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Previously published: London: Fig Tree, [2014].
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?
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When the pioneering Taiwanese novelist Qiu Miaojin committed suicide in 1995 at age twenty-six, she left behind her unpublished masterpiece, Last Words from Montmartre.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.
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.
Between 1860 and 1920, artists flocked to take up residence in Montmartre, including Degas, Pissarro, Renoir and Van Gogh. This book sets out to tell the story of these artists and to bring back to life the successive pictorial revolutions in Montmartre.
In 'Harlem in Montmartre', William Shack takes a look at this extraordinary cultural moment, one in which African American musicians could flee the racism of the United States to pursue their lives and art in the relatively free context of bohemian Europe.
Located on the fringes of Paris, Montmartre attracted artists such as Toulouse-Lautrec, Picasso, Steinlen, and Jules Chéret. By the beginning of the twentieth century, the artists in the quarter began to create works blurring the boundaries between fine art and popular illustration, the artist and the audience, as well as class and gender distinctions. The creative expression that ensued was an exuberant mix of high and low-a breeding ground for what is today termed popular culture. The carefully interlocked essays in Montmartre and the Making of Mass Culture demonstrate how and why this quarter was at the forefront of such innovation. The contributors bring an unprecedented range of approaches to the topic, from political and religious history to art historical investigations and literary analysis of texts. This project is the first of its kind to examine fully Montmartre's many contributions to the creation of a mass culture that reigned supreme in the twentieth century.
When the mutilated corpse of a beautiful dancer is found in a Montmartre sewer, a nervous public fears that Jack the Ripper has crossed the Channel—but Inspector Achille Lefebvre has his own theories. Amid the hustle and bustle of the Paris 1889 Universal Exposition, workers discover the mutilated corpse of a popular model and Moulin Rouge Can-Can dancer in a Montmartre sewer. Hysterical rumors swirl that Jack the Ripper has crossed the Channel, and Inspector Achille Lefebvre enters the Parisian underworld to track down the brutal killer. His suspects are the artist Toulouse-Lautrec; Jojo, an acrobat at the Circus Fernando, and Sir Henry Collingwood, a mysterious English gynecologist and amateur artist. Pioneering the as-yet-untried system of fingerprint detection and using cutting edge forensics, including crime scene photography, anthropometry, pathology, and laboratory analysis, Achille attempts to separate the innocent from the guilty. But he must work quickly before the “Paris Ripper” strikes again.
After a beggar girl rescues the drunken, severely deformed French painter Henri Toulouse-Lautrec, he introduces her to his studio, the nightlife of Montmartre, and the cancan dancers at the Moulin Rouge club.
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.