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When and how did pop music earn so much cultural capital? This text investigates five key moments when popular music and avant-garde art transgressed the rigid boundaries separating high and low culture to form friendly alliances.
Illuminates the expatriate African American community of jazz musicians that thrived in the Montmartre district of Paris in the '20s and '30s and helped turn the "city of lights" into the major jazz capital it remains today.
An NYRB Classics Original When the pioneering Taiwanese novelist Qiu Miaojin committed suicide in 1995 at age twenty-six, she left behind her unpublished masterpiece, Last Words from Montmartre. Unfolding through a series of letters written by an unnamed narrator, Last Words tells the story of a passionate relationship between two young women—their sexual awakening, their gradual breakup, and the devastating aftermath of their broken love. In a style that veers between extremes, from self-deprecation to pathos, compulsive repetition to rhapsodic musings, reticence to vulnerability, Qiu’s genre-bending novel is at once a psychological thriller, a sublime romance, and the author’s own suicide note. The letters (which, Qiu tells us, can be read in any order) leap between Paris, Taipei, and Tokyo. They display wrenching insights into what it means to live between cultures, languages, and genders—until the genderless character Zoë appears, and the narrator’s spiritual and physical identity is transformed. As powerfully raw and transcendent as Mishima’s Confessions of a Mask, Goethe’s The Sorrows of Young Werther, and Theresa Cha’s Dictée, to name but a few, Last Words from Montmartre proves Qiu Miaojin to be one of the finest experimentalists and modernist Chinese-language writers of our generation.
Parisian P.I. Aimée Leduc strives to clear the name of a childhood friend, now a policewoman, who's charged with shooting her partner Aimée Leduc is having a bad day. First, she comes home from work at her Paris detective agency to learn that her boyfriend is leaving her. She goes out for a drink with her friend Laure, a police officer, but Laure’s patrol partner, Jacques, interrupts, saying he needs to talk to Laure urgently. The two leave the bar, and when they don’t return, Aimée follows Laure’s path and finds her sprawled on a snowy rooftop, not far from Jacques, who is bleeding from a fatal gunshot wound. When the police arrive, they arrest Laure for murder. No one is interested in helping Aimée figure out the truth. As she chases down increasingly dangerous leads in the effort to free her friend, Aimée stumbles into a web of Corsican nationalists, separatists, gangsters, and artists. Could Jacques’s murder and Laure’s arrest be part of a much bigger cover-up?
Previously published: London: Fig Tree, [2014].
Is Paris really the eternal City of Love? Dumped suddenly by her Parisian boyfriend, sultry expat Lily is left wondering if je t'aime still exists. Instead of crying into her glass of wine, she decides to heal her bruised ego and quash her romantic doubts with a carefree summer fling . . . or as the French call it: une aventure. Supported by her faithful friends and trusty Saint Amour wine, Lily embarks on her presumably easy quest. Little does she know what-or whom-this adventure has in store! Rather than guide her into the arms of a perfect summer amoureux, the sexy streets of Paris lead her from one impossible candidate to another: disappearing foxy Frenchmen, unavailable Latino heartthrobs, overly-mysterious world travelers, mistress-hunting married men, and not-so-single amnesiacs-oh la la! As her amorous mishaps accumulate, Lily gradually re-evaluates her strategy. But will her good intentions be enough to lead her to the right homme . . . one who might last out the summer-and maybe even beyond? Or will she continue to get embroiled in more mesaventure? This novelized memoir tells the tantalizingly true romantic odyssey of a 21st-Century young woman caught in the mire of desires-which is only intensified by the passion of Paris.
The Post-Impressionist art of Toulouse-Lautrec (1864-1901), is accompanied by a particularly interesting text by O'Connor, and great period photographs, in many cases of the same subjects as the art works. 9 3/4 x12 1/2 ". Annotation c. by Book News, Inc., Portland, Or.
Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial. Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.
A case involving a countess's shadowy past draws Chief Inspector Maigret into the world of striptease artists and morphine addicts.
Tells the fascinating story of African American women who traveled to France to seek freedom of expression. During the Jazz Age, France became a place where an African American woman could realize personal freedom and creativity, in narrative or in performance, in clay or on canvas, in life and in love. These women were participants in the life of the American expatriate colony, which included F. Scott Fitzgerald, Gertrude Stein, and Cole Porter, and they commingled with bohemian avant-garde writers and artists like Picasso, Breton, Colette, and Matisse. Bricktop’s Paris introduces the reader to twenty-five of these women and the city they encountered. Following this nonfiction account, T. Denean Sharpley-Whiting provides a fictionalized autobiography of Ada “Bricktop” Smith, which brings the players from the world of nonfiction into a Paris whose elegance masks a thriving underworld. “Bricktop’s Paris vibrantly recreates and reimagines the fascinating world of Jazz Age Paris by placing black women at the center of the story. T. Denean Sharpley-Whiting gives us a valuable new perspective on Ada “Bricktop” Smith, giving her the prominence usually attributed to Josephine Baker. She also provides detailed portraits of other singers, musicians, writers, and artists who left America for the French capital. Written with enthusiasm and insight, Bricktop’s Paris underscores the importance of women to transatlantic black modernity.” — Tyler Stovall, author of Paris Noir: African Americans in the City of Light “Bricktop’s Paris is a remarkable feat. Sharpley-Whiting’s book is a woman’s story about dreaming and making dreams happen. It is a political story, a story about migration, and re-creation. It is a dazzling account of bold women reshaping their lives as New Women/Modern Women and black women in Europe. A woman’s place is not only viewed in the sphere of domesticity through Sharpley-Whiting’s writing, she also reimagines the complexity of life far away from home and on stage, in the studio, and in the nightclub. She captures their spirit and desires and walks us through this history arm and arm, singing, writing, dancing, and making art. I fell in love with these women as I empathized with their struggles, some of them I knew through other writings but through Sharpley-Whiting I felt as if I knew them intimately as they made their lives count some fifty years after Reconstruction. She restores their voices and their bodies and makes them present for the contemporary reader. Brilliant!” — Deborah Willis, author of Posing Beauty: African American Images from the 1890s to the Present “Bricktop’s Paris is a marvelous book that further consolidates Sharpley-Whiting’s record of pioneering research, a meticulous archeological excavation of the artistic, cultural, political, and social contributions made by African American women in Paris during the interwar years. This was a period that increasingly linked racial advocacy with colonial emancipation and during which African American women achieved unprecedented levels of creative and personal freedom while shaping broader conversations on identity and race. Bricktop’s Paris promises to inspire a new generation of researchers and will become an incontrovertible point of reference in assessing the intellectual history of the era.” — Dominic Thomas, Madeleine L. Letessier Professor of French and Francophone Studies, University of California, Los Angeles