Russian emigre Berberova (1901-1993) first moved to France in the 1920s, then settled in the U.S. in the 1950s, where she taught at Princeton University. Schwartz's fine translation should help acquaint a larger audience with this writer, best known for her earlier works about life in Paris, including The Accompanist (which was turned into a film), The Tattered Cloak and Other Novels and her biography, Aleksandr Blok: A Life.

    In 1926, Halpert, just twenty-six years old, opened one of the first art galleries in Greenwich Village and set about turning the art world upside down. Her Downtown Gallery, which she ran for forty-four years, laid the groundwork for the art market's modern era, and its aggressive promotion and sales tactics. Halpert cultivated the most illustrious art collectors of the day, invented the market for folk art, and pushed the first group of American artists working in a modern vernacular into the history books, including Stuart Davis, Jacob Lawrence, Georgia O'Keeffe, Ben Shahn, and Arthur Dove. Despite all this, Edith Halpert herself has been lost to history. Until now. In The Girl with the Gallery, journalist Lindsay Pollock brings Halpert and her era vividly back to life, tracing the story of how this remarkable woman, who started out a penniless Jewish immigrant, made it her mission to fight for American art and artists. Illlustrated with eight pages of full color photographs, this is biography at its finest, an unforgettable story of class, money, vanity, jealousy, and tragic loss.

    Taking cues from ideas hinted as by artists such as El Greco, Goya, Van Gogh, and Munch, Expressionists sought to transform reality rather than depict it in any sort of literal fashion. Egon Schiele, Max Beckmann, Paul Klee, and Wassily Kandinsky are among Expressionism's most famous exponents.

    But I have drunk far more than most drinkers. All my life I have seen only troubled times, extreme divisions in society, and immense destruction; I have joined in these troubles. My method will be very simple. I will tell of what I have loved; and, in this light, everything else will become evident... Over the years, more than half the people I knew well had sojourned one or several times in the prisons of various countries; many, no doubt, for political reasons, but all the same a greater number for common law offenses or crimes. So I met mainly rebels or the poor. Our only manifestations, which remained rather rare and bried in the first years, were meant to be completely unacceptable; at first, especially by their form and, later, as they acquired depth, especially by their content. They were not accepted.” –Guy DebordGuy Debord, as founding and pivotal figure of the Situationist International, pursued one of the twentieth century’s most arch and exciting assaults on modern life. His 1967 Society of the Spectacle (followed, twenty years later, by Comments on the Society of the Spectacle) was a fierce critique of late-capitalist culture and became the signal text for those involved in the political events of May 1968 and beyond.Panegyric is Debord’s audacious autobiography, and here for the first time in English is the second, beautifully illustrated volume published together with the spare and classical text of the first. A rare combination of poetry and precision, it tells of something even rarer: a life that refused to adjust to the dominant malignancies of its time.

    The fifth edition is guaranteed to remain the category killer. This long-overdue update is a must-have for weekend riders and serious cyclists alike.Whether they own the latest model or a classic with thousands of miles on it, beginners and experienced cyclists alike can depend on this book to get their bikes out of the shop faster and keep them on the road longer. They'll discover information on: o Building a dream bike workshopo Disc brakes, both cable-actuated and hydraulico Dialing in front and rear suspension shocks for comfortable rideso The latest crankset and bottom bracket designso Overhauling freewheels and cassettes for peak performanceo Specs on all the latest handlebar and headset sizeso Servicing clipless pedals for maximum safetyWith troubleshooting sections to quickly identify and correct common problems, 450 photographs and 40 drawings to clarify all the step-by-step directions so even the complete neophyte can get repairs right the first time, and Web sites and phone numbers of bicycle and parts manufacturers, this is truly the ultimate bicycle repair and maintenance manual-now better than ever in its fifth edition!

    Semiotext(e)'s three-decade history mirrors the history of American thought. Founded by French theorist and critic Sylvere Lotringer as a scholarly journal in 1974, Semiotext(e) quickly took on the mission of melding French theory with the American art world and punk underground. Its Foreign Agents, Native Agents, Active Agents and Double Agents imprints have brought together thinkers and writers as diverse as Gilles Deleuze, Assata Shakur, Bob Flanagan, Paul Virillio, Kate Millet, Jean Baudrillard, Michelle Tea, William S. Burroughs, Eileen Myles, Ulrike Meinhof, and Fanny Howe. In Hatred of Capitalism, editors Kraus and Lotringer bring these people together in the same volume for the first time.

    Essential Deren: Collected Writings on Film contains all of Deren's essays on her own films as well as more general essays on film theory, the relation of film to dance, various technical aspects of film production, the distinction between amateur and professional filmmaking, and the famous 1946 chapbook titled "An Anagram of Ideas on Art, Form and Film," which has been reset here for the first time. There are hard-to-find articles written for magazines and art journals, as well as lectures, Q&A sessions, program notes, and manifestoes. This book will be particularly welcomed by the large audience that saw Martina Kudlacek's documentary, "In the Mirror of Maya Deren," during its theatrical release in the U.S. and Europe in 2002. The importance of Maya Deren's films and writings is further evidenced by the American Film Institute having named its highest award for independent filmmaking the "Maya Deren."

    Norton Dodge visited the apartments of unofficial artists in at least a dozen geographically scattered cities. By 1977, he had a thousand works of art. His ultimate window of interest involved the years from 1956 to 1986, and through his established contacts he eventually acquired another eight thousand works—by far the largest collection of its kind.John McPhee investigates Dodge's clandestine activities in the service of dissident Soviet art, his motives for his work, and the fates of several of the artists whose lives he touched. The Ransom of Russian Art is a suspenseful, chilling, and fascinating report on a covert operation like no other. It offers unprecedented insight into Soviet culture at the brink of the Union's collapse.

    But for a cat like her—with the soul of an artist—only an artist will do. Mr. Dada is a human who believes that art can be anything, and that anything can be art. And for a human like him—with the soul of a Dadaist—only an artistic pet will do. Sometimes, though, it takes a while for humans to see what’s right in front of them all along. So it is a good thing that Mimi is loud and silly and surprising and bold. Mimi is a Dada cat, through and through.This charming story about staying true to yourself sparkles with playful prose and stunning mixed-media illustrations while introducing readers to the Dadaist art movement. Includes an author’s note, a list of books and websites, and an index.

    This exceptional volume brings together the most comprehensive selection of poems by Breton available in the English language. Here, in a bilingual French-English format are 73 poems representing all styles and stages of the writer's career.

    This is the final volume in his magisterial history of the Russian Revolution, covering the period from the outbreak of the Civil War in 1918 to Lenin's death in 1924.

    And yet it is far less known than Stalingrad, which involved about half the number of troops. From the time Hitler launched his assault on Moscow on September 30, 1941, to April 20, 1942, seven million troops were engaged in this titanic struggle. The combined losses of both sides -- those killed, taken prisoner or severely wounded -- were 2.5 million, of which nearly 2 million were on the Soviet side. But the Soviet capital narrowly survived, and for the first time the German "Blitzkrieg" ended in failure. This shattered Hitler's dream of a swift victory over the Soviet Union and radically changed the course of the war.The full story of this epic battle has never been told because it undermines the sanitized Soviet accounts of the war, which portray Stalin as a military genius and his people as heroically united against the German invader. Stalin's blunders, incompetence and brutality made it possible for German troops to approach the outskirts of Moscow. This triggered panic in the city -- with looting, strikes and outbreaks of previously unimaginable violence. About half the city's population fled. But Hitler's blunders would soon loom even larger: sending his troops to attack the Soviet Union without winter uniforms, insisting on an immediate German reign of terror and refusing to heed his generals' pleas that he allow them to attack Moscow as quickly as possible. In the end, Hitler's mistakes trumped Stalin's mistakes.Drawing on recently declassified documents from Soviet archives, including files of the dreaded NKVD; on accounts of survivors and of children of top Soviet military and government officials; and on reports of Western diplomats and correspondents, "The Greatest Battle" finally illuminates the full story of a clash between two systems based on sheer terror and relentless slaughter.Even as Moscow's fate hung in the balance, the United States and Britain were discovering how wily a partner Stalin would turn out to be in the fight against Hitler -- and how eager he was to push his demands for a postwar empire in Eastern Europe. In addition to chronicling the bloodshed, Andrew Nagorski takes the reader behind the scenes of the early negotiations between Hitler and Stalin, and then between Stalin, Roosevelt and Churchill.This is a remarkable addition to the history of World War II.

    There he sought anonymity, taking an apartment in a run-down district with his sometime collaborator Iggy Pop, another refugee from drugs and debauchery, while they explored the city and its notorious nightlife. In this intensely creative period, Bowie put together three classic albums -- Low, "Heroes", and Lodger -- with collaborators who included Brian Eno, Robert Fripp, and Tony Visconti. He also found time to produce two albums for Iggy Pop--The Idiot and Lust For Life--and to take a leading role in a movie, the ill-starred Just A Gigolo. Bowie In Berlin examines that period and those records, exploring Bowie's fascination with the city, unearthing his sources of inspiration, detailing his working methods, and teasing out the elusive meanings of the songs. Painstakingly researched and vividly written, the book casts new light on the most creative and influential era in David Bowie's career.

    

    It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death. Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class.A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.