The Blind Accordionist

A supposedly long lost collection of fable-like stories supposedly written by the little-known middle European writer Maxim Guyavitch ... with a helpful intro and afterword making it hilariously clear that the keyword is "supposedly." In the novel WHO'S WHO WHEN EVERYONE IS SOMEONE ELSE, the character "C.D. Rose" (not to be confused with the author C.D. Rose) searches an unnamed middle-European city for the long-lost manuscript of a little-known writer named Maxim Guyavitch. That search was fruitless, but in THE BLIND ACCORDIONIST, "C.D. Rose" has found the manuscript--nine sparkling, fable-like short stories--and he presents them here with an (hilarious) introduction explaining the discovery, and an afterword providing (hilarious) critical commentary on the stories, and what they might reveal about the mysterious Guyavitch. THE BLIND ACCORDIONIST is another masterful book of world-making by the real C.D. Rose, absorbing in its mix of intelligence and light-heartedness, and its ultimate celebration of literature itself. It is the third novel in the series about "C.D. Rose," although the reader does not need to have read the previous two books. (The first in the series was THE BIOGRAPHICAL DICTIONARY OF LITERARY FAILURE, containing portraits of dunsuccessful writers; the second was WHO'S WHO WHEN EVERYONE IS SOMEONE ELSE, in which the author of the DICTIONARY, "C.D. Rose," searches for the manuscript of his favorite dead writer, Maxim Guyavitch, while on a book tour for the DICTIONARY.) Like those books, THE BLIND ACCORDIONIST can be read both as a simple but wonderful collection of quirky stories, and as comedy--or as a beautiful and moving elegy on the nobility of writers wanting to be read.

Great photographs change the way we see the world; The Ongoing Moment changes the way we look at both. With characteristic perversity – and trademark originality - The Ongoing Moment is Dyer's unique and idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the same scenes and objects (benches, hats, hands, roads). In doing so Dyer constructs a narrative in which those photographers – many of whom never met in their lives – constantly come into contact with each other. It is the most ambitious example to date of a form of writing that Dyer has made his own: the non-fiction work of art.

The study of pre-existing film music is a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies. The first section explores art music; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera.

A magisterial study of celebrated photographer Walker Evans Walker Evans (1903–75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans’s work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle. Alpers demonstrates that Evans’s practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans’s dual love of text and images, Alpers places his writings in conversation with his photographs. She brings his techniques into dialogue with the work of a global cast of important artists—from Flaubert and Baudelaire to Elizabeth Bishop and William Faulkner—underscoring how Evans’s travels abroad in such places as France and Cuba, along with his expansive literary and artistic tastes, informed his quintessentially American photographic style. A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world—to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time.

By age thirty-nine, Blair Kilpatrick had settled into life as a practicing psychologist, wife, and mother. Then a chance encounter in New Orleans turned her world upside down. She returned home to Chicago with unlikely new passions for Cajun music and its defining instrument, the accordion. Captivated by recurring dreams of playing the Cajun accordion, she set out to master it. Yet she was not a musician, was too self-conscious to dance, and didn't even sing in the shower. Kilpatrick's obsession took her from Chicago's Cajun dance scene to a folk music camp in West Virginia, back and forth to south Louisiana, and even to a Cajun festival in France. An unexpected family move brought her to the San Francisco Bay Area, home to the largest Cajun-zydeco music scene outside the Gulf Coast. There she became a prot--and--eacute;g--and--eacute; of renowned accordionist Danny Poullard, a Louisiana-born Creole and the guiding spirit of the local Louisiana French music community. Engaging, uplifting, and illuminating a unique patch of the American cultural landscape, Accordion Dreams is Kilpatrick's account of the possibility of passion, risk-taking, and change--at any age. Blair Kilpatrick has an independent practice in psychotherapy in the San Francisco Bay Area. She also performs and records with Sauce Piquante, a traditional Cajun-Creole band she founded in the late 1990s. Learn more at www.blairkilpatrick.com

This broad-ranging text offers a comprehensive outline of how visual images, language and discourse work as `systems of representation'. Individual chapters explore: representation as a signifying practice in a rich diversity of social contexts and institutional sites; the use of photography in the construction of national identity and culture; other cultures in ethnographic museums; fantasies of the racialized `Other' in popular media, film and image; the construction of masculine identities in discourses of consumer culture and advertising; and the gendering of narratives in television soap operas.

South Texas music roots - self-taught musicians playing music.