In the spirit of his highly acclaimed and influential book Reality Hunger, David Shields has composed a mordantly funny, relentlessly self-questioning self-portrait based on questions that interviewers have asked him over forty years. David Shields decided to gather every interview he’s ever given, going back nearly forty years. If it was on the radio or TV or a podcast, he transcribed it. He wasn’t sure what he was looking for, but he knew he wasn’t interested in any of his own answers. The questions interested him—approximately 2,700, which he condensed and collated to form twenty-two chapters focused on such subjects as Process, Childhood, Failure, Capitalism, Suicide, and Comedy. Then, according to Shields, “the real work began: rewriting and editing and remixing the questions and finding a through-line.” The result is a lacerating self-demolition in which the author—in this case, a late-middle-aged white man—is strangely, thrillingly absent. As Chuck Klosterman says, “The Very Last Interview is David Shields doing what he has done dazzlingly for the past twenty-five years: interrogating his own intellectual experience by changing the meaning of what seems both obviously straightforward and obviously wrong.” Shields’s new book is a sequel of sorts to his seminal Reality Hunger: A Manifesto, which Literary Hub recently named one of the most important books of the last decade. According to Kenneth Goldsmith, “Just when you think Shields couldn’t rethink and reinvent literature any further, he does it again. The Very Last Interview confirms Shields as the most dangerously important American writer since Burroughs.”
This is as good a novel?as well written a novel?centering on Dr. Naismith?s game as any I?ve read."?Ira Berkow, from the foreword. Albert Biederman, pushing forty, is a sportswriter in River City, Iowa, where college basketball carries the town through the cold winter months. The River State University team has been newly energized by a junior-college transfer who is from Chicago's South Side. Belvyn Menkus is a blond-Afroed point guard who takes the game to a higher level?"the first player," Al says, "to stir my imagination in eighteen years of covering River State basketball." Researching Menkus's background, Al discovers forged transcriptions and recruiting violations. Breaking the story could land him a job on a big-city paper, but what would that cost the player, the town, and Al's own sense of the justice of the game?
In this truly one-of-a-kind book, the author/narrator—a representative, in extremis, of contemporary American obsession with beauty, celebrity, transmitted image—finds himself suspended, fascinated, in the remoteness of our wall-to-wall mediascape. It is a remoteness that both perplexes and enthralls him. Through dazzling sleight of hand in which the public becomes private and the private becomes public, the entire book—clicking from confession to family-album photograph to family chronicle to sexual fantasy to pseudo-scholarly footnote to reportage to personal essay to stand-up comedy to cultural criticism to literary criticism to film criticism to prose-poem to litany to outtake —becomes both an anatomy of American culture and a searing self-portrait. David Shields reads his own life—reads our life—as if it were an allegory about remoteness and finds persuasive, hilarious, heartbreaking evidence wherever he goes. Winner of the PEN / Revson Award?
Other People is something of a revelation: seventy-plus essays that form neither a miscellany nor a memoir but an intellectually thrilling and emotionally wrenching investigation of otherness. Can one person know another person? How do we live through other people? Is it possible to fill the gap between people? If not, what function does art serve? Whether he is writing about sexual desire or information sickness, George W. Bush or Kurt Cobain, women's eyeglasses or Greek tragedy, Howard Cosell or Bill Murray, the comedy of high school journalism or the agony of first love, Shields sustains a piercing focus on the multiplicity of perspectives, the irreducible log jam of human information, and the possibilities and impossibilities for human connection.
Enough About You is a book about David Shields. But it is also a terrifically engrossing exploration and exploitation of self-reflection, self-absorption, full-blown narcissism, and the impulse to write about oneself. In a world awash with memoirs...
NATIONAL BESTSELLER • Weaving together personal anecdote, biological fact, philosophical doubt, cultural criticism, and the wisdom of an eclectic range of writers and thinkers, a book that expertly renders both a hilarious family portrait and a truly resonant meditation on mortality. “Shields is a sharp-eyed, self-deprecating, at times hilarious writer.” —The Wall Street Journal Mesmerized and somewhat unnerved by his 97-year-old father's vitality and optimism, David Shields undertakes an original investigation of our flesh-and-blood existence, our mortal being. The Thing About Life provokes us to contemplate the brevity and radiance of our own sojourn on earth and challenges us to rearrange our thinking in crucial and unexpected ways.
Blending confessional criticism and cultural autobiography, David Shields explores the power of literature to make life survivable, maybe even endurable. Evoking his deeply divided personality, his character flaws, his woes, his serious despair, he wants "literature to assuage human loneliness, but nothing can assuage human loneliness. Literature doesn't lie about this—which is what makes it essential." This is a captivating, thought-provoking, utterly original book about the essential acts of reading and writing.
Caleb Powell always wanted to become an artist, but he overcommitted to life; his former professor David Shields always wanted to become a human being, but he overcommitted to art. The stay-at-home dad (three young girls) and the workaholic writer (eighteen books) head to the woods to spend four days together in a cabin, arguing life vs. art. I Think You’re Totally Wrong is an impassioned, funny, probing, fiercely inconclusive, nearly-to-the-death debate. Shields and Powell talk about everything—marriage, family, sports, sex, happiness, drugs, death, betrayal, and (of course) writers and writing—in the name of exploring and debating their central question: the lived life versus the examined life. There are no teachers or students here, no interviewers or interviewees, no masters of the universe—only a chasm of uncertainty, in a dialogue that remains dazzlingly provocative and entertaining from start to finish. James Franco’s film adaptation of I Think You’re Totally Wrong, starring the authors, premiered in 2015.
In Dead Languages by David Shields, Jeremy Zorn's mother tries unsuccessfully to coax him into saying "Philadelphia," and his life becomes framed by his unwieldy attempts at articulation. Through family rituals with his word-obsessed parents and sister, failed first love, an ill-fated run for class president, as the only Jewish boy on an otherwise all-black basketball team, all of the passages of Jeremy's life are marked in some way by his stutter and his wildly off-the-mark attempts at a cure. It is only when he enters college and learns his strong-willed mother is dying that he realizes all languages, when used as hiding places for the heart, are dead ones.
A landmark book, “brilliant, thoughtful” (The Atlantic) and “raw and gorgeous” (LA Times), that fast-forwards the discussion of the central artistic issues of our time, from the bestselling author of The Thing About Life Is That One Day You'll Be Dead. Who owns ideas? How clear is the distinction between fiction and nonfiction? Has the velocity of digital culture rendered traditional modes obsolete? Exploring these and related questions, Shields orchestrates a chorus of voices, past and present, to reframe debates about the veracity of memoir and the relevance of the novel. He argues that our culture is obsessed with “reality,” precisely because we experience hardly any, and urgently calls for new forms that embody and convey the fractured nature of contemporary experience.
Was ist Realität, was ist Wirklichkeit, was ist «echt» und «authentisch», in welchen Formen stellen wir unser Leben in der Kunst dar? Horaz, Friedrich Nietzsche, Samuel Beckett, Thomas Pynchon, Nicholson Baker, Jean-Luc Godard, Lars von Trier und viele andere bekannte Namen der Literatur- und Kulturgeschichte treffen auf die Google- und Facebook-Generation; sie bilden den aktuellen Hintergrund für eine grundlegend neue Kultur des Sampelns, der kreativen Montage von Bildern und der freien Benutzung aller Texte. Urheberrechte sind genauso wie die Forderung nach einer naturalistischen Erzählung und nach einer linearen Handlung Relikte aus der alten Welt. Shields plädiert in seinem Manifest für die Freiheit von Grenzen, seien es die zwischen Fakt und Fiktion bzw. zwischen Reportage und Erfindung oder die zwischen Erzählung und Essay. Mit seinem ebenso provozierenden wie höchst informativen Werk, das selbst zu einem großen Teil aus Zitaten, Aphorismen und Anekdoten anderer Autoren besteht, regt Shields dazu an, traditionelle Ansichten über Originalität, Authentizität und Kreativität zu überdenken. Man wird sein Buch lieben oder hassen. Ohne Zweifel gelingt es ihm jedoch spielend, allen Seiten in der kontroversen Debatte auf höchst unterhaltsame Art und Weise Argumente für ihre Diskussion zu liefern. «Höchst spannend zu lesen, auch wenn man mit vielem nicht einverstanden ist.» Zadie Smith, The Guardian «Ultrahip» The Observer
The National Basketball Association is a place where, without ever acknowledging it, white fans and black players enact and quietly explode virtually every racial issue and tension in the culture at large. In Black Planet, David Shields explores how, in a predominantly black sport, white fans--including especially himself--think about and talk about black heroes, black scapegoats, black bodies. During the 1994-95 NBA season, Shields went to the Seattle SuperSonics' home games; watched their away games on TV; listened to interviews and call-in shows; talked, or tried to talk, to players, coaches, and agents; attended charity events; corresponded with members of the Sonics newsgroup on the Web. He kept a journal and over the next few years transformed that journal into this book, which is focused sharply on white spectators' relationship to black athletes, in particular Shields' own identification with Gary Payton, the team's language-besotted point-guard. Through the apparently simple vehicle of a daily diary running from November 5, 1994 to May 5, 1995, and ranging from a dispute between two fans over the sale of a ticket to the national media frenzy surrounding Charles Barkley's jest "That's why I hate white people," David Shields confronts the nature of racism (including his own)--the otherness in ourselves that we project onto strangers. He takes us via sports passion deep into the American racial divide. From the Hardcover edition.
In Body Politic, David Shields looks at contemporary America and its mythology through the lens of professional and college sports. The result is an unusually insightful and provocative book about an empire in denial. Shields relentlessly examines the way we tell our sports stories (both fictional and nonfictional), considers the kinds of athletes we choose as heroes, and delineates the lessons and values we glean from sports. He explores the intricate and telling relationships between players and coaches, black and white players, immigrant and native players, male and female players, players and broadcasters, players and fans, and players and advertisers. In the process, he shows us the stories we Americans tell ourselves about the kind of people we believe ourselves to be.
Bestselling author David Shields analyzed over a decade's worth of front-page war photographs fromTheNew York Timesand came to a shocking conclusion: the photo-editing process ofthe "paper of record,"by way of pretty, heroic, and lavishly aesthetic image selection, pullsthe woolover the eyes of its readers; Shields forces us to face not only the the media's complicity in dubious and catastrophic military campaigns but our own as well.This powerful media mouthpiece, the mightyTimes, far from being a check on governmental power, is in reality a massive amplifier for its dark forces by virtue of the way it aestheticizeswarfare. Anyone baffled by the willful American involvement in Iraq and Afghanistan can't help but see in this book how eagerly and invariably theTimesled the way in making the case for these wars through the manipulation of its visuals. Shields forces the reader to weigh the consequences of our own passivity in the face of these images' opiatic numbing. The photographs gathered inWar Is Beautiful, often beautiful and always artful, are filters of reality rather than the documentary journalism they purport to be.
A terrifically engrossing exploration and exploitation of self-reflection, self-absorption, full-blown narcissism and the impulse to write about oneself. In a world awash with memoirs and tell-alls, Shields has created something unique, inviting the reader into his mind as he turns his life into a narrative.
An homage to one of the great baseball players of our era, Baseball Is Just Baseball is a wide-ranging selection of Ichiro Suzuki’s most startling and provocative observations. Updated to reflect his move to the New York Yankees in July 2012, the book also includes a revised Introduction by acclaimed nonfiction writer David Shields. When Ichiro was traded to the Yankees on July 23, 2012, the news made headlines around the world. He will finish out the year in pinstripes before becoming a free agent in 2013. Ichiro is a ten-time All-Star, ten-time Gold Glove winner, 2001 AL MVP and Rookie of the Year, and a virtual lock for the Hall of Fame. Experience reality rather than your expectation of reality. Believe in yourself. Don’t take yourself seriously, but find an activity to be passionate about and take that activity very seriously. Don’t buy the hype. Dissolve hate into love. Care more about the process than the product. Find joy in the seeking itself. Such are some of the simple but profound ideas embodied in this prize of a little book—a document of not only a popular athlete but an impressively thoughtful human being.
In cities from Boston to Charleston, elite men and women of eighteenth-century British America came together in private venues to script a polite culture. By examining their various 'texts'--conversations, letters, newspapers, and privately circulated manuscripts--David Shields reconstructs the discourse of civility that flourished in and further shaped elite society in British America.
Life Is Short—Art Is Shorter is not just the first anthology to gather both mini-essays and short-short stories; readers, writers, and teachers will get will get an anthology; a course’s worth of writing exercises; a rally for compression, concision, and velocity in an increasingly digital, post-religious age; and a meditation on the brevity of human existence. 1. We are mortal beings. 2. There is no god. 3. We live in a digital culture. 4. Art is related to the body and to the culture. 5. Art should reflect these things. 6. Brevity rules. The book’s 40 contributors include Donald Barthelme, Kate Chopin, Lydia Davis, Annie Dillard, Jonathan Safran Foer, Barry Hannah, Amy Hempel, Jamaica Kincaid, Wayne Koestenbaum, Anne Lamott, Daphne Merkin, Rick Moody, Dinty W. Moore, George Orwell, Jayne Anne Phillips, George Saunders, Lauren Slater, James Tate, and Paul Theroux.
The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant.
The Rob Roy Kelly Wood Type Collection is a comprehensive collection of wood type manufactured and used for printing in nineteenth-century America. Comprising nearly 150 typefaces of various sizes and styles, it was amassed by noted design educator and historian Rob Roy Kelly starting in 1957 and is now held by the University of Texas. Although Kelly himself published a 1969 book on wood type and nineteenth-century typographic history, there has been little written about the creation of the wood type forms, the collection, or Kelly. In this book, David Shields rigorously updates and expands upon Kelly’s historical information about the types, clarifying the collection’s exact composition and providing a better understanding of the stylistic development of wood type forms during the nineteenth century. Using rich materials from the period, Shields provides a stunning visual context that complements the textual history of each typeface. He also highlights the non-typographic material in the collection—such as borders, rules, ornaments, and image cuts—that have not been previously examined. Featuring over 300 color illustrations, this written history and catalog is bound to spark renewed interest in the collection and its broader typographic period.
Exploring the myriad ways in which we go about preserving what might otherwise be forfeited. Whether trained specialists or lay people who care about something, preservationists come from every stratum of life. The archivist, the linguist, the local town historian. The paleontologist, the heirloom seed-saver, the family photographer, the Monuments Men. Old two-by-two Noah and taxonomist Linnaeus. The suburban girl who collects enough yard sale books to build up a library and thereby safeguards that most fragile of things: knowledge. All can be preservationists. This issue includes contributions from Diane Ackerman, Elizabeth Robinson, Peter Gizzi, Kyra Simone, Heather Altfeld, Richard Powers, Arthur Sze, Joanna Ruocco, Andrew Ervin, Julia Elliott, Jessica Reed, Peter Orner, Erin Singer, Daniel Torday, Toby Olson, Mary Jo Bang, Troy Jollimore, Maya Sonenberg, Rae Gouirand, Mauro Javier Cardenas, Nam Le, Maria Lioutaia, Bryon Landry, Rae Armantrout, Robin Hemley, Madeline Kearin, Donald Revell, S. P. Tenhoff, Debra Nystrom, Donna Stonecipher, Robert Karron, Andrew Mossin, J’Lyn Chapman, Frederic Tuten, and Marshall Klimasewiski.
The e-book for True Competition: A Guide to Pursuing Excellence in Sport and Society is available at a reduced price and allows students to highlight and take notes throughout the text. When purchased through the Human Kinetics site, access to the e-book is immediately granted when the order is received. True Competition: A Guide to Pursuing Excellence in Sport and Society offers a blueprint for maximizing the potential of competition to foster excellence and enjoyment. It provides a novel perspective on competition that challenges traditional beliefs through a research-backed defense that—up until now—has been lacking. With this text, readers will learn the differences between positive and negative competition, and they will discover how to implement change in their organizations, teams, and individual practices. The authors of this groundbreaking book, who are leading experts in sport psychology, redefine what competition is and should be. Unlike the more typical and often socially destructive form of competition—which they call decompetition—true competition brings out excellence in participants, fosters positive character development, and leads to lasting enjoyment. This socially and psychologically positive perspective on competition challenges Alfie Kohn's No Contest: The Case Against Competition, which has been called the definitive critique of competition. The authors propose that competition itself is not problematic; rather, they question how competition is sometimes envisioned, interpreted, and implemented. They provide suggestions for achieving positive outcomes from competition, including creating challenging yet supportive environments in sport programs and teams, fostering the well-being of athletes, and encouraging athletes to handle various situations. The research-based text uses a field-guide approach, in which the components of true competition are presented in chapter 3 and then detailed in the following chapters. This approach helps readers understand competition and how it is being used in their own lives. While the book relies heavily on the arena of sports, it also provides many examples of applying this revised understanding of competition in business, education, politics, and other nonsport environments. To enhance the learning experience, True Competition offers the following features: -A scholarly analysis of competition is presented in a clear and engaging writing style, making the provocative concepts easily accessible to any reader. -Engaging sidebars give examples of how true competition has been created in various environments to shorten the implementation curve for readers. -Q&A sidebars pose practical questions to ponder—just as a parent, coach, or official would—and prepares readers for issues they will confront in the field. By applying the information presented in this text, students, professionals, and athletes will learn how to maximize the benefits of competition by avoiding decompetition. Not only will they understand how to recognize and respond to positive and negative forms of competition, but they also will gain the tools they need in order to promote true competition in their own worlds. Instructions for downloading and accessing the e-book will be provided once the order is complete. Adobe Digital Editions® System Requirements Windows -Microsoft® Windows® 2000 with Service Pack 4, Windows XP with Service Pack 2, or Windows Vista® (Home Basic 32-bit and Business 64-bit editions supported) -Intel® Pentium® 500MHz processor -128MB of RAM -800x600 monitor resolutionMac PowerPC -Mac OS X v10.4.10 or v10.5 -PowerPC® G4 or G5 500MHz processor -128MB of RAM Intel® -Mac OS X v10.4.10 or v10.5 -500MHz processor -128MB of RAM Supported browsers and Adobe Flash versions Windows -Microsoft Internet Explorer 6 or 7, Mozilla Firefox 2 -Adobe Flash® Player 7, 8, or 9 (Windows Vista requires Flash 9.0.28 to address a known bug)Mac -Apple Safari 2.0.4, Mozilla Firefox 2 -Adobe Flash Player 8 or 9 Supported devices -Sony® Reader PRS-505 Language versions -English -French -German
From grits to deep-fried okra, from barbecue to corn bread, Southern food stirs greater loyalty and passion than any American cuisine. Yet as the crops that once defined it have disappeared, much of the flavor has leeched out of Southern cookery until today. Thanks to a community of devoted chefs and farmers, and one indefatigable historian, Southern heirloom greens and grains and with them America s greatest cuisine--are being revived. Searching the archives for evidence of how nineteenth-century farmers bred their enormous variety of vegetables and grains, and of their contemporaries tastes and cooking practices, David S. Shields has become a key figure in the effort to reboot Southern cuisine. "Southern Provisions" draws on ten years of research and activism to tell the story of a quintessentially American cuisine that was all but forgotten, and the lessons that its restoration holds for the revival of regional cuisines across the country. Shields vividly evokes the connections between plants, plantations, growers, seed brokers, markets, vendors, cooks, and consumers. He shows how the distinctiveness of local ingredients arose from historical circumstances and a confluence of English, French Huguenot, West African, and Native American foodways. Shields emphasizes the Southern Lowcountry, from the peanut patches of Wilmington, North Carolina; to the Truck Farms of the Charleston Neck, South Carolina; to the sugar cane fields of the Georgia Sea Islands; to the citrus groves of Amelia Island, Florida. But the book also takes up the cuisine of New Orleans and other areas of the South and the nation, and even the West Indies. Offering a fascinating panorama of America s culinary past, "Southern Provisions" also shows how the renovation of traditional southern ingredients will enable cooks to take regional cuisine into the future.
This innovative look at previously neglected poetry in British America represents a major contribution to our understanding of early American culture. Spanning the period from the Glorious Revolution (1690) to the end of King George's War (1750), this study critically reconstitutes the literature of empire in the thirteen colonies, Canada, and the West Indies by investigating over 300 texts in mixed print and manuscript sources, including poems in pamphlets and newspapers. British America's poetry of empire was dominated by three issues: mercantilism's promise that civilization and wealth would be transmitted from London to the provinces; the debate over the extent of metropolitan prerogatives in law and commerce when they obtruded upon provincial rights and interests; and the argument that Britain's imperium pelagi was an ethical empire, because it depended upon the morality of trade, while the empires of Spain and France were immoral empires because they were grounded upon conquest. In discussing these issues, Shields provides a virtual anthology of poems long lost to students of American literature.
Our story begins in 1988. The Cold War continues. David Blade is a spy for a super secret espionage agency, AEGIS (Allied Espionage Group Intelligence Service) which serves as a watchdog over western intelligence agencies. Blade ́s employer, AEGIS, also handles missions deemed too politically difficult for the CIA or MI5. Our story opens with Blade completing a mission. On returning to AEGIS headquarters Blade is told he is to old for fieldwork and is to be retired. Events transpiring in a Russian research facility cause AEGIS to bring Blade out of his recent forced retirement and send him into Siberia for one last mission. An accident at the Soviet research facility has caused the Chief Soviet scientist to discover a crude means of time travel into the past. The accident threw his daughter and a logbook of important data into the past to the year 1908. The leader of the first KGB team sent back in time to retrieve the data and girl goes rogue kills his teammates takes the girl and defects into 1908. Blade must follow her trail to the past and find her and the data before another competing KGB team. Blade must display initiative and creativity in this low-tech environment as he follows the girl ́s trail across Siberia on the Trans-Siberian Express into Czarist Russia and Moscow. Blade is competing against time in more ways than one as he must return the woman to the specific point where they were inserted to the past in Siberia before she Phase-Locks with the past. Blade has only 23 days to find her in Moscow and return her to Siberia using 1908 modes of transport.
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