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Poetry. Radically comic, formally inventive, and ridiculously smart, every 8 to 10 years Kevin Davies releases a new book reminding us just how unexpected poetry can be. THE GOLDEN AGE OF PARAPHERNALIA will without doubt garner the applause his previous book COMP. (Edge Books, 2000) received. That garnering included The San Francisco Book Award in 2000 selected by Kevin Killian, write-ups in the New York Times, Village Voice, and Boston Review, translation into French by Xandaire Selene, and extended critical articles in American Literature, Jacket, and The Poker-- i.e. Davies' work has met with more than a little enthusiasm. One example: Joshua Clover in the Village Voice: "Davies often writes long, tumbling sequences that gather force like a dream landslide, with each part standing out as an idiosyncratic scene charged by an alluring voice, or stance, not quite like anything else in contemporary poetry." Cover photograph by Benjamin Friedlander.
Shazam made his debut in Whiz Comics in 1940, and outsold his biggest competitor, Superman, by 14 million copies a month. It wasn't long before a variety of merchandise was licensed--secret decoders, figurines, buttons, paper rockets, tin toys, puzzles, costumes--and a fan club was created to keep up with the demand. These collectibles now sell for outrageous prices on eBay and in comic book stores and conventions. Seventy years later, an unprecedented assortment of these artifacts are gathered together by award-winning writer/designer Chip Kidd and photographer Geo Spear. Join Kidd, Spear, and the World's Mightiest Mortal in this first, fully authorized celebration of ephemera, artwork, and rare, one-of-a-kind toys, and recapture the magic that was Shazam
An original and provocative view of Golden Age still life paintings and the exotic commodities they depict
Christopher Nealon’s reexamination of North America’s poetry in English, from Ezra Pound and W. H. Auden to younger poets of the present day, argues persuasively that the central literary project of the past century was to explore the relationship between poetry and capitalism—its impact on individuals, communities, and cultures.
This is a history, a diary, a dossier of a radical's working life and circumstances among some of the most momentous years of the century. Its pages echo with the crash of rubble, of the old regimes of the Soviet Union and Eastern Europe, of the illusions of the post-Cold War West, of physical landscapes in upheaval. Cockburn's own reflections, both personal and political, are interspersed with letters from Claud Cockburn, Graham Greene, friends and irate readers. There are discussions with Noam Chomsky, dippings into criticism, Colette, transvestism, sexual manners, hate mail.
Christian Gauss Award Shortlist Winner of the ASAP Book Prize A Literary Hub Book of the Year “Makes the case that the gimmick...is of tremendous critical value...Lies somewhere between critical theory and Sontag’s best work.” —Los Angeles Review of Books “Ngai exposes capitalism’s tricks in her mind-blowing study of the time- and labor-saving devices we call gimmicks.” —New Statesman “One of the most creative humanities scholars working today...My god, it’s so good.” —Literary Hub “Ngai is a keen analyst of overlooked or denigrated categories in art and life...Highly original.” —4Columns “It is undeniable that part of what makes Ngai’s analyses of aesthetic categories so appealing...is simply her capacity to speak about them brilliantly.” —Bookforum “A page turner.” —American Literary History Deeply objectionable and yet strangely attractive, the gimmick comes in many guises: a musical hook, a financial strategy, a striptease, a novel of ideas. Above all, acclaimed theorist Sianne Ngai argues, the gimmick strikes us both as working too little (a labor-saving trick) and working too hard (a strained effort to get our attention). When we call something a gimmick, we register misgivings that suggest broader anxieties about value, money, and time, making the gimmick a hallmark of capitalism. With wit and critical precision, Ngai explores the extravagantly impoverished gimmick across a range of examples: the fiction of Thomas Mann, Helen DeWitt, and Henry James; the video art of Stan Douglas; the theoretical writings of Stanley Cavell and Theodor Adorno. Despite its status as cheap and compromised, the gimmick emerges as a surprisingly powerful tool in this formidable contribution to aesthetic theory.
The Fate of Difficulty in the Poetry of Our Time offers original readings of poems composed in this century—poems that are challenging to follow, challenging to understand, challenging to discuss, and challenging to enjoy. Difficult poetry of the past relied on allusion, syntactic complexity, free association, and strange juxtapositions. The new poetry breaks with the old in its stunning variety; its questioning of inherited values, labels, and narratives; its multilingualism; its origin in and production of unnamed affects; and its coherence around critical and social theorists as much as other poets. The essays in this volume include poets writing on the works of a younger generation (Lyn Hejinian on Paolo Javier, Bob Perelman on Rachel Zolf, Roberto Tejada on Rosa Alcalá), influential writers addressing the work of peers (Ben Lerner on Maggie Nelson, Michael W. Clune on Aaron Kunin), critics making imaginative leaps to encompass challenging work (Brian M. Reed on Sherwin Bitsui, Siobhan Philips on Juliana Spahr), and younger scholars coming to terms with poets who continue to govern new poetic experimentation (Joseph Jeon on Myung Mi Kim, Lytle Shaw on Lisa Robertson). In pairings that are both intuitive (Marjorie Perloff on Craig Dworkin) and unexpected (Langdon Hammer on Srikanth Reddy), The Fate of Difficulty in the Poetry of Our Time illuminates the myriad pathways and strategies for exploring difficult poetry of the present.
"You have seen neglected oxbows, but what do you know of their making or of the training of a yoke of oxen?... What do you know of the rambling shoemakers who came to a farmhouse and stayed until each member of the family was newly shod with leather from the farm's cattle? Have you ever wondered about the processes by which our frontiersmen translated forest land into fields of wheat? What do you know about those two first crops of the pioneers, ashes and maple sugar? What do you know of log houses, of shingle making, bridges, and flax growing, of spinning and weaving cloth for a garment that was homegrown and homemade? Here is folk history, the accumulated memory of old men and women whom the author knew,... memories he has substantiated by a lifetime of research."—from the Foreword by Louis C. Jones The Golden Age of Homespun chronicles the occupations, handicrafts, and traditions that defined rural life in upstate New York—and throughout much of America—in the first half of the nineteenth century. First published in 1953, it is an engaging and affectionate account of how land was cleared, farms established, and homes built; of how each family fed, clothed, and warmed itself; and of the trades, crafts, and industries that augmented a primarily agrarian economy. Illustrated with 45 delightful line drawings that depict the activities and implements described by Jared van Wagenen, Jr., The Golden Age of Homespun is an invaluable record of how upstate New York farmers lived on and off the land in the decades before the Civil War—a vanished way of life that still holds strong appeal in the American imagination.