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Director of the Chapman journalism program—and mother of four recent college grads—Susan F. Paterno leads you through the admissions process to help you and your family make the best decision possible. How is it possible that Harvard is more affordable for most American families than their local state university? Or that up to half of eligible students receive no financial aid? Or that public universities are rejecting homegrown middle- and working-class applicants and instead enrolling wealthy out-of- state students? College admission has escalated into a high-stakes game of emotional and financial survival. How is the deck stacked against you? And what can you do about it? Susan F. Paterno, a veteran academic and journalist, answers these questions and more in Game On. Paterno helped her four very different kids navigate the application process to a wide range of colleges, paying for their four-year educations on a finite budget. She incisively decodes the college admission industry—the consultants, the tutors, the rankers, the branding companies hawking “advantage”—and arms you with the knowledge you need to make the system work for you. You’ll learn how to narrow your focus, analyze who gets in and why, and look for the right financial fit before considering anything else, including geography, reputation, and, especially, ranking. Among the tools and insights in Game On: · Why forty years of failed free-market policies have led to skyrocketing tuition and historic levels of student debt · Why applying to college has become a bewildering maze and how to find your way to a successful result · Why college costs are more terrifying than you think · How to read beyond the rack rate to negotiate the best financial package with the least debt · Why merit is a myth, but merit aid is essential · The difference between family debt and student debt and how to split it A playbook for the Hunger Games of higher education, Game On explains the anxiety, uncertainty, and chaos in college admission, explodes the myth of meritocracy, exposes the academy’s connection to America’s widening gap between rich and poor, and provides strategies to beat—and reform—a broken system.
The coverage of this book ranges from Jack Kerouac's tales of freedom-seeking Bohemian youth to the frenetic paintings of Jackson Pollock, including 60 years of the Beat Generation and the artists of the Age of Spontaneity. Beat Culture captures in a single volume six decades of cultural and countercultural expression in the arts and society. It goes beyond other works, which are often limited to Beat writers like William Burroughs, Charles Bukowski, and Michael McClure, to cover a wide range of musicians, painters, dramatists, filmmakers, and dancers who found expression in the Bohemian movement known as the Beat Generation. Top scholars from the United States, England, Holland, Italy, and China analyze a vast array of topics including sexism, misogny, alcoholism, and drug abuse within Beat circles; the arrest of poet Lawrence Ferlinghetti on obscenity charges; Beat dress and speech; and the Beat "pad." Through more than 250 entries, which travel from New York to New Orleans, from San Francisco to Mexico City, students, scholars, and those interested in popular culture will taste the era's rampant freedom and experimentation, explore the impact of jazz on Beat writings, and discover how Beat behavior signaled events such as the sexual revolution, the peace movement, and environmental awareness.
'[This] survey of the many little magazines carrying the Beat message is impressive in its coverage, drawing attention to the importance of their paratextual content in providing valuable socio-political context. [...] The collection contains a range of insightful close readings, astute contextualizing, and inventive lateral pedagogical thinking, charting the transformation of the Beat scene from its free-wheeling, self-help, heady revolutionary 1960's days to its contemporary position as an increasingly respectable component of the curriculum. [...] The Beats: A Teaching Companion is successful on a number of levels; it is a noteworthy contribution to the ever expanding field of Beat studies and, more broadly, cultural studies; and it is a collection that at its best gives hope that in referring to its ideas the inspired teacher may still be able to enlarge the lives of their students.' John Shapcott, Keele University
Readers and acolytes of the vital early 1950s-mid 1960s writers known as the Beat Generation tend to be familiar with the prose and poetry by the seminal authors of this period: Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Diane Di Prima, and many others. Yet all of these authors, as well as other less well-known Beat figures, also wrote plays-and these, together with their countercultural approaches to what could or should happen in the theatre-shaped the dramatic experiments of the playwrights who came after them, from Sam Shepard to Maria Irene Fornes, to the many vanguard performance artists of the seventies. This volume, the first of its kind, gathers essays about the exciting work in drama and performance by and about the Beat Generation, ranging from the well-known Beat figures such as Kerouac, Ginsberg and Burroughs, to the “Afro-Beats” - LeRoi Jones (Amiri Baraka), Bob Kaufman, and others. It offers original studies of the women Beats - Di Prima, Bunny Lang - as well as groups like the Living Theater who in this era first challenged the literal and physical boundaries of the performance space itself.
An anthology of the best of the beats edited by Anne Waldman (who should know) and containing a chronology of the movement from Kerouac to Snyder. The emphasis is on the the poetry and prose excerpts; However, the volume includes brief biographical sketches, an introduction by Ginsberg, a recommended beat vacation guide of the places where the gang passed out or recovered, and more scholarly references. The writers selected for inclusion represent the core of beat: Corso, Kerouac, Ginsberg, Orlovsky, di Prima, Burroughs, Baraka, Ferlinghetti, Kyger, Kandel, Kaufman, Whalen, McClure, and Snyder. Annotation copyright by Book News, Inc., Portland, OR
This Companion offers an in-depth overview of the Beat era, one of the most popular literary periods in America.
"Francis O'Neill was Chicago's larger-than-life police chief, starting in 1901- and he was an Irish immigrant with an intense interest in his home country's music. In documenting and publishing his understanding of Irish musical folkways, O'Neill became the foremost shaper of what "Irish music" meant. He favored specific rural forms and styles, and as Michael O'Malley shows, he was the "beat cop" -actively using his police powers and skills to acquire knowledge about Irish music and to enforce a nostalgic vision of it"--