Up Against The Real

"Up Against the Real is an exciting book about anti-art in the Sixties. It is the first comprehensive study of the group Black Mask and their acrimonious relationship to the New York art world in that decade. Now cited as originators of the protest aesthetics common today, Black Mask employed incendiary modes of direct action against racism, colonialism, and the museum system. They forced their way into the Pentagon during a political protest, threw rotten eggs and blood at Secretary of State Dean Rusk, dumped garbage into the fountain at Lincoln Center during a gala at the Metropolitan Opera, published a broadside, made films, tormented Andy Warhol, and much more, all covered in Nadja Millner-Larsen's book. Black Mask is an important example of the kind of organized art activism in the middle of this century. The group was active until 1968, when it went underground and changed its name to Up Against the Wall Motherfuckers (after a poem by Amiri Baraki). Its activities and strategies influenced the Black Arts Movement and the Art Workers' Coalition, which took over and trashed the Museum of Modern Art. Abbie Hoffman described the group in its second manifestation, Up Against the WallMF, as "the middle-class nightmare....an anti-media media phenomenon simply because their name could not be printed.""--

According to the results of recent surveys, Americans overwhelmingly believe that HEAVEN exists, though a much smaller number believe that HELLexists, with only one-tenth of one percent believing they will go there when they die. Gary Frazier helps readers: Discern what beliefs are based on fact or fiction Discover the truth in the midst of so much deception Understand the depth of Scripture that speaks of HELL more than HEAVEN. Hell is for Real is a clear search for truth, and truth matters for the simple reason that we all have a divine appointment with death. What if those who do not believe in HELL die one day and find they made a tragic and eternal mistake? Where do we turn for real answers? Should we look to movies, television, and stories of personal experiences, psychics, or religion? Cemeteries and mausoleums dot the landscape of America as evidence and reminders of the sad reality of death. The good news is there is a source of hope that provides answers for each and every one who cares to seek the truth. Join the search and choose wisely because, eternity is too long to be wrong and Hell is for Real.

Widely assigned and taught in senior capstone and social theory courses, Sociology After the Crisis offers the first systematic theory of social differences built on the sociological traditions by embracing to Durkheim, Weber and other familiar figures. The first edition was acclaimed for its nuanced and original rereading of Durkheim in relation to the theoretical reasons he and his contemporaries neglected race and gender. This new edition features two chapters of new material written in the summer of 2003, as the new social structures of the 21st century became increasingly clear. The new Chapter Ten draws upon 9-11, the "new world order" of two Bush presidencies, and globalization to show how individuals' lives and sociologies must be thought about in new ways. These events also highlight how American society and sociology have responded and sometimes failed in the struggle over the crisis of modernism. Reviews for the First Edition: "[This] expansive reimagining of the historical roots of sociological imagination - especially as it embraces voices and visions long lost to our most important national debates - is balm to the fractured soul of American society. Lemert's elegant and passionate volume will aid immeasurably in our nation's search for sane solutions to the crises of purpose and perspective he so skillfully explores." Michael Eric Dyson, author of Making Malcolm and Between God and Gangsta' Rap "Elegantly crafted." Steven Seidman, State University of New York at Albany

Collects essays on the fiction of the principal British novelists from the period between the two world wars, with discussions on such authors as James Joyce, D. H. Lawrence, Virginia Woolf, Wyndham Lewis, and Evelyn Waugh. Bibliog.

A wide-ranging and accessible approach to Godard’s later work, and a major intervention in the study of film and ethics. Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard’s multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics. James S. Williams is Professor of Modern French Literature and Film at Royal Holloway, University of London. His books include Space and Being in Contemporary French Cinema; Gender and French Cinema (coedited with Alex Hughes); and The Erotics of Passage: Pleasure, Politics, and Form in the Later Work of Marguerite Duras.

What does 'literature' mean in our time? While names like Proust, Kafka and Woolf still stand for something, what that something actually is has become obscured by the claims of commerce and journalism. Perhaps a new form of attention is required. Stephen Mitchelmore began writing online in 1996 and became Britain's first book blogger soon after, developing the form so that it can respond in kind to the singular space opened by writing. Across 44 essays, he discusses among many others the novels of Richard Ford, Jeanette Winterson and Karl Ove Knausgaard, the significance for modern writers of cave paintings and the moai of Easter Island, and the enduring fallacy of 'Reality Hunger', all the while maintaining a focus on the strange nature of literary space. By listening to the echoes and resonances of writing, this book enables a unique encounter with literature that many critics habitually ignore. With an introduction by the acclaimed novelist Lars Iyer, This Space of Writing offers a renewed appreciation of the mystery and promise of writing.