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Housed on the campus of the University of Michigan in Ann Arbor, the University Musical Society is one of the oldest performing arts presenters in the country. A past recipient of the National Medal of Arts, the nation’s highest public artistic honor, UMS connects audiences with wide-ranging performances in music, dance, and theater each season.Between 1987 and 2017, UMS was led by Ken Fischer, who over three decades pursued an ambitious campaign to expand and diversify the organization’s programming and audiences—initiatives inspired by Fischer’s overarching philosophy toward promoting the arts, “Everybody In, Nobody Out.” The approach not only deepened UMS’s engagement with the university and southeast Michigan communities, it led to exemplary partnerships with distinguished artists across the world. Under Fischer’s leadership, UMS hosted numerous breakthrough performances, including the Vienna Philharmonic’s final tour with Leonard Bernstein, appearances by then relatively unknown opera singer Cecilia Bartoli, a multiyear partnership with the Royal Shakespeare Company, and artists as diverse as Yo-Yo Ma, Jawole Willa Jo Zollar, Elizabeth Streb, and Nusrat Fateh Ali Khan. Though peppered with colorful anecdotes of how these successes came to be, this book is neither a history of UMS nor a memoir of Fischer’s significant accomplishments with the organization. Rather it is a reflection on the power of the performing arts to engage and enrich communities—not by handing down cultural enrichment from on high, but by meeting communities where they live and helping them preserve cultural heritage, incubate talent, and find ways to make community voices heard.
Remembering Tanizaki Jun’ichirō and Matsuko provides previously unpublished memories, anecdotes, and insights into the lives, opinions, personalities, and writings of the great novelist Tanizaki Jun’ichirō (1886–1965) and his wife Matsuko (1903–1991), gleaned from the diaries of Edward Seidensticker and two decades of Anthony Chambers’s conversations with Mrs. Tanizaki and others who were close to the Tanizaki family.
The Origins of Bioethics argues that what we remember from the history of medicine and how we remember it are consequential for the identities of doctors, researchers, and patients in the present day. Remembering when medicine went wrong calls people to account for the injustices inflicted on vulnerable communities across the twentieth century in the name of medicine, but the very groups empowered to create memorials to these events often have a vested interest in minimizing their culpability for them. Sometimes these groups bury this past and forget events when medical research harmed those it was supposed to help. The call to bioethical memory then conflicts with a desire for “minimal remembrance” on the part of institutions and governments. The Origins of Bioethics charts this tension between bioethical memory and minimal remembrance across three cases—the Tuskegee Syphilis Study, the Willowbrook Hepatitis Study, and the Cincinnati Whole Body Radiation Study—that highlight the shift from robust bioethical memory to minimal remembrance to forgetting.
COVID-19 is the most significant global crisis of any of our lifetimes. The numbers have been stupefying, whether of infection and mortality, the scale of public health measures, or the economic consequences of shutdown. Coronavirus Politics identifies key threads in the global comparative discussion that continue to shed light on COVID-19 and shape debates about what it means for scholarship in health and comparative politics. Editors Scott L. Greer, Elizabeth J. King, Elize Massard da Fonseca, and André Peralta-Santos bring together over 30 authors versed in politics and the health issues in order to understand the health policy decisions, the public health interventions, the social policy decisions, their interactions, and the reasons. The book’s coverage is global, with a wide range of key and exemplary countries, and contains a mixture of comparative, thematic, and templated country studies. All go beyond reporting and monitoring to develop explanations that draw on the authors' expertise while engaging in structured conversations across the book.
Much of the theater of antiquity is marked by erasures: missing origins, broken genres, fragments of plays, ruins of architecture, absented gods, remains of older practices imperfectly buried and ghosting through the civic productions that replaced them. Ruins: Classical Theater and Broken Memory traces the remains, the remembering, and the forgetting of performance traditions of classical theater. The book argues that it is only when we look back over the accumulation of small evidence over a thousand-year sweep of classical theater that the remarkable and unequaled endurance of the tradition emerges. In the absence of more evidence, Odai Johnson turns instead to the absence itself, pressing its most legible gaps into a narrative about scars, vanishings, erasures, and silence: all the breakages that constitute the ruins of antiquity. In ten wide-ranging case studies, theater history and performance theory are brought together to examine the texts, artifacts, and icons left behind, reading them in fresh ways to offer an elegantly written, extended meditation on “how the aesthetic of ruins offered a model for an ideal that dislodged and ultimately stood in for the historic.”
Edgar Award Finalist: The true story of a serial killer who terrorized a midwestern town in the era of free love—by the coauthor of The French Connection. In 1967, during the time of peace, free love, and hitchhiking, nineteen-year-old Mary Terese Fleszar was last seen alive walking home to her apartment in Ypsilanti, Michigan. One month later, her naked body—stabbed over thirty times and missing both feet and a forearm—was discovered, partially buried, on an abandoned farm. A year later, the body of twenty-year-old Joan Schell was found, similarly violated. Southeastern Michigan was terrorized by something it had never experienced before: a serial killer. Over the next two years, five more bodies were uncovered around Ann Arbor and Ypsilanti, Michigan. All the victims were tortured and mutilated. All were female students. After multiple failed investigations, a chance sighting finally led to a suspect. On the surface, John Norman Collins was an all-American boy—a fraternity member studying elementary education at Eastern Michigan University. But Collins wasn’t all that he seemed. His female friends described him as aggressive and short tempered. And in August 1970, Collins, the “Ypsilanti Ripper,” was arrested, found guilty, and sentenced to life in prison without chance of parole. Written by the coauthor of The French Connection, The Michigan Murders delivers a harrowing depiction of the savage murders that tormented a small midwestern town.
Finalist for the International Booker Prize and the National Book Award A haunting Orwellian novel about the terrors of state surveillance, from the acclaimed author of The Housekeeper and the Professor. On an unnamed island, objects are disappearing: first hats, then ribbons, birds, roses. . . . Most of the inhabitants are oblivious to these changes, while those few able to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. When a young writer discovers that her editor is in danger, she concocts a plan to hide him beneath her f loorboards, and together they cling to her writing as the last way of preserving the past. Powerful and provocative, The Memory Police is a stunning novel about the trauma of loss. ONE OF THE BEST BOOKS OF THE YEAR THE NEW YORK TIMES * THE WASHINGTON POST * TIME * CHICAGO TRIBUNE * THE GUARDIAN * ESQUIRE * THE DALLAS MORNING NEWS * FINANCIAL TIMES * LIBRARY JOURNAL * THE A.V. CLUB * KIRKUS REVIEWS * LITERARY HUB American Book Award winner
WITH A FOREWORD BY LISA M. FINE, MICHIGAN STATE UNIVERSITY—Michigan’s Upper Peninsula is known for its natural beauty and severe winters, as well as the mines and forests where men labored to feed industrial factories elsewhere in the nineteenth and twentieth centuries. But there were factories in the Upper Peninsula, too, and women who worked in them. Phyllis Michael Wong tells the stories of the Gossard Girls, women who sewed corsets and bras at factories in Ishpeming and Gwinn from the early twentieth century to the 1970s. As the Upper Peninsula’s mines became increasingly exhausted and its stands of timber further depleted, the Gossard Girls’ income sustained both their families and the local economy. During this time the workers showed their political and economic strength, including a successful four-month strike in the 1940s that capped an eight-year struggle to unionize. Drawing on dozens of interviews with the surviving workers and their families, this book highlights the daily challenges and joys of these mostly first- and second-generation immigrant women. It also illuminates the way the Gossard Girls navigated shifting ideas of what single and married women could and should do as workers and citizens. From cutting cloth and distributing materials to getting paid and having fun, Wong gives us a rare ground-level view of piecework in a clothing factory from the women on the sewing room floor.
In v.1-8 the final number consists of the Commencement annual.
The brilliant but star-crossed Rich Rodriguez led the young Wolverines through three of the program's toughest seasons. With the entire sports world watching, they enjoyed thrilling victories and suffered heartbreaking losses.