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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 year 2011 marks the fiftieth anniversary of the publication of Emmanuel Levinas’s Totality and Infinity, which now stands as one of the classic texts of the second half of the twentieth century. At this anniversary, this collection of essays suggests that a revitalized understanding of the text is needed. While readers can easily fall into routine readings and discussions of this originally provocative—even intoxicating—text, Totality and Infinity at 50 invites students of Levinas to explore new avenues into the work by charting a map of Levinas scholarship for the next 50 years. From the problem of the other, the emphasis of ethics as first philosophy, the text’s theological implications, and the focus on the role of the feminine, Totality and Infinity has been the subject of a wide range of interpretations and scholarly interests since its publication. While these various emphases have contributed to a greater understanding of Levinas’s philosophy, they can also have the cumulative effect of leading us to believe that all of the different options have been explored. In contrast, this volume argues that there is still more to be said about this seminal book, inspiring readers to look beyond routine readings and worn themes of Totality and Infinity. As a result, these Levinas scholars provide essays that offer a fresh account of the argument and purpose of Totality and Infinity; draw parallels between Levinas and other thinkers including Marx, Stanley Cavell, and Édouard Glissant; consider Levinas’s relationship to other disciplines such as nursing, psychotherapy, and law; and bring this seminal text to bear on specific, concrete issues of present-day concern. With this focus, Totality and Infinity at 50 envisions a renewed and newly invigorated relationship with Totality and Infinity, so that Levinas’s philosophy might remain a vital companion to us in the next half-century.
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/).
“In the old story of love and loss, Lisa Ampleman’s I’ve Been Collecting This to Tell You cuts to the core of the matter with concision and subtlety. Hearts are laid bare, dissected, even grown anew. Masterfully structured and alert to the most vital details, this collection has lots to tell us—and a voice at once authentic and lyrical with which to do it.” —Don Bogen
“In these poems, the beloved is a space the speaker moves through—at first with trepidation, then with gathering force—emerging finally into a hard-won world ravishing in its clarity under a brutally beautiful ‘sky pinking up/like a newly healed limb.’ The poems of Lisa Ampleman’s collection don’t flinch, and the reward of their acute seeing is a song that’s sustenance itself.” —Kerri Webster
“Lisa Ampleman’s subtle and beautifully wrought poems make way for the possibility that all is not ‘frenzy’ in this ‘agitated world.’ Although we might be ‘the walking wounded,’ and ‘like Thomas/need scars to believe,’ the poems assure us that we heal, that wholeness and grace await us.” —Eric Pankey
“A prairie is plain, they say—those who have not stood in one. And so, too, is an ordinary heartbreak, until Lisa Ampleman begins to unfold it in these closely observed and quietly surprising poems. Salvation doesn’t live here, but there’s plenty to salvage in the wry, self-effacing metaphors by which she harvests what wisdom experience yields.” —Susan Tichy,
On the Road with Legends of Rock 'n' Roll
In I Want to Be Once, M. L. Liebler approaches current events with a journalistic eye and a poet's response. Part autobiographical, part commentary, the lines of Liebler's poems come hard-hitting, but not without moments of great tenderness and humanity. Ordered into three sections, I Want To Be Once provides readers with a look into the author's personal life, as well as our collective history as a nation vis-à-vis the American media. The first section, called "American Life," captures the experience of coming of age in working-class 1960s America and helps to paint the picture of Liebler's early political involvement. The poems in the second section, "American War," focus on the author's cultural work in Afghanistan for the U.S. State Department; Liebler successfully captures the sad realities and fleeting stability of everyday life in Kabul, Jalalabad, and Kandahar. In the final section, "American Psalms," the short, satirical poems muse on present-day American society, culture, and the arts. In these poems, Liebler remarks on everything from public education to public radio to Russia's feminist punk rock protest group Pussy Riot and more.The poems in I Want to Be Once are emotionally grounding but punctuated with a humor that keeps things in perspective. Readers with an interest in poetry and social commentary will be drawn to this engaging collection.