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The Olympia Press published numerous books that defied censorship laws. Written by an Olympia book-smuggler turned bibliographer, The Paris Olympia Press provides an excellent account of the Press, its books and its authors, and includes a full bibliography, an overview of censorship laws and a foreword by the late Maurice Girodias, Olympia Press's founder.
The Paris Olympia Press, successor to the famed Obelisk Press, run by Obelisk-founder Jack Kahane's son Maurice Giriodas, picked up where Obelisk left off. The "dirty books" published by the Paris Olympia Press grew even dirtier than Kahane's most explicit publications, and Giriodas's avant-garde literary endeavors soon outstripped those of his father. The first to publish William Burroughs's "Naked Lunch," Vladimir Nabokov's "Lolita," and Samuel Beckett's "Molloy," the Paris Olympia Press drew acclaim and controversy for its literary contributions during the "golden age of erotica," a time when starving artists and intellectuals, academics and journalists, wrote erotic fiction under the cover of pseudonyms to pay the bills. In "The Paris Olympia Press," renowned bibliographer Patrick Kearney compiles a detailed account of the Press's publishing activities, including biographical sketches of its authors, an introduction to the Press's literary achievements, and a complete bibliography of works published. An extensive illustrated study, "The Paris Olympia Press" catalogs and comments on the early work of some of the most influential writers of the twentieth century.
The story of the Olympia Press is one of the most flamboyant in publishing history. In the 1950s, when dirty books (and great ones) were being banned in Britain and America, Maurice Girodias launched a career in Paris that earned him the nickname the "Prince of Porn". John de St. Jorre gives a high-spirited account of this infamous publisher whose eclectic list included Lolita, The Ginger Man, Henry Miller's several Tropics, and the outrageous romp called Candy. Photos.
White Thighs is the amorous tale of Saul, a young European striving to succeed in America, as his erotic explorations transport him from the jaded complacency of the Old World to the heated wilds of New England; from a young boy of raw and ripening passions to a man whose lust for life drives him to wizened betrayals. As Saul submits to the role-playing episodes of his brilliantly cruel house cook Kirstin, his plan to reclaim his darkly beautiful childhood governess Anna against the advice of a meddling old lawyer begins to sink under the weight of his craving for a more profound expression of control. Saul's maddening love of dominance leads to a denoument that is as satisfying as it is surprising.
Eunice Lipton was a fledging art historian when she first became intrigued by Victorine Meurent, the nineteenth-century model who appeared in Edouard Manet's most famous paintings, only to vanish from history in a haze of degrading hearsay. But had this bold and spirited beauty really descended into prostitution, drunkenness, and early death—or did her life, hidden from history, take a different course altogether? Eunice Lipton's search for the answer combines the suspense of a detective story with the revelatory power of art, peeling off layers of lies to reveal startling truths about Victorine Meurent—and about Lipton herself.
In Naked Lunch, William S. Burroughs revealed his genius. In The Soft Machine he begins an adventure that will take us even further into the dark recesses of his imagination, a region where nothing is sacred, nothing taboo. Continuing his ferocious verbal assault on hatred, hype, poverty, war, bureaucracy, and addiction in all its forms, Burroughs gives us a surreal space odyssey through the wounded galaxies in a book only he could create.
In a delightfully different account of art and politics during the Second Empire, Friedrich sketches a landscape that encompasses Napoleon III, Flaubert, Wagner, Proust, Degas, Zola, Monet, Hugo, Manet, and many others, both famous and infamous. Photographs.
Short fragments and essays that explore how a seemingly irrelevant aesthetic detail may cause the eruption of sublimity within the mundane. That the nude painted by Manet (in a painting so conceptually new that it created a scandal in its day) achieves so much truth through such a minor detail, that ribbon that modernizes Olympia and, even more than a beauty mark or a patch of freckles would, renders her more precise and more immediately visible, making her a woman with ties to a particular milieu and era: that is what lends itself to reflection, if not divagation! —from The Ribbon at Olympia's Throat In The Ribbon at Olympia's Throat, Michel Leiris investigates what Lydia Davis has called the “expressive power of fetishism”: how a seemingly irrelevant aesthetic detail may cause the eruption of sublimity within the mundane. Written in 1981, toward the end of Leiris's life, The Ribbon at Olympia's Throat serves as a coda to his autobiographical masterwork, The Rules of the Game, taking the form of both shorter fragments (poems, memory scraps, notes) that are as formally disarming as the fetishistic experiences they describe, and longer essays, more exhaustive critical meditations on writing, apprehension, and the nature of the modern. Rooted in remembrance, devoted to the kaleidoscopic intricacies of wordplay, Leiris draws from his own aesthetic experiences as writer and spectator to explore the fetish that “exposes and disarms the sinister passage of time,” conferring “an undeniable realness upon the whole by essentially causing it to crystallize in a reality it would never have possessed if that sturdy fragment hadn't acted as bait.”