Big Sid S Vincati

Read Matthew Biberman's posts on the Penguin Blog. "If you believe it is possible to fall in love with a motorcycle, you will love this book." -Jay Leno When Big Sid had a heart attack and gave up the will to live, his son Matthew Biberman panicked. Impulsively, Matthew promised his father that they would build a Vincati together. This fusion of two legendary motorcycles, the Vincent Black Shadow and the Ducati GT, a Vincati was considered near-impossible to build. But if anyone could do it, Matthew knew his father could. Big Sid was the mechanic to see about repairing Vincents for nearly sixty years. But now, Sid was old, busted up and broke. Matthew, despite sharing his dad's passion, had become a Shakespearean scholar. The two men hadn't spoken in years-but called a truce to attempt a shared dream. Zen and the Art of Motorcycle Maintenance meets Shop Class as Soulcraft, in this heartfelt memoir that shows how two very different men built a legendary motorcycle, and along the way, discovered what it means to be father and son.

Despite only nine years of production, Vincents continue to be ridden regularly in rallies, hard in racing, and certainly well beyond the normal lifespan of a motorcycle. This book tells the Vincent story from 1946 until the present day, including the stories of those significant individuals who helped to make Vincents such legendary machines.

Literature, Performance, and Somaesthetics views textual and extra-textual worlds as intimately connected, as forming a continuum, in fact. The essays – on literature, philosophy and the arts – gathered here derive their theoretical inspirations from two realms where embodiment and agency are particularly stressed: namely, from philosophical somaesthetics, a discipline proposed by Richard Shusterman in 1999, and from performance studies, remarkable for its current expansion. In most general terms, the point of convergence for somaesthetics and performativity is their stressing the agency of the embodied and sentient human self. The contributors explore the question of agency in its various manifestations. They examine the construction of literary characters, with emphasis on the representation of their corporeality and affectivity. They look into the problem of the formation of the literary canon as en-acted rather than established, and into literary history as retold rather than re-written. They also focus on the problems of literary reception, considering it on the physical, visceral level. While showing keen interest in performance studies and somaesthetics, the authors also bring in the expertise gained in their primary fields of research. Hence, the ideas explored in their essays are drawn from philosophy, literary theory, cultural studies, psychology, and hard science. The essays here are concerned with a variety of generic forms – epic literature, lyrical poetry, tragedy, experimental novel, thriller, literary history, theological treatise, documentary, flamenco and opera – in order to outline the field in the humanities where literature, philosophy and performance can meet, and where literary studies can benefit from the approaches offered by performance studies and philosophical somaesthetics.

In Shakespeare, Adaptation, Psychoanalysis, Matthew Biberman analyzes early adaptations of Shakespeare’s plays in order to identify and illustrate how both social mores and basic human psychology have changed in Anglo-American culture. Biberman contests the received wisdom that Shakespeare’s characters reflect essentially timeless truths about human nature. To the contrary, he points out that Shakespeare’s characters sometimes act and think in ways that have become either stigmatized or simply outmoded. Through his study of the adaptations, Biberman pinpoints aspects of Shakespeare’s thinking about behavior and psychology that no longer ring true because circumstances have changed so dramatically between his time and the time of the adaptation. He shows how the adaptors’ changes reveal key differences between Shakespeare’s culture and the culture that then supplanted it. These changes, once grasped, reveal retroactively some of the ways in which Shakespeare’s characters do not act and think as we might expect them to act and think. Thus Biberman counters Harold Bloom’s claim that Shakespeare fundamentally invents our sense of the human; rather, he argues, our sense of the human is equally bound up in the many ways that modern culture has come to resist or outright reject the behavior we see in Shakespeare’s plays. Ultimately, our current sense of 'the human' is bound up not with the adoption of Shakespeare’s psychology, perhaps, but its adaption-or, in psychoanalytic terms, its repression and replacement.

What is a person? What company do people keep with animals, plants, and things? Such questions—bearing fundamentally on the shared meaning of politics and life—animate Shakespearean drama, yet their urgency has often been obscured. Julia Reinhard Lupton gently dislodges Shakespeare’s plays from their historical confines to pursue their universal implications. From Petruchio’s animals and Kate’s laundry to Hamlet’s friends and Caliban’s childhood, Lupton restages thinking in Shakespeare as an embodied act of consent, cure, and care. Thinking with Shakespeare encourages readers to ponder matters of shared concern with the playwright by their side. Taking her cue from Hannah Arendt, Lupton reads Shakespeare for fresh insights into everything from housekeeping and animal husbandry to biopower and political theology.

"Harley in the Barn is a narrative and photo-driven book detailing over 35 incredible "barn-finds" of rare and vintage motorcycles from around the world"--