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Philip K. Dick
This is a moving, star-filled account of one of Hollywood’s true golden ages as told by a man in the middle of it all. Walter Mirisch’s company has produced some of the most entertaining and enduring classics in film history, including West Side Story, Some Like It Hot, In the Heat of the Night, and The Magnificent Seven. His work has led to 87 Academy Award nominations and 28 Oscars. Richly illustrated with rare photographs from his personal collection, I Thought We Were Making Movies, Not History reveals Mirisch’s own experience of Hollywood and tells the stories of the stars—emerging and established—who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others.
With hard-won insight and gentle humor, Mirisch recounts how he witnessed the end of the studio system, the development of independent production, and the rise and fall of some of Hollywood’s most gifted (and notorious) cultural icons. A producer with a passion for creative excellence, he offers insights into his innovative filmmaking process, revealing a rare ingenuity for placating the demands of auteur directors, weak-kneed studio executives, and troubled screen sirens.
From his early start as a movie theater usher to the presentation of such masterpieces as The Apartment, Fiddler on the Roof, and The Great Escape, Mirisch tells the inspiring life story of his climb to the highest echelon of the American film industry. This book assures Mirisch’s legacy—as Elmore Leonard puts it—as “one of the good guys.”
Best Books for Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association
N.M. Rashed and Modernism in Urdu Poetry
I Too Have Some Dreams explores N. M. Rashed’s career as a poet, which spans the last years of British India and the early decades of postcolonial South Asia. A. Sean Pue argues that Rashed’s poetry carved out a distinct role for literature in the maintenance of doubt, providing a platform for challenging the certainty of collective ideologies and opposing the evolving forms of empire and domination. This finely crafted study of Urdu's renowned modernist poet N.M. Rashed offers a timely contribution to global modernist studies and to modern South Asian literary history.
The Hawaiʻinuiākea Monograph Series presents volume II,”I Ulu i ka Āina,” ten essays that describe the fundamental relationships between Kanaka Maoli and the land. From the memories of long-time activists, cultural practitioners and seasoned administrators to the inspirational insights of young scholar/advocates for our cultural, economic and political progress, each piece evidences the inseparability of the Kanaka from the ʻĀina. It is that inseparability and not our numbers, our relative poverty, nor even our political status that will determine the destiny of the Hawaiian nation. We grow the land, we grow ourselves.
The Hawaiinuiakea Monograph
I Ulu I Ke Kumu is the first volume of a series to be published annually by the Hawaiʻinuiākea School of Hawaiian Knowledge and is intended to be a venue for scholars as well as practitioners and leaders in the Hawaiian community to come together over issues, queries, and strategies. Each volume will feature articles on a thematic topic—from diverse fields such as economics, education, family resources, government, health, history, land and natural resource management, psychology, religion, sociology, and so forth—selected by an editorial team. It will also include a “current viewpoint” by a postgraduate student and a reflection piece contributed by a kupuna.
The series will include articles written in Hawaiian and/or English, images, poetry and songs, and new voices and perspectives from emerging Native Hawaiian scholars. Readers who wish to comment on articles, artwork, and other pieces will be able to do so through the monograph discussion link found at the Hawai‘inuiākea School of Hawaiian Knowledge website (http://manoa.hawaii.edu/hshk/).
Improvised Dance as a Practice of Freedom
Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved. ---Fred Moten, Duke University "In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book." ---Barbara Browning, New York University "This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics." ---Randy Martin, Tisch School of Arts at New York University I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies. Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill. Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Letters from Rural Children, 1900-1920
“I am a girl, 13 years old, and a proper broncho buster. I can cook and do housework, but I just love to ride.”
In letters written to the children’s pages of newspapers, we hear the clear and authentic voices of real children who lived in rural Canada and Newfoundland between 1900 and 1920. Children tell us about their families, their schools, jobs and communities and the suffering caused by the terrible costs of World War I.
We read of shared common experiences of isolation, hard work, few amenities, limited educational opportunities, restricted social life and heavy responsibilities, but also of satisfaction over skills mastered and work performed. Though often hard, children’s lives reflected a hopeful and expanding future, and their letters recount their skills and determination as well as family lore and community histories.
Children both make and participate in history, but until recently their role has been largely ignored. In “I Want to Join Your Club,” Lewis provides direct evidence that children’s lives, like adults’, have both continuity and change and form part of the warp and woof of the social fabric.
Adventures between Dakar, Paris, and Milan
A landmark bestseller in Italy, I Was an Elephant Salesman gives a name and a face to the thousands of anonymous African street vendors in cities across Europe. Through the voice of a thinly veiled first-person narrator, Pap Khouma offers us a chilling, intimate, and often ironic glimpse into the life of an illegal immigrant. Khouma invents a life for himself as an itinerant trader of carved elephants, small ivories, and other "African" trinkets, struggling to maintain courage and dignity in the face of despair and humiliation. Constantly on the run from the authorities, he finds insight into the vicissitudes of law and politics, the constraints of citizenship, national borders, skin color, and the often paralyzing difficulties of obtaining basic human needs. His story reveals a contemporary Europe struggling to come to terms with its multiracial, multireligious, and multicultural identity.
Passionately written and perfectly crafted, Anya Krugovoy Silver's poems help us to view life through a different lens. In I Watched You Disappear, she offers meditations on sickness but also celebrations of art, motherhood, and family, as well as a sequence of poems based on the fairy tales of the Brothers Grimm.
Throughout her collection, Silver examines feelings of pain, anger, and urgency caused by a serious illness and presents the struggle to cope in a lyrical and moving way. Never overwhelmed by her own mortality, Silver manages to speak with beauty and grace about a terrifying subject.
In her poems based on Grimm's fairy tales, Silver subtly and surprisingly interweaves retellings of these tales with reflections on life and death. Infinitely touching, engaging, and finely tuned, Silver's poems invite us to look at the lives we love in new and profound ways.