravity and grace to his meditations on art, society, and history, Zagajewski wears his erudition lightly, with a disarming blend of modesty and humor. His topics range from autobiography (his first visit to a post-Soviet Lvov after childhood exile; his illicit readings of Nietzsche in Communist Poland); to considerations of artist friends past and present (Zbigniew Herbert, Czeslaw Milosz); to intellectual and psychological portraits of cities he has known, east and west; to a dazzling thumbnail sketch of postwar Polish poetry. Zagajewski gives an account of the place of art in the modern age that distinguishes his self-proclaimed liberal vision from the "right-wing radicalism" of such modernist precursors as Eliot or Yeats. The same mixture of ardor and compassion that marks Zagajewski's distinctive contribution to modern poetry runs throughout this eloquent, engaging collection.
You are a secret agent working for the British in Berlin. You are due to go home on leave, but you are being followed-by your own people, or by the enemy. A man meets you in the theater and briefs you on a plot to revive the power of Nazi Germany. You do not believe him, but you remember that one of the suspects mentioned was a senior SS officer you met with in the days when you were working as a spy in Nazi Germany. The next day you make contact with a beautiful girl who may know something. Someone tries to kill both of you. Your name is Quiller. You are the hero of an extraordinary novel which shows how a spy works, how messages are coded and decoded, how contacts are made, how a man reacts under the influence of truth drugs-and which traces the story of a vastly complex, entertaining, convincing, and sinister plot.
Explains why the liberalism of a group of elites, the owners of Berlin's grand hotels, gave way to a more aggressive nationalism and conservatism after World War I – a shift which contributed directly to Hitler's rise to power. This title is also available as open access on Cambridge Core.
In these unforgettable stories, the acclaimed author of Imagine Me Gone explores lives that appear shuttered by loss and discovers entire worlds hidden inside them. The impact is at once harrowing and thrilling. An elderly inventor, burning with manic creativity, tries to reconcile with his estranged gay son. A bereaved boy draws a thuggish classmate into a relationship of escalating guilt and violence. A genteel middle-aged woman, a long-time resident of a psychiatric hospital, becomes the confidante of a lovelorn teenaged volunteer. Told with Chekhovian restraint and compassion, and conveying both the sorrow of life and the courage with which people rise to meet it, You Are Not a Stranger Here is a triumph of storytelling.
A Meteor of Intelligent Substance" "Something was Missing in our Culture, and Here It Is" "Liberties is THE place to be." Liberties, a journal of Culture and Politics, is essential reading for those engaged in the cultural and political issues and causes of our time. Liberties features serious, independent, stylish, and controversial essays by significant writers and leaders throughout the world; new poetry; and, introduces the next generation of writers and voices to inspire and impact the intellectual and creative lifeblood of today's culture and politics.
Let Adam Brandon, one of America’s leading activists, explain the past, the present, and the future of American conservatism, and offer advice from his unique perspective on how to bridge the generational and political divides in the United States for a better future. America faces incredibly consequential choices over the direction of the nation. Far-left Democrats who label themselves as “progressives” want to shatter constitutional norms and move America backward through command-and-control economic policies while continuing to divide us with identity politics. In A Republic, Not a Democracy, FreedomWorks President Adam Brandon draws on his experiences from when he was a kid in Ohio, his time in post-communist Poland, and his current role in Washington, DC to offer perspective on the choices that America has before it. He uses these experiences to provide a unique take on how to win voters with a pro-growth message on economic policy. Drawing on the story of 2019—when America saw its lowest unemployment rate in a half-century and a record low poverty rate—Adam explains how we can restore America in a post-COVID-19 pandemic world. He highlights key policy issues like education, health care, and the age-demographic crisis and what lawmakers can do to address these problems. As president of the country’s largest free-market grassroots advocacy organization, Adam is the nation’s foremost expert in effective grassroots strategy. He uses this expertise to explain the importance of grassroots activists and using these committed constitutionalists to change the minds of lawmakers in the Swamp. A Republic, Not a Democracy is an essential resource for anyone seeking to understand the state of modern politics, for anyone who wants to use grassroots activism to make a difference in the world, and for anyone who wonders about what the future holds for America and its citizens.
For more than three hundred years, the world wrestled with conflicts that arose between nation-states. Nation-states wielded military force, financial pressure, and diplomatic persuasion to create "world order." Even after the end of the Cold War, the elements comprising world order remained essentially unchanged. But 2012 marked a transformation in geopolitics and the tactics of both the established powers and smaller entities looking to challenge the international community. That year, the US government revealed its involvement in Operation "Olympic Games," a mission aimed at disrupting the Iranian nuclear program through cyberattacks; Russia and China conducted massive cyber-espionage operations; and the world split over the governance of the Internet. Cyberspace became a battlefield. Cyber conflict is hard to track, often delivered by proxies, and has outcomes that are hard to gauge. It demands that the rules of engagement be completely reworked and all the old niceties of diplomacy be recast. Many of the critical resources of statecraft are now in the hands of the private sector, giant technology companies in particular. In this new world order, cybersecurity expert Adam Segal reveals, power has been well and truly hacked.
A MOST ANTICIPATED BOOK • From one of the world’s most distinguished anthropologists, an important and timely work of cultural history that looks at the origins and much debated future of anthropology museums “A provocative look at questions of ethnography, ownership and restitution . . . the argument [Kuper] makes in The Museum of Other People is important precisely because just about no one else is making it. He asks the questions that others are too shy to pose. . . . Required reading.” –Financial Times (UK) In this deeply researched, immersive history, Adam Kuper tells the story of how foreign and prehistoric peoples and cultures were represented in Western museums of anthropology. Originally created as colonial enterprises, their halls were populated by displays of plundered art, artifacts, dioramas, bones, and relics. Kuper reveals the politics and struggles of trying to build these museums in Germany, France, and England in the mid-19th century, and the dramatic encounters between the very colorful and eccentric collectors, curators, political figures, and high members of the church who founded them. He also details the creation of contemporary museums and exhibitions, including the Smithsonian, the Harvard’s Peabody Museum of American Archaeology and Ethnology, and the famous 1893 World’s Columbian Exposition in Chicago which was inspired by the Paris World Fair of 1889. Despite the widespread popularity and cultural importance of these institutions, there also lies a murky legacy of imperialism, colonialism, and scientific racism in their creation. Kuper tackles difficult questions of repatriation and justice, and how best to ensure that the future of these museums is an ethical, appreciative one that promotes learning and cultural exchange. A stunning, unique, accessible work based on a lifetime of research, The Museum of Other People reckons with the painfully fraught history of museums of natural history, and how curators, anthropologists, and museumgoers alike can move forward alongside these time-honored institutions.
Veiling Esther, Unveiling Her Story: The Reception of a Biblical Book in Islamic Lands examines the ways in which the Biblical Book of Esther was read, understood, and used in Muslim lands, from ancient to modern times. It focuses on case studies covering works from various periods and regions of the Muslim world, including the Qur'an, pre-modern historical chronicles and literary works, the writings of a nineteenth-century Shia feminist, a twentieth-century Iranian encyclopaedia, and others. These case studies demonstrate that Muslim sources contain valuable materials on Esther, which shed light both on the Esther story itself and on the Muslim peoples and cultures that received it. Adam J. Silverstein argues that Muslim sources preserve important pre-Islamic materials on Esther that have not survived elsewhere, some of which offer answers to ancient questions about Esther, such as the meaning of Haman's epithet in the Greek versions of the story, the reason why Mordecai refused to prostrate before Haman, and the literary context of the 'plot of the eunuchs' to kill the Persian king. Throughout the book, Silverstein shows how each author's cultural and religious background influenced his or her understanding and retelling of the Esther story. In particular, he highlights that Persian Muslims (and Jews) were often forced to reconcile or choose between the conflicting historical narratives provided by their religious and cultural heritages respectively.
A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .
This highly readable and timely book explores the transformation of the modern and contemporary art market in the 21st century from a niche trade to a globalised operation worth an estimated $50 billion a year. Drawing on her personal experience, the author describes in fascinating detail the contributions made by a range of actors and institutions to these recent developments. The author's engaging style makes this informative text ideal for collectors, students, and anyone interested in learning more about the evolution of the unprecedented market for art which exists today.
Queens Consort, Cultural Transfer and European Politics examines the roles that queens consort played in dynastic politics and cultural transfer between their natal and marital courts during the sixteenth, seventeenth, and eighteenth centuries. This collection of essays analyses the part that these queens played in European politics, showing how hard and soft power, high politics and cultural influences, cannot be strictly separated. It shows that the root of these consorts’ power lay in their dynastic networks and the extent to which they cultivated them. The consorts studied in this book come from territories such as Austria, Braunschweig, Hanover, Poland, Portugal, Prussia and Saxony and travel to, among other places, Britain, Naples, Russia, Spain and Sweden. The various chapters address different types of cultural manifestation, among them collecting, portraiture, panegyric poetry, libraries, theatre and festivals, learning, genealogical literature and architecture. The volume significantly shifts the direction of scholarship by moving beyond a focus on individual historical women to consider ‘queens consort’ as a category, making it valuable reading for students and scholars of early modern gender and political history.
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