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Collapsing concrete colossuses, run-down overgrown skeletons, immutable architectural misfits: the outcasts from our built environment, which we are dying to dispose of — and yet cannot do without — have inspired many ghost stories, crime novels and urban legends. Such narratives reveal the significance of architectural eyesores for the people who live or work in or near them. After exploring various approaches to building lives and deaths, the author presents a rich variety of undesired edifices in Germany, Hungary, Austria and Bosnia-Herzegovina and investigates the different methods used to dispose of them: eliminating, damaging, transforming or ‘reframing’ them, abandoning them to progressive dilapidation or virtually rejecting them. Discarding an edifice, however, need not bring its social life to an end. This analysis continues with a reflection on the afterlife of unwanted buildings, and concludes with a discussion on the life expectancy of buildings, their multi-sensory materiality and ‘thingly’ agency.
These eleven interrelated stories follow strands of hope and nostalgia that bind together, or fence off, the people of Windfall. Eric Shade's fictional western Pennsylvania community is a place we all know: a town bypassed by the interstate, its rail line clogged with coal cars that haven't moved an inch in years. The men of Windfall still vie on the time-honored fields of contest--from bars to bedrooms to football fields--but none is sure any longer what is won or lost. Few certainties linger: the jobs are going fast and the best women are already taken. In the title story, a group of unskilled laborers rerun memories of youth as they race against the dark to demolish the town's drive-in theater. A chain restaurant will take its place. Naomi dumps Dwight at the altar in "Hoops, Wires, and Plugs," but then Dwight fritters away the shamed agitation that could have propelled him beyond Windfall's stunting gravitational pull. In the final story, "Souvenirs," small-time hoods Paxson and Gus do what so many in Windfall can't: get out of town. They're off to Pittsburgh and a contract killing they hope will kick off a more rewarding life of crime. In hands less able than Eric Shade's, Windfall's men would be caricatures, screw-ups with all-too-easy access to the makings of tragedy: pills, booze, fast cars, guns, chain saws. Instead their stories give us new ways to ponder change and its consequences. Windfall stakes out a gritty quarter of the literary map shared by Sherwood Anderson's Winesburg and Thornton Wilder's Grover's Corners.
These eleven interrelated stories follow strands of hope and nostalgia that bind together, or fence off, the people of Windfall. Eric Shade's fictional western Pennsylvania community is a place we all know: a town bypassed by the interstate, its rail line clogged with coal cars that haven't moved an inch in years. The men of Windfall still vie on the time-honored fields of contest—from bars to bedrooms to football fields—but none is sure any longer what is won or lost. Few certainties linger: the jobs are going fast and the best women are already taken. In the title story, a group of unskilled laborers rerun memories of youth as they race against the dark to demolish the town's drive-in theater. A chain restaurant will take its place. Naomi dumps Dwight at the altar in "Hoops, Wires, and Plugs," but then Dwight fritters away the shamed agitation that could have propelled him beyond Windfall's stunting gravitational pull. In the final story, "Souvenirs," small-time hoods Paxson and Gus do what so many in Windfall can't: get out of town. They're off to Pittsburgh and a contract killing they hope will kick off a more rewarding life of crime. In hands less able than Eric Shade's, Windfall's men would be caricatures, screw-ups with all-too-easy access to the makings of tragedy: pills, booze, fast cars, guns, chain saws. Instead their stories give us new ways to ponder change and its consequences. Windfall stakes out a gritty quarter of the literary map shared by Sherwood Anderson's Winesburg and Thornton Wilder's Grover's Corners.
"The author presents a rich variety of undesired edifices in Germany, Hungary, Austria and Bosnia-Herzegovina and investigates the different methods used of dispose of them... This analysis continues with a reflection on the afterlife of unwanted buildings, and concludes with a discussion on the life expectancy of buildings, their multi-sensory materiality and 'thing-ly' agency." -- From back cover.
Vol. for 1867 includes Illustrated catalogue of the Paris Universal Exhibition.
Mike Royko: The Chicago Tribune Collection 1984–1997 is an expansive new volume of the longtime Chicago news legend’s work. Encompassing thousands of his columns, all of which originally appeared in the Chicago Tribune, this is the first collection of Royko work to solely cover his time at the Tribune. Covering politics, culture, sports, and more, Royko brings his trademark sarcasm and cantankerous wit to a complete compendium of his last 14 years as a newspaper man. Organized chronologically, these columns display Royko's talent for crafting fictional conversations that reveal the truth of the small-minded in our society. From cagey political points to hysterical take-downs of "meatball" sports fans, Royko's writing was beloved and anticipated anxiously by his fans. In plain language, he "tells it like it is" on subjects relevant to modern society. In addition to his columns, the book features Royko's obituary and articles written about him after his death, telling the tale of his life and success. This ultimate collection is a must-read for Royko fans, longtime Chicago Tribune readers, and Chicagoans who love the city's rich history of dedicated and insightful journalism.
While in the Navy, he won three Chief of Information (CHINFO) Merit Awards for writing and the Thomas Jefferson Award from the Department of Defense (DOD) for a photo feature. He was also the recipient of the 2002 Pluma Award in Journalism from the Gintong Pamana Awards Foundation, Inc. of Chicago, Illinois. He lives in Seattle, Washington, where he writes his weekly column, A Cup o' Kapeng Barako.