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Novelist, memoirist, diarist, and gay pioneer Christopher Isherwood left a wealth of writings. Known for his crisp style and his camera-like precision with detail, Isherwood gained fame for his Berlin Stories, which served as source material for the hit stage musical and Academy Award–winning film Cabaret. More recently, his experiences and career in the United States have received increased attention. His novel A Single Man was adapted into an Oscar-nominated film; his long relationship with the artist Don Bachardy, with whom he shared an openly gay lifestyle, was the subject of an award-winning documentary, Chris & Don: A Love Story; and his memoir, Christopher and His Kind, was adapted for the BBC. Isherwood’s colorful journeys took him from post–World War I England to Weimar Germany to European exile to Golden Age Hollywood to Los Angeles in the full flower of gay liberation. After the publication of his diaries, which run to more than one million words and span nearly a half century, it is possible to fully assess his influence. This collection of essays considers Isherwood’s diaries, his vast personal archive, and his published works and offers a multifaceted appreciation of a writer who spent more than half of his life in southern California. James J. Berg and Chris Freeman have brought together the most informative scholarship of the twenty-first century to illuminate the craft of one of the singular figures of the twentieth century. Isherwood, the American, emerges from the shadow of his English reputation to stake his claim as a significant force in late twentieth-century American culture whose legacy continues in the twenty-first century. Contributors: Joshua Adair, Murray State U; Jamie Carr, Niagara U; Robert L. Caserio, Pennsylvania State U; Niladri Chatterjee, U of Kalyani, India; Lisa Colletta, American U of Rome; Lois Cucullu, U of Minnesota; Mario Faraone; Peter Edgerly Firchow; Rebecca Gordon Stewart; William R. Handley, U of Southern California; Jaime Harker, U of Mississippi; Sara S. Hodson, Huntington Library; Carola M. Kaplan, California State U, Pomona; Benjamin Kohlmann, U of Freiburg, Germany; Victor Marsh, U of Queensland; Tina Mascara; Stephen McCauley; Paul M. McNeil, Columbia U; Guido Santi, College of the Canyons, California; Kyle Stevens, Brandeis U.
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We all know we're not supposed to judge books by their covers, but the truth is that we do just that nearly every time we walk into a bookstore or pull a book off a tightly packed shelf. It's really not something we should be ashamed about, for it reinforces something we sincerely believe: design matters. At its best, book cover design is an art that transcends the publisher's commercial imperativesto reflect both an author's ideas and contemporary cultural values in a vital, intelligent, and beautiful way. In this groundbreaking and lavishly illustrated history, authors Ned Drew and Paul Sternberger establish American book cover design as a tradition of sophisticated, visual excellence that has put shape to our literary landscape. By Its Cover traces the story of the American book cover from its inception as a means of utilitarian protection for the book to its current status as an elaborately produced form of communication art. It is, at once, the intertwined story of American graphic design and American literature, and features the work of such legendary figures as Rockwell Kent, E. McKnight Kauffer, Paul Rand, Alvin Lustig, Rudy deHarak, and Roy Kuhlman along with more recent and contemporary innovators including Push Pin Studios, Chermayeff & Geismar, Karen Goldberg, Chip Kidd, and John Gall.
"Few realized in 1938 that a revolution was about to take place. A little book appeared in drugstores and on newsstands that would fit into the typical pocket. There was no real binding, no dust jacket; just a colorful, laminated cover....by summer of 1939 everybody was buying and reading them. Regarded by many as disposable distractions, a few people put them aside and started collections that we realize are a valuable and collectible archive of American culture. From the glittering images of square-jawed cowboys to the gritty slum-dwellers of social realism, The Great American Paperback is a bountiful museum of over 600 brilliant covers, each of them a miniature gem evocative of the fashions and attitudes of its era."--book jacket.
Only weeks after the D-Day invasion of June 6, 1944, a surprising cargo—crates of books—joined the flood of troop reinforcements, weapons and ammunition, food, and medicine onto Normandy beaches. The books were destined for French bookshops, to be followed by millions more American books (in translation but also in English) ultimately distributed throughout Europe and the rest of the world. The British were doing similar work, which was uneasily coordinated with that of the Americans within the Psychological Warfare Division of General Eisenhower's Supreme Headquarters, Allied Expeditionary Force, under General Eisenhower's command. Books As Weapons tells the little-known story of the vital partnership between American book publishers and the U.S. government to put carefully selected recent books highlighting American history and values into the hands of civilians liberated from Axis forces. The government desired to use books to help "disintoxicate" the minds of these people from the Nazi and Japanese propaganda and censorship machines and to win their friendship. This objective dovetailed perfectly with U.S. publishers' ambitions to find new profits in international markets, which had been dominated by Britain, France, and Germany before their book trades were devastated by the war. Key figures on both the trade and government sides of the program considered books "the most enduring propaganda of all" and thus effective "weapons in the war of ideas," both during the war and afterward, when the Soviet Union flexed its military might and demonstrated its propaganda savvy. Seldom have books been charged with greater responsibility or imbued with more significance. John B. Hench leavens this fully international account of the programs with fascinating vignettes set in the war rooms of Washington and London, publishers' offices throughout the world, and the jeeps in which information officers drove over bomb-rutted roads to bring the books to people who were hungering for them. Books as Weapons provides context for continuing debates about the relationship between government and private enterprise and the image of the United States abroad. To see an interview with John Hench conducted by C-SPAN at the 2010 annual conference of the Organization of American Historians, visit: http://www.c-spanvideo.org/program/id/222522.
Examines the changes in American civilization from the beginning of the twentieth century to the present.