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Christopher Isherwood’s Letters to His Mother
With her gripping film The Hurt Locker, Kathryn Bigelow (b. 1951) made history in 2010 by becoming the first woman to win an Oscar for Best Director. Since then she has also filmed history with her latest movie, which is about the mission to kill Osama Bin Laden.She is one of Hollywood's brightest stars, but her roots go back four decades to the very non-Hollywood, avant-garde art world of New York City in the 1970s. Her first feature The Loveless (1982) reflected those academic origins, but subsequent films such as the vampire-Western Near Dark (1987), the female vigilante movie Blue Steel (1989), and the surfer-crime thriller Point Break (1991) demonstrated her determination to apply her aesthetic sensibilities to popular, genre filmmaking.The first volume of Bigelow's interviews ever published, Peter Keough's collection covers her early success with Near Dark; the frustrations and disappointments she endured with films such as Strange Days (1995) and K-19: The Widowmaker (2002); and her triumph with The Hurt Locker. In conversations ranging from the casual to the analytical, Bigelow explains how her evolving ambitions and aesthetics sprang from her earliest aspirations to be a painter and conceptual artist in New York in the 1970s, and then expanded to embrace Hollywood filmmaking when she was exposed to renowned directors such as John Ford, Howard Hawks, Don Siegel, Sam Peckinpah, and George Roy Hill.
A Coast Salish Woman's Life on Oyster Bay
A gravestone, a mention in local archives, stories still handed down around Oyster Bay: the outline of a woman begins to emerge and with her the world she inhabited, so rich in tradition, so shaken by violent change. Katie Kettle Gale was born into a Salish community in Puget Sound in the 1850s, just as settlers were migrating into what would become Washington State. With her people forced out of their accustomed hunting and fishing grounds into ill-provisioned island camps and reservations, Katie Gale sought her fortune in Oyster Bay. In that early outpost of multiculturalism—where Native Americans and immigrants from the eastern United States, Europe, and Asia vied for economic, social, political, and legal power—a woman like Gale could make her way.
As LLyn De Danaan mines the historical record, we begin to see Gale, a strong-willed Native woman who cofounded a successful oyster business, then wrested it away from her Euro-American husband, a man with whom she raised children and who ultimately made her life unbearable. Steeped in sadness—with a lost home and a broken marriage, children dying in their teens, and tuberculosis claiming her at forty-three—Katie Gale’s story is also one of remarkable pluck, a tale of hard work and ingenuity, gritty initiative and bad luck that is, ultimately, essentially American.
A Twentieth-Century Life in Letters
One of the Lost Generation modernists who gathered in 1920s Paris, Kay Boyle published more than forty books, including fifteen novels, eleven collections of short fiction, eight volumes of poetry, three children's books, and various essays and translations. Yet her achievement can be even better appreciated through her letters to the literary and cultural titans of her time. Kay Boyle shared the first issue of This Quarter with Gertrude Stein and Ernest Hemingway, expressed her struggles with poetry to William Carlos Williams and voiced warm admiration to Katherine Anne Porter, fled WWII France with Max Ernst and Peggy Guggenheim, socialized with the likes of James Joyce, Marcel Duchamp, and Samuel Beckett, and went to jail with Joan Baez. The letters in this first-of-its-kind collection, authorized by Boyle herself, bear witness to a transformative era illuminated by genius and darkened by Nazism and the Red Scare. Yet they also serve as milestones on the journey of a woman who possessed a gift for intense and enduring friendship, a passion for social justice, and an artistic brilliance that earned her inclusion among the celebrated figures in her ever-expanding orbit.
At the outset of independence 18 years ago, Kazakhstan's leaders promised that the country's rich natural resources, with oil and gas reserves among the largest in the world, would soon bring economic prosperity. It appeared that democracy was beginning to take hold in this newly independent state. Nearly two decades later, Kazakhstan has achieved the World Bank's ranking of a "middle economic country," but its economy is straining from the global economic crisis. The country's political system still needs fundamental reform before Kazakhstan can be considered a democracy. Kazakhstan: Unfulfilled Promise examines the development of this ethnically diverse and strategically vital nation, which seeks to play an influential role on the international stage. Praise for the previous edition of Kazakhstan:
"This detailed but accessible work will be the definitive work on the newly independent state of Kazakhstan." Choice
"[Olcott]... knows more about Kazakhstan than anyone else in the West." New York Review of Books
"Not only shares the lucid insights and depth of a seasoned observer, it greatly enriches the literature on post-Soviet transitions." Foreign Affairs
A groundbreaking filmmaker dogged by controversy in both his personal life and career, Elia Kazan was one of the most important directors of postwar American cinema. In landmark motion pictures such as A Streetcar Named Desire, On the Waterfront, East of Eden, and Splendor in the Grass, Kazan crafted an emotionally raw form of psychological realism. His reputation has rested on his Academy award-winning work with actors, his provocative portrayal of sexual, moral, and generational conflict, and his unpopular decision to name former colleagues as Communists before the House Un-American Activities Committee in 1952. But much of Kazan's influential cinematic legacy remains unexamined. Arriving in the wake of his centenary, Kazan Revisited engages and moves beyond existing debates regarding Kazan's contributions to film, tackling the social, political, industrial, and aesthetic significance of his work from a range of critical perspectives. Featuring essays by established film critics and scholars such as Richard Schickel (Time), Victor Navasky (The Nation), Mark Harris (Entertainment Weekly), Kent Jones (Film Comment), Jonathan Rosenbaum (Essential Cinema, 2004), Jeanine Basinger (The Star Machine, 2007), and Leo Braudy (On the Waterfront, 2008), this book is a must for diehard cinephiles and those new to Kazan alike.
Contributors include: JEANINE BASINGER, LEO BRAUDY, LISA DOMBROWSKI, HADEN GUEST, MARK HARRIS, KENT JONES, PATRICK KEATING, SAVANNAH LEE, BRENDA MURPHY, VICTOR NAVASKY, BRIAN NEVE, JONATHAN ROSENBAUM, RICHARD SCHICKEL, ANDREW TRACY, and SAM WASSON.
Peter Bien focuses on Kazantzakis' obsession with the demotic, the language "on the lips of the people," showing how it governed his writing, his ambition, and his involvement in Greek politics and educational reform. Kazantzakis' obsession worked against him in his Odyssey and found its natural vehicle only in his translation of Homer's Iliad and his novels, Zorba the Greek, The Last Temptation of Christ, and The Greek Passion.
Originally published in 1972.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Politics of the Spirit, Volume 2
Putting Greek writer Nikos Kazantzakis's vast output into the context of his lifelong spiritual quest and the turbulent politics of twentieth-century Greece, Peter Bien argues that Kazantzakis was a deeply flawed genius--not always artistically successful, but a remarkable figure by any standard. This is the second and final volume of Bien's definitive and monumental biography of Kazantzakis (1883-1957). It covers his life after 1938, the period in which he wrote Zorba the Greek and The Last Temptation of Christ, the novels that brought him his greatest fame.
A demonically productive novelist, poet, playwright, travel writer, autobiographer, and translator, Kazantzakis was one of the most important Greek writers of the twentieth century and the only one to achieve international recognition as a novelist. But Kazantzakis's writings were just one aspect of an obsessive struggle with religious, political, and intellectual problems. In the 1940s and 1950s, a period that included the Greek civil war and its aftermath, Kazantzakis continued this engagement with undiminished energy, despite every obstacle, producing in his final years novels that have become world classics.
Beyond the Laughter
Filling a major gap in the critical canon, Gabriella Oldham’s study of Buster Keaton’s nineteen silent short films shot between 1920 and 1923 chronicles the rapid growth in the filmmaker’s understanding of what makes both comedy and film successful.