The Iron Whim is an intelligent, irreverent, and humorous history of writing culture and technology. It covers the early history and evolution of the typewriter as well as the various attempts over the years to change the keyboard configuration, but it is primarily about the role played by this marvel in the writer's life. Darren Wershler-Henry populates his book with figures as disparate as Bram Stoker, Mark Twain, Franz Kafka, Norman Mailer, Alger Hiss, William Burroughs, J. G. Ballard, Jack Kerouac, Hunter S. Thompson, Northrop Frye, David Cronenberg, and David Letterman; the soundtrack ranges from the industrial clatter of a newsroom full of Underwoods to the more muted tapping and hum of the Selectric. Wershler-Henry casts a bemused eye on the odd history of early writing machines, important and unusual typewritten texts, the creation of On the Road, and the exploits of a typewriting cockroach named Archy, numerous monkeys, poets, and even a couple of vampires. He gathers into his narrative typewriter-related rumors and anecdotes (Henry James became so accustomed to dictating his novels to a typist that he required the sound of a randomly operated typewriter even to begin to compose). And by broadening his focus to look at typewriting as a social system as well as the typewriter as a technological form, he examines the fascinating way that the tool has actually shaped the creative process.With engaging subject matter that ranges over two hundred years of literature and culture in English, The Iron Whim builds on recent interest in books about familiar objects and taps into our nostalgia for a method of communication and composition that has all but vanished.
you are entirely happy with your poem / you are not happy then there is no charge and your deposit is returned / you are totally satisfied with the outcome / you are a man / you are a little confused / you are entirely happy with your poem / you are not happy then there is no charge and your deposit is returned / you are totally satisfied with the outcome . . . Apostrophe is: a) a figure of speech in which a person, an abstract quality or a nonexistent entity is addressed as though present b) a poem written in 1993 in which every sentence is an apostrophe c) a
An important new approach to the study of laboratories, presenting a practical method for understanding labs in all walks of life From the “Big Science” of Bell Laboratories to the esoteric world of séance chambers to university media labs to neighborhood makerspaces, places we call “labs” are everywhere—but how exactly do we account for the wide variety of ways that they produce knowledge? More than imitations of science and engineering labs, many contemporary labs are hybrid forms that require a new methodological and theoretical toolkit to describe. The Lab Book investigates these vital, creative spaces, presenting readers with the concept of the “hybrid lab” and offering an extended—and rare—critical investigation of how labs have proliferated throughout culture. Organized by interpretive categories such as space, infrastructure, and imaginaries, The Lab Book uses both historical and contemporary examples to show how laboratories have become fundamentally connected to changes in the contemporary university. Its wide reach includes institutions like the MIT Media Lab, the Tuskegee Institute’s Jesup Wagon, ACTLab, and the Media Archaeological Fundus. The authors cover topics such as the evolution and delineation of lab-based communities, how labs’ tools and technologies contribute to defining their space, and a glossary of key hybrid lab techniques. Providing rich historical breadth and depth, The Lab Book brings into focus a critical, but often misunderstood, aspect of the contemporary arts and humanities.
‘Henry III is generally classed among the weakest and most incompetent of England’s medieval kings. Darren Baker tells a different story.’- Michael Clanchy, author of England and Its Rulers, 1066–1307 ‘A personal and detailed narrative...bring[s] alive the glamour and personalities of thirteenth-century England.’- Huw Ridgeway, author of ‘Henry III’, Oxford Dictionary of National Biography ‘Enterprising, original and engaging’ - David Carpenter, author of The Reign of King Henry III Henry III (1207–72) reigned for 56 years, the longest-serving English monarch until the modern era. Although knighted by William Marshal, he was no warrior king like his uncle Richard the Lionheart. He preferred to feed the poor to making war and would rather spend time with his wife and children than dally with mistresses and lord over roundtables. He sought to replace the dull projection of power imported by his Norman predecessors with a more humane and open-hearted monarchy. But his ambition led him to embark on bold foreign policy initiatives to win back the lands and prestige lost by his father King John. This set him at odds with his increasingly insular barons and clergy, now emboldened by the protections of Magna Carta. In one of the great political duels of history, Henry struggled to retain the power and authority of the crown against radical reformers like Simon de Montfort. He emerged victorious, but at a cost both to the kingdom and his reputation among historians. Yet his long rule also saw extraordinary advancements in politics and the arts, from the rise of the parliamentary state and universities to the great cathedrals of the land, including Henry’s own enduring achievement, Westminster Abbey.
Guy Maddin is Canada's most iconoclastic filmmaker. Through his reinvention of half-forgotten film genres, his remobilization of abandoned techniques from the early history of cinema, and his unique editing style, Maddin has created a critically successful body of work that looks like nothing else in Canadian film. My Winnipeg (2008), which Roger Ebert called one of the ten best films of the first decade of the twenty-first century, has consolidated Maddin's international reputation. In this sixth volume of the Canadian Cinema series, Darren Wershler argues that Maddin's use of techniques and media that fall outside of the normal repertoire of contemporary cinema require us to re-examine what we think we know about the documentary genre and even 'film' itself. Through an exploration of My Winnipeg's major thematic concerns - memory, the cultural archive, and how people and objects circulate through the space of the city - Wershler contends that the result is a film that is psychologically and affectively true without being historically accurate.
This account of two strong medieval women and their relationship “thoroughly engrosses you in a story hundreds of years past”(Seattle Book Review). Born in 1223, Eleanor of Provence has come to England at the age of twelve to marry the king, Henry III. He’s sixteen years older, but was a boy when he ascended the throne. He’s a kind, sensitive sort whose only personal attachments to women so far have been to his three sisters. The youngest of those sisters is called Eleanor too. She was only nine when, for political reasons, her first marriage took place, but she’s already a chaste twenty-year-old widow when the new queen arrives in 1236. Soon, this Eleanor will marry the rising star of her brother’s court, a French parvenu named Simon de Montfort, thus wedding the fates of these four people together in an England about to undergo some of the most profound changes in its history. The Two Eleanors of Henry III is a tale that spans decades, with loyalty to family and principles at stake, in a land where foreigners are subject to intense scrutiny and jealousy. The relationship between these two sisters-in-law, close but ultimately doomed, reflects not just the turbulence and tragedy of their times, but also the brilliance and splendor.
Eight steps to becoming an entrepreneur for kids is a cultural understanding read following the journey of 4 African American kids who are best friends and all share the same passion for learning how to become an Entrepreneur.
Poetry. FIDGET is Kenneth Goldsmith's transcription of every movement made by his body in a period of thirteen hours. Originally commissioned by the Whitney Museum of American Art as a collaboration with vocalist Theo Bleckmann, FIDGET attempts to reduce the body to a catalog of mechanical movements by a strict art of observation. The stress of this rigorous exercise creates a condition of shifting reference points and multiple levels of observation that inevitably undermines the author's objective approach, and the trajectory of the work begins to change. Kenneth Goldsmith is also a visual poet and music critic.
Simon de Montfort's combination of charisma, determination, and fearlessness made him one of the greatest men of his age. This new biography marks 750 years since Montfort established the earliest forerunner of our modern parliament.
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