2018 AATSEEL Prize for Best Book in Literary Scholarship Scholars of modernism have long addressed how literature, painting, and music reflected the radical reconceptualization of space and time in the early twentieth century—a veritable revolution in both physics and philosophy that has been characterized as precipitating an “epistemic trauma” around the world. In this wide-ranging study, Benjamin Paloff contends that writers in Central and Eastern Europe felt this impact quite distinctly from their counterparts in Western Europe. For the latter, the destabilization of traditional notions of space and time inspired works that saw in it a new kind of freedom. However, for many Central and Eastern European authors, who were writing from within public discourses about how to construct new social realities, the need for escape met the realization that there was both nowhere to escape to and no stable delineation of what to escape from. In reading the prose and poetry of Czech, Polish, and Russian writers, Paloff imbues the term “Kafkaesque” with a complexity so far missing from our understanding of this moment in literary history.
An ambitious scholar’s lucid analysis of religion’s shifting place in the modern world. Western intellectuals have long theorized that religion would undergo a process of marginalization and decline as the forces of modernity advanced. Yet recent events have disrupted this seductively straightforward story. As a result, while religion has somehow evolved from its tribal beginnings up through modernity and into the current global age, there is no consensus about what kind of narrative of religious change we should alternatively tell. Seeking clarity, Benjamin Schewel organizes and evaluates the prevalent narratives of religious history that scholars have deployed over the past century and are advancing today. He argues that contemporary scholarly discourse on religion can be categorized according to seven central narratives: subtraction, renewal, transsecular, postnaturalist, construct, perennial, and developmental. Examining the basic logic, insights, and limitations of each of these narratives, Schewel ranges from Martin Heidegger to Muhammad Iqbal, from Daniel Dennett to Charles Taylor, to offer an incisive, broad, and original perspective on religion in the modern world. “The book should be a widely read guide to the ideas that structure many of the debates scholars are having today about the meaning of postsecularism and future of religion.” —Geoffrey Cameron, Review of Faith and International Affairs "What is the future of religion and how should we narrate its past? For all readers interested in these questions, this balanced and concise book is a must read.” —Hans Joas, Humboldt University, Berlin, and University of Chicago
A fresh portrait of the Polish-Jewish writer and artist, and a gripping account of the secret operation to rescue his last artworks. The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People’s Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” Schulz was also a talented illustrator and graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz’s art became the currency in which he bought life. Drawing on extensive new reporting and archival research, Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa—the last traces of his vanished world—into multiple dimensions of the artist’s life and afterlife. Sixty years after Schulz was murdered, those murals were miraculously rediscovered, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities, not just about who has the right to curate orphaned artworks and to construe their meanings, but about who can claim to stand guard over the legacy of Jews killed in the Nazi slaughter. By re-creating the artist’s milieu at a crossroads not just of Jewish and Polish culture but of art, sex, and violence, Bruno Schulz itself stands as an act of belated restitution, offering a kaleidoscopic portrait of a life with all its paradoxes and curtailed possibilities.
In 2015, Benjamin Villegas traveled to Texas in an attempt to write the biography of a music group that could have changed the history of rock: ELPASO, a Chicano band from the U.S.-Mexico border with a punk sensibility, a long since-defunct crew, and little left to remember it by but a suitcase of fanzines and one-off recordings. This is the story of one of the many bands that will never appear in rock n’ roll history books, but is at the core of the scene; a band that earned its stripes from sweaty fans and self-taught rock aficionados in basements, garages, and small venues across the country. This is the story of two kids who came together to embrace the punk ethos of the 80’s and be a part of the rock n’ roll revolution sweeping the US, a world of the Ramones, Black Flag, and, of course, ELPASO.
Charles M. Schulz: The Life and Art of the Creator of Peanuts in 100 Objects explores the man behind one of America’s most iconic comic strips and its beloved cast of characters—Charlie Brown, Snoopy, and the rest of the Peanuts Gang. Through 100 preserved and cataloged artifacts, delve into Charles M. Schulz’s Minnesota youth in 1920s America, Schulz’s WWII Army service, and Schulz’s path to fame through his post-war comic series Li’l Folks and five decades of Peanuts. From Schulz’s first published drawing featured in Ripley’s Believe It or Not! to his 2001 Congressional Gold Medal, the 100 artifacts bring the details of the singular artist to life. Along with provocative, witty, and wise quotes, fan-favorite strips, and more, this book is a must-have for any Peanuts fan. 100 OBJECTS: Carefully curated artifacts from Charles M. Schulz’s home and studio—including medals and awards, family photos, rare comic art, and more—tell the story of this beloved artist’s life, career, and the times in which he lived. EXPLORE AMERICANA: From his youth in 1920’s Minnesota through the turbulent 60s and beyond, Charles Schulz’s life spans the rich history of the American Century. CLASSIC STRIPS: Includes timeless Peanuts comic strips featuring Charlie Brown, Snoopy, and the whole Peanuts Gang. FASCINATING FACTS: Fans of Peanuts will find never-before-seen items that give them an intimate look at the creation of the acclaimed comic strip series. OFFICIAL ACCOUNT: Created in collaboration with the Charles M. Schulz estate, the book provides an exclusive look into the life of one of America’s most revered artists.
2018 AATSEEL Prize for Best Book in Literary Scholarship Scholars of modernism have long addressed how literature, painting, and music reflected the radical reconceptualization of space and time in the early twentieth century—a veritable revolution in both physics and philosophy that has been characterized as precipitating an “epistemic trauma” around the world. In this wide-ranging study, Benjamin Paloff contends that writers in Central and Eastern Europe felt this impact quite distinctly from their counterparts in Western Europe. For the latter, the destabilization of traditional notions of space and time inspired works that saw in it a new kind of freedom. However, for many Central and Eastern European authors, who were writing from within public discourses about how to construct new social realities, the need for escape met the realization that there was both nowhere to escape to and no stable delineation of what to escape from. In reading the prose and poetry of Czech, Polish, and Russian writers, Paloff imbues the term “Kafkaesque” with a complexity so far missing from our understanding of this moment in literary history.
The Romance of Teresa Hennert is a masterpiece of psychological realism and a still-shocking portrait of mixed motives and bad behavior. It renders a tragicomic vision of what happens when a society is suddenly deprived of the struggle that had defined it for more than a century. Written in 1922, just four years after Poland achieved independence from its neighboring empires, the novel focuses on a Warsaw community of officers, bureaucrats, intellectuals, wives, and lovers, all of them adrift in a hell of their own making—the long-sought freedom to shape their own destiny. At the center of this milieu is Teresa Hennert, whose youthful charm, modern habits, and apparent indifference to the emotional torment of those around her make her an inescapable object of their fascination and desire. Told in multiple voices and from numerous perspectives, Zofia Nalkowska's novel is a mosaic of dysfunction at all levels of the new Polish society, from a bumbling lieutenant who cannot stand his home life to a young Communist who believes his forebears have made a mess that only the next generation can clean up. In this world, ideological battles, personal animosity, postwar trauma, and infidelity become inextricably bound together, driving these colorful, increasingly confused characters toward corruption, suicide, and murder. Nalkowska (1884–1954), though long neglected in the West, was a central figure in the literary life of interwar Poland and was an early pioneer of feminist fiction in Central Europe. Her spare, witty prose will surprise contemporary readers with its frank sexuality and stark illustration of dreams gone horribly, humiliatingly, dramatically awry.
The Let's Go map guide combines an 11-panel laminated map cleverly wrapped around 24-40 pages of text. Each features: -- A downtown street map-- City overview-- Neighborhood maps-- Transit routes-- Reviews of:
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