Proceeding sentence by sentence, city by city, and backwards in time, poet and essayist Kazim Ali details the struggle of coming of age between cultures, overcoming personal and family strictures to talk about private affairs and secrets long held. The text is comprised of sentences that alternate in time, ranging from discursive essay to memoir to prose poetry. Art, history, politics, geography, love, sexuality, writing, and religion, and the role silence plays in each, are its interwoven themes. Bright Felon is literally "autobiography" because the text itself becomes a form of writing the life, revealing secrets, and then, amid the shards and fragments of experience, dealing with the aftermath of such revelations. Bright Felon offers a new and active form of autobiography alongside such texts as Theresa Hak Kyung Cha's Dictee, Lyn Hejinian's My Life, and Etel Adnan's In the Heart of the Heart of Another Country. A reader's companion is available at http: //brightfelonreader.site.wesleyan.edu/

    David Levi Strauss writes in his essay: "The constitutive facts of Francesca Woodman's life are by now well known. We know that she was born in 1958, that she began taking photographs seriously at age thirteen or fourteen and continued this involvement into her twenty-second year, building up, in this brief time, a remarkably coherent and affecting body of work. And we know that on January 19, 1981, just two and a half months before her twenty-third birthday, she took her own life, leaping from a window on the Lower East Side in Manhattan to her death". This volume, containing many unpublished images, finally allows us to discover the full body of work of this artist, created in Rhode Island, Rome, New York, MacDowell Colony, New Hampshire: self-portraits, mise-en-scenes, nudes, and deeply emotional collage-like images. They all show her intense relation with the camera and her own self, long before this kind of picture-making became fashionable.

    Every day, Thibault, a paramedic, drives where his dispatcher directs him, fighting traffic to attend to disasters. For many of the people he rushes to treat, he represents the only human connection in their day. Mathilde and Thibault are just two figures being pushed and shoved in a lonesome, crowded city. But what might happen if these two souls, traveling their separate paths, could meet?Delphine de Vigan's novel tells of urban isolation with poetic precision and resilient humor, in the much lauded follow-up to her bestselling No and Me.Praise for No and Me:"Thought-provoking and often poetic musings about No's life challenge readers to rethink their responsibilities to humankind...Quiet yet gripping."-Kirkus Reviews "All ages will find much to relish in this deceptively simple tale that is touching and enlightening." -Herald (Scotland)

    Julie Delporte examines cultural artifacts and sometimes traumatic memories through the lens of the woman she is today—a feminist who understands the reality of the women around her, how experiencing rape culture and sexual abuse is almost synonymous with being a woman, and the struggle of reconciling one’s feminist beliefs with the desire to be loved. She sometimes resents being a woman and would rather be anything but.Told through beautifully evocative colored pencil drawings and sparse but compelling prose, This Woman’s Work documents Delporte’s memories and cultural consumption through journal-like entries that represent her struggles with femininity and womanhood. She structures these moments in a nonlinear fashion, presenting each one as a snapshot of a place and time—trips abroad, the moment you realize a relationship is over, and a traumatizing childhood event of sexual abuse that haunts her to this day. While This Woman’s Work is deeply personal, it is also a reflection of the conversations that women have with themselves when trying to carve out their feminist identity. Delporte’s search for answers in the turmoil created by gender assumptions is profoundly resonant in the era of #MeToo.

    Gestalt theory and the psychology of visual perception form the basis for an analysis of art and its basic elements.

    Who are the makers and who are the takers? Readers can judge from themselves?

    In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought—one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models.The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence—the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing—for almost a generation of students of literature, philosophy, and psychoanalysis.Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida goes on to develop new ways of thinking, reading, and writing,—new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers—challenging because Derrida questions thought as we know it.

    The portraits include Hellman's recollection of a lifelong friendship that began in childhood, reminiscences that formed the basis of the Academy Award-winning film Julia.

    He was sent to Buchenwald concentration camp. Literature or Life, a bestseller in France, is a deeply personal account not only of Semprun's time at Buchenwald, but also of the years before and after, of his painful attempts to write this book...created out of obsessions that returned him again and again like themes in a nightmarish rhapsody.His long reverie on life-as-death, now translated with the mesmerizing power of fiction. It is a profound contribution to Holocaust literature.? Semprun was awarded the Jerusalem prize at the 1997 Jerusalem International Book Fair. ? Semprun's first novel, The Long Voyage, won Europe's prestigious Formentor Prize.

    Part personal narrative, part documentary, part travelogue, part chapbook, and all Kalman, these brilliant, whimsical paintings, ideas, and images - which initially appear random - ultimately form an intricately interconnected worldview, an idiosyncratic inner monologue.

    Cologne's Museum Ludwig was the first museum of contemporary art to devote a substantial section to international photography. The L. Fritz Gruber collection, from which this book is drawn, is one of the most important in Germany and one of the most representative anywhere in the world, constituting the core of the museum's holdings. This book provides a fascinating insight into the collection's rich diversity; from conceptual art to abstraction to reportage, all of the major movements and genres are represented via a vast selection of the century's most remarkable photographs. From Ansel Adams to Piet Zwart, over 850 works are presented in alphabetical order by photographer, with descriptive texts and photographers' biographical details.

    As they travel, they write home to wives and eunuchs in the harem and to friends in France and elsewhere. Their colourful observations on the culture differences between West and East culture conjure up Eastern sensuality, repression and cruelty in contrast to the freer, more civilized West - but here also unworthy nobles and bishops, frivolous women of fashion and conceited people of all kinds are satirized. Storytellers as well as letter-writers, Montesquieu's Usbek and Rica are disrespectful and witty, but also serious moralists. Persian Letters was a succès de scandale in Paris society, and encapsulates the libertarian, critical spirit of the early eighteenth century.

    Still, only a few of us have the discipline to make it past the first few entries, and fewer still manage to create diaries whose insight and visual beauty can inspire anyone but their authors. Drawing from Life: The Journal as Art is an exploration of these exceptionsbooks of obsessive wonder filled to their borders with drawings, sketches, watercolors, graphs, charts, lists, collages, portraits, and photographs. Jennifer New takes readers on a spirited tour into the private worlds of journal keepersan architect, a traveler, a film director, an archeologist, a cancer patient, a songwriter, a quiltmaker, a gardener, an artist, a cyclist, and a scientist, to name just a fewillustrating a broad range of journaling styles and techniques that in the end show how each of us can go about documenting our everyday lives. Excerpts from journals by such artists as Maira Kalman, Steven Holl, David Byrne, and Mike Figgis give us a peek at how creative souls observe, reflect, and explore.For those who already keep a journal, Drawing from Life will be an inspiration. For those who have always wanted toor tried and failedit might just be the motivation needed to get past that first week.

    Literary journals bound by magnets, or designed to look like junk mail. The sharp wit, gorgeous design, and playful why not invention of independent literary publisher McSweeney's have earned it a large and loyal following and made its journals, books, The Believer magazine, and Wholphin DVDs collectible favorites of readers and graphic designers alike. Created by the McSweeney's staff to commemorate their 11th (or 12th) anniversary, this book showcases their award-winning art and design across all the company's activities. It features hundreds of images, interviews with collaborators such as Chris Ware and Michael Chabon, and dozens of insights into McSweeney's quirky creative process and the visual experience of reading.

    During her increasingly long lunch breaks, she began to obsessively read the PennySaver, the iconic classifieds booklet that reached everywhere and seemed to come from nowhere. Who was the person selling the “Large leather Jacket, $10”? It seemed important to find out—or at least it was a great distraction from the screenplay.Accompanied by photographer Brigitte Sire, July crisscrossed Los Angeles to meet a random selection of PennySaver sellers, glimpsing thirteen surprisingly moving and profoundly specific realities, along the way shaping her film, and herself, in unexpected ways.Elegantly blending narrative, interviews, and photographs with July’s off-kilter honesty and deadpan humor, this is a story of procrastination and inspiration, isolation and connection, and grabbing hold of the invisible world.