Emergencies—landing a malfunctioning plane, resuscitating a heart attack victim, or avoiding a head-on car crash—all require split-second decisions that can mean life or death. Fortunately, designers of life-saving products have leveraged research and brain science to help users reduce panic and harness their best instincts. Life and Death Design brings these techniques to everyday designers who want to help their users think clearly and act safely.
Emergencies—landing a malfunctioning plane, resuscitating a heart attack victim, or avoiding a head-on car crash—all require split-second decisions that can mean life or death. Fortunately, designers of life-saving products have leveraged research and brain science to help users reduce panic and harness their best instincts. Life and Death Design brings these techniques to everyday designers who want to help their users think clearly and act safely.
Lively and engaging new view of London’s Jewish East End through translated stories of its Yiddish writers. In London Yiddishtown: East End Jewish Life in Yiddish Sketch and Story, 1930–1950, Vivi Lachs presents a selection of previously un-translated short stories and sketches by Katie Brown, A. M. Kaizer, and I. A. Lisky, for the general reader and academic alike. These intriguing and entertaining tales build a picture of a lively East-End community of the 30s and 40s struggling with political, religious, and community concerns. Lachs includes a new history of the Yiddish literary milieu and biographies of the writers, with information gleaned from articles, reviews, and obituaries published in London's Yiddish daily newspapers and periodicals. Lisky's impassioned stories concern the East End's clashing ideologies of communism, Zionism, fascism, and Jewish class difference. He shows anti-fascist activism, political debate in a kosher café, East-End extras on a film set, and a hunger march by the unemployed. Kaizer's witty and satirical tales explore philanthropy, upward mobility, synagogue politics, and competition between Zionist organizations. They expose the character and foibles of the community and make fun of foolish and hypocritical behavior. Brown's often hilarious sketches address episodes of daily life, which highlight family shenanigans and generational misunderstandings, and point out how the different attachments to Jewish identity of the immigrant generation and their children created unresolvable fractures. Each section begins with a biography of the writer, before launching into the translated stories with contextual notes. London Yiddishtown offers a significant addition to the literature about London, about the East End, about Jewish history, and about Yiddish. The East End has parallels with New York's Lower East Side, yet London's comparatively small enclave, and the particular experience of London in the 1930s and the bombing of the East End during the Blitz make this history unique. It is a captivating read that will entice literary and history buffs of all backgrounds. A Yiddish Book Center Translation.
Katie Roiphe’s stimulating work has made her one of the most talked about cultural critics of her generation. Now this bracing young writer delves deeply into one of the most layered of subjects: marriage. Drawn in part from the private memoirs, personal correspondence, and long-forgotten journals of the British literary community from 1910 to the Second World War, here are seven “marriages à la mode”—each rising to the challenge of intimate relations in more or less creative ways. Jane Wells, the wife of H.G., remained his rock, despite his decade-long relationship with Rebecca West (among others). Katherine Mansfield had an irresponsible, childlike romance with her husband, John Middleton Murry, that collapsed under the strain of real-life problems. Vera Brittain and George Gordon Catlin spent years in a “semidetached” marriage (he in America, she in England). Vanessa Bell maintained a complicated harmony with the painter Duncan Grant, whom she loved, and her husband, Clive. And her sister Virginia Woolf, herself no stranger to marital particularities, sustained a brilliant running commentary on the most intimate details of those around her. Every chapter revolves around a crisis that occurred in each of these marriages—as serious as life-threatening illness or as seemingly innocuous as a slightly tipsy dinner table conversation—and how it was resolved…or not resolved. In these portraits, Roiphe brilliantly evokes what are, as she says, “the fluctuations and shifts in attraction, the mysteries of lasting affection, the endurance and changes in love, and the role of friendship in marriage.” The deeper mysteries at stake in all relationships.
Politics in the Marketplace integrates politics, economics, and gender to ask how the Dames des Halles invented notions of citizenship through everyday trade during the French Revolution. While analyzing how marketplace actors shaped nascent democracy and capitalism, it challenges the interpretation that revolutionary citizenship was inherently masculine from the outset.
This classic of cowboy lore including illustrations by cowboy artist William Moyers, first published in 1976, is now available only from the University of New Mexico Press. "A beautiful job, exact, comprehensive and witty. Should remain a basic history of the subject for many years to come."--Edward Abbey
In this imaginative book, Katie McGettigan argues that Melville's novels and poetry demonstrate a sustained engagement with the physical, social, and economic materiality of industrial and commercial forms of print. Further, she shows that this "aesthetics of the material text," central both to Melville's stylistic signature and to his innovations in form, allows Melville to explore the production of selfhood, test the limits of narrative authenticity, and question the nature of artistic originality. Combining archival research in print and publishing history with close reading, McGettigan situates Melville's works alongside advertising materials, magazine articles, trade manuals, and British and American commentary on the literary industry to demonstrate how Melville's literary practice relies on and aestheticizes the specific conditions of literary production in which he worked. For Melville, the book is a physical object produced by particular technological processes, as well as an entity that manifests social and economic values. His characters carry books, write on them, and even sleep on them; they also imagine, observe, and participate in the buying and selling of books. Melville employs the book's print, paper, and binding - and its market circulations - to construct literary figures, to shape textual form, and to create irony and ambiguity. Exploring the printed book in Melville's writings brings neglected sections of his poetry and prose to the fore and invites new readings of familiar passages and images. These readings encourage a reassessment of Melville's career as shaped by his creative engagements with print, rather than his failures in the literary marketplace. McGettigan demonstrates that a sustained and deliberate imaginative dialogue with the material text is at the core of Melville's expressive practice and that, for Melville, the printed book served as a site for imagining the problems and possibilities of modernity.
Like a modern-day Agatha Christie bestowed with a hefty dollop of Jane Austen."—Laura Childs, #1 New York Times bestselling author Jane Austen meets reality TV and murder in this quirky cozy mystery—the first in a new series! Phaedra Brighton is perfectly content with her life of lecturing college students, gossiping with her best friends, and dreaming of Mr. Darcy. As a young, respected (if somewhat peculiar) English professor, her expertise lies in all things Jane Austen—but she knows that the closest she'll ever get to being a real-life Elizabeth Bennet is in her dreams. When Who Wants to Marry Mr. Darcy, a new reality TV show, starts filming at her best friend Charlene's estate, Phaedra is intrigued. And when the producer asks her to lend her Austenian knowledge as a consultant on the show, she's over the moon. But on the first day of filming, when Charlene's new husband is found electrocuted and Charlene herself is accused of the crime, Phaedra comes crashing back to reality. With murder on the syllabus and her best friend in dire straits, there's no Mr. Darcy around to help Phaedra—she'll have to get to the bottom of this mystery herself.
An incisive account of the crucial role money played in the formation and development of British North America. Promise to Pay follows America’s first paper money—the “bills of credit” of British North America—from its seventeenth-century origins as a means of war finance to its pivotal role in catalyzing the American Revolution. Katie A. Moore combs through treasury records, account books, and the bills themselves to tell a new story of money’s origins that challenges economic orthodoxy and mainstream histories. Promise to Pay shows how colonial governments imposed paper bills on settler communities through existing labor and kinship relations, their value secured by thousands of individual claims on the public purse—debts—and the state’s promise to take them back as payment for taxes owed. Born into a world of hierarchy and deference, early American money eroded old social ties and created new asymmetries of power, functioning simultaneously as a ticket to the world of goods, a lifeline for those on the margins, and a tool of imperial domination. Grounded in sustained engagement with scholarship from multiple disciplines, Promise to Pay breathes new life into old debates and offers an incisive account of the centrality of money in the politics and conflicts of empire, community, and everyday life.
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