Download Free Ruth Weiss Book in PDF and EPUB Free Download. You can read online Ruth Weiss and write the review.

Based on a true tale, My Sister Sara begins in December 1948. The Leroux family stands on Cape Town's docks to welcome their newest member, a blonde, blue-eyed war orphan that patriotic Pa has "ordered" from Germany. The God-fearing clan falls in love with the bright four-year-old. Even stern Pa, an architect of Apartheid, is softened by the orphan's presence until a document arrives revealing a terrible secret. Everything changes. The truth must never come out. Pa swears the family to secrecy. Sara is fed and clothed but never shown affection again. And never told the reason why. Told through the eyes of her adoptive brother Jo, Sara's past underscores her present against the heinous backdrop of Apartheid in the 1950's and 60's. She must call on Anne Frank-like courage to resist her enemies, even those with the Leroux name, if she is to have any hope of finding her place in the world.
ruth weiss, born in Berlin in 1928 to Austrian-Jewish parents, arrived in San Francisco in 1952 after hitchhiking through the United States. Crowned years later as the “Goddess of the Beat Generation” by San Francisco Chronicle critic Herb Caen, weiss has worked for almost seven decades with a plurality of artistic forms. Despite her extensive poetry career and very active participation in the West Coast buzzing artistic community since the early 1950s, weiss has remained an essentially overlooked figure in poetry history. This neglect might be representative of the overshadowing of female artists within the Beat Generation as “a marginalized group within an always already marginalized bohemia” (Johnson). The volume taps directly into this lacuna by proving the first close study on one of the most prolific members of the so-called Beat Generation. Offering diverse and comprehensive points of entrance into weiss’s oeuvre, the essays in this volume adopt a multidisciplinary approach that attests to the cross-pollination between art forms in postwar counterculture. In addition, the volume also includes shorter, non-academic contributions and previously unpublished archival material. Bringing together scholars, academics and artists from around the world, this volume represents a timely and much-needed response to the increasing interest in weiss’s work in the last decades.
Take a journey into the heart and passion of one of the most brilliant voices of the American Counter-Culture Movement. While men took the spotlight, it was women like ruth weiss who would breathe feminine spirit into the fight for equality between the sexes, the races, and the classes. Celebrated in Europe and under-acknowledged* in the US, during the course of her life ruth weiss innovated poetry with jazz in the San Francisco North Beach scene of the 1950s with contemporaries Jack Kerouac, Allen Ginsberg, Lawrence Ferlinghetti, Bob Kaufman, and others. For the first time in print, one of the last of the original Beat poets ruth weiss presents two masterpiece long form poems: COMPASS (about a road trip through Mexico) and I ALWAYS THOUGHT YOU BLACK (a tribute to her African-American artist friends). Also included are two short form poems TEN TEN and POST-CARD 1995, and a biography of ruth weiss' life by Horst Spandler: ruth weiss and the American Beat Movement of the '50s and '60s.
ruth weiss, born in Berlin in 1928 to Austrian-Jewish parents, arrived in San Francisco in 1952 after hitchhiking through the United States. Crowned years later as the "Goddess of the Beat Generation" by San Francisco Chronicle critic Herb Caen, weiss has worked for almost seven decades with a plurality of artistic forms. Despite her extensive poetry career and very active participation in the West Coast buzzing artistic community since the early 1950s, weiss has remained an essentially overlooked figure in poetry history. This neglect might be representative of the overshadowing of female artists within the Beat Generation as "a marginalized group within an always already marginalized bohemia" (Johnson). The volume taps directly into this lacuna by proving the first close study on one of the most prolific members of the so-called Beat Generation. Offering diverse and comprehensive points of entrance into weiss's oeuvre, the essays in this volume adopt a multidisciplinary approach that attests to the cross-pollination between art forms in postwar counterculture. In addition, the volume also includes shorter, non-academic contributions and previously unpublished archival material. Bringing together scholars, academics and artists from around the world, this volume represents a timely and much-needed response to the increasing interest in weiss's work in the last decades.
In this book, Ruth Wisse evokes and applauds the genius of spontaneous Jewish joking--as well as the brilliance of comic masterworks by writers like Heinrich Heine, Sholem Aleichem, Isaac Babel, S. Y. Agnon, Isaac Bashevis Singer, and Philip Roth. A.
Powerful, page-turning and deeply moving, Naomi Ragen's The Sisters Weiss is an unforgettable examination of loyalty and betrayal; the differences that can tear a family apart and the invisible bonds that tie them together. In 1950's Brooklyn, sisters Rose and Pearl Weiss grow up in a loving but strict ultra-Orthodox family, never dreaming of defying their parents or their community's unbending and intrusive demands. Then, a chance meeting with a young French immigrant turns Rose's world upside down, its once bearable strictures suddenly tightening like a noose around her neck. In rebellion, she begins to live a secret life – a life that shocks her parents when it is discovered. With nowhere else to turn, and an overwhelming desire to be reconciled with those she loves, Rose tries to bow to her parents' demands that she agree to an arranged marriage. But pushed to the edge, she commits an act so unforgivable, it will exile her forever from her innocent young sister, her family, and all she has ever known. Forty years later, pious Pearl's sheltered young daughter Rivka suddenly discovers the ugly truth about her Aunt Rose, the outcast, who has moved on to become a renowned photographer. Inspired, but nave and reckless, Rivka sets off on a dangerous adventure that will stir up the ghosts of the past, and alter the future in unimaginable ways for all involved.
"Both a page-turning drama and an inspiration for every reader"--Hillary Rodham Clinton Soon to Be a Major Television Event The nail-biting climax of one of the greatest political battles in American history: the ratification of the constitutional amendment that granted women the right to vote. "With a skill reminiscent of Robert Caro, [Weiss] turns the potentially dry stuff of legislative give-and-take into a drama of courage and cowardice."--The Wall Street Journal "Weiss is a clear and genial guide with an ear for telling language ... She also shows a superb sense of detail, and it's the deliciousness of her details that suggests certain individuals warrant entire novels of their own... Weiss's thoroughness is one of the book's great strengths. So vividly had she depicted events that by the climactic vote (spoiler alert: The amendment was ratified!), I got goose bumps."--Curtis Sittenfeld, The New York Times Book Review Nashville, August 1920. Thirty-five states have ratified the Nineteenth Amendment, twelve have rejected or refused to vote, and one last state is needed. It all comes down to Tennessee, the moment of truth for the suffragists, after a seven-decade crusade. The opposing forces include politicians with careers at stake, liquor companies, railroad magnates, and a lot of racists who don't want black women voting. And then there are the "Antis"--women who oppose their own enfranchisement, fearing suffrage will bring about the moral collapse of the nation. They all converge in a boiling hot summer for a vicious face-off replete with dirty tricks, betrayals and bribes, bigotry, Jack Daniel's, and the Bible. Following a handful of remarkable women who led their respective forces into battle, along with appearances by Woodrow Wilson, Warren Harding, Frederick Douglass, and Eleanor Roosevelt, The Woman's Hour is an inspiring story of activists winning their own freedom in one of the last campaigns forged in the shadow of the Civil War, and the beginning of the great twentieth-century battles for civil rights.
Reopening the canons of the Beat Generation, Blows Like a Horn traces the creative counterculture movement as it cooked in the heat of Bay Area streets and exploded into spectacles, such as the scandal of the Howl trial and the pop culture joke of beatnik caricatures. Preston Whaley shows Beat artists riding the glossy exteriors of late modernism like a wave. Participants such as Lawrence Lipton, Lawrence Ferlinghetti, and at great personal cost, even Jack Kerouac, defied the traditional pride of avant-garde anonymity. They were ambitious to change the culture and used mass-mediated scandal, fame, and distortion to attract knowing consumers to their poetry and prose. Blows Like a Horn follows the Beats as they tweaked the volume of excluded American voices. It watches vernacular energies marching through Beat texts on their migration from shadowy urban corners and rural backwoods to a fertile, new hyper-reality, where they warped into stereotypes. Some audiences were fooled. Others discovered truths and were changed. Mirroring the music of the era, the book breaks new ground in showing how jazz, much more than an ambient soundtrack, shaped the very structures of Beat art and social life. Jazz, an American hybrid—shot through with an earned-in-the-woodshed, African American style of spontaneous intelligence—also gave Beat poetry its velocity and charisma. Blows Like a Horn plumbs the actions and the art of celebrated and arcane Beat writers, from Allen Ginsberg to ruth weiss. The poetry, the music, the style—all of these helped transform U.S. culture in ways that are still with us.