The Unpossessed City

A gripping novel about the dangers and draws of contemporary Russia--from the author of The Geographer's Library With The Geographer's Library, Jon Fasman made an "inventive and spirited" debut (The New Yorker) that landed him on The New York Times bestseller list. Every bit as dazzling, The Unpossessed City takes readers into the Wild East that is Russia today. There we meet Jim Vilatzer--an American expat whose Russian language skills land him a job interviewing former inmates of the Gulag and ensnare him in a web of deceit involving the CIA, Russia's Interior Ministry, and Central Asian arms dealers selling the most dangerous technologies to the highest bidder. From its brooding portrayal of Moscow to its riveting pace, The Unpossessed City is an atmospheric triumph in the tradition of Donna Leon's novels of Venice.

"A brainy noir . . . [a] winningly cryptic tale . . . a cabinet of wonders written by a novelist whose surname and sensibility fit comfortably on the shelf between Umberto Eco and John Fowles." —Los Angeles Times "One of the year’s most literate and absorbing entertainments." —Kirkus Reviews Jon Fasman’s dizzyingly plotted intellectual thriller suggests a marriage between Dan Brown and Donna Tartt. When reporter Paul Tomm is assigned to investigate the mysterious death of a reclusive academic, he finds himself pursuing leads that date back to the twelfth century and the theft of alchemical instruments from the geographer of the Sicilian court. Now someone is trying to retrieve them. Interspersed with the present action are the stories of the men and women who came to possess those charmed—and sometimes cursed—artifacts, which have powers that go well beyond the transmutation of lead into gold. Deftly combining history, magic, suspense, and romance—and as handsomely illustrated as an ancient incunabulum—The Geographer’s Library is irresistible.

Tess Slesinger’s 1934 novel, The Unpossessed details the ins and outs and ups and downs of left-wing New York intellectual life and features a cast of litterateurs, layabouts, lotharios, academic activists, and fur-clad patrons of protest and the arts. This cutting comedy about hard times, bad jobs, lousy marriages, little magazines, high principles, and the morning after bears comparison with the best work of Dawn Powell and Mary McCarthy.

‘Walker is my name and I am the same. Riddley Walker. Walking my riddels where ever theyve took me and walking them now on this paper the same. There aint that many sir prizes in life if you take noatis of every thing. Every time will have its happenings out and every place the same. Thats why I finely come to writing all this down. Thinking on what the idear of us myt be. Thinking on that thing whats in us lorn and loan and oansome.’ Composed in an English which has never been spoken and laced with a storytelling tradition that predates the written word, RIDDLEY WALKER is the world waiting for us at the bitter end of the nuclear road. It is desolate, dangerous and harrowing, and a modern masterpiece.

This set of readings presents useful insights into urbanization and provides a fresh perspective on American cities and their inhabitants. Advancing the premise that it is not possible to understand how people live in cities without understanding how they think of them, the editor presents historical and contemporary materials that illustrate vividly the variety of ways in which Americans have viewed their cities, and urbanization in general.This book sheds light on what the city is and does by analyzing what its citizens think it should be and do. Its lively, readable selections include contributions from businessmen, ministers, journalists, reporters, city planners, and reformers, as well as sociologists. Strauss shows that Americans' views of cities have been profoundly influenced by their history of continental expansion, successive waves of immigration, massive industrialization and similar objective developments. He points out that certain perspectives or themesrelations of social classes within the city, of country to city, of small city to big city, of city to region, etc.persist regardless of the social or historical perspective of the writer.The author's comprehensive introduction and his introductions to each section of the book delineate the thematic structure of the readings and guide the reader toward the insights and principles illuminated in the different sections. A fruitful contribution to courses in urban sociology, the book is a useful addition to the libraries of sociologists, political scientists, planners, and city officials who wish to understand more fully the contemporary urban milieu.

Sheds light on what the city is and does by analyzing what its citizens think it should be and do.

What do Bono, Seinfeld and Apple have in common? Nothing. However, it’s the nothing of Samuel Beckett, which is something. Bold and provocative, Beckett’s works and even his image are a potent force in modern society. Shoes, marketing, baby names—all fall under his spell. This collection of new essays (one exception) finds him incorporated into virtually all aspects of popular culture—television, popular fiction, movies, tattoos, even sports—in a manner that seems to defy classifying. Is it image-making or image-taking? Why is our culture so obsessed with an obscure Irish writer most people have not read? Each essay provides a unique appraisal of Beckett’s branding.

A brilliant, sweeping, and unparalleled look at the extraordinarily rich culture and turbulent politics of New York City between the years 1945 and 1950, The Brazen Age opens with Franklin Delano Roosevelt’s campaign tour through the city’s boroughs in 1944. He would see little of what made New York the capital of modernity—though the aristocratic FDR was its paradoxical avatar—a city boasting an unprecedented and unique synthesis of genius, ambition, and the avant-garde. While concentrating on those five years, David Reid also reaches back to the turn of the twentieth century to explore the city’s progressive politics, radical artistic experimentation, and burgeoning bohemia. From 1900 to 1929, New York City was a dynamic metropolis on the rise, and it quickly became a cultural nexus of new architecture; the home of a thriving movie business; the glittering center of theater and radio; and a hub of book, magazine, and newspaper publishing. In the 1930s, the rise of Hitler and World War II would send some of Europe’s most talented men and women to America’s shores, vastly enriching the fields of science, architecture, film, and arts and letters—the list includes Albert Einstein, Erwin Panofsky, Walter Gropius, George Grosz, André Kertész, Robert Capa, Thomas Mann, Hannah Arendt, Vladimir Nabokov, and John Lukacs. Reid draws a portrait of the frenzied, creative energy of a bohemian Greenwich Village, from the taverns to the salons. Revolutionaries, socialists, and intelligentsia in the 1910s were drawn to the highly provocative monthly magazine The Masses, which attracted the era’s greatest talent, from John Reed to Sherwood Anderson, Djuna Barnes, John Sloan, and Stuart Davis. And summoned up is a chorus of witnesses to the ever-changing landscape of bohemia, from Malcolm Cowley to Anaïs Nin. Also present are the pioneering photographers who captured the city in black-and-white: Berenice Abbott’s dizzying aerial views, Samuel Gottscho’s photographs of the waterfront and the city’s architectural splendor, and Weegee’s masterful noir lowlife. But the political tone would be set by the next president, and Reid looks closely at Thomas Dewey, Henry Wallace, and Harry Truman. James Forrestal, secretary of the navy under Roosevelt, would be influential in establishing a new position in the cabinet before ascending to it himself as secretary of defense under Truman, but not before helping to usher in the Cold War. With The Brazen Age, David Reid has magnificently captured a complex and powerful moment in the history of New York City in the mid-twentieth century, a period of time that would ensure its place on the world stage for many generations.