Lipstick Traces tells a story as disruptive and compelling as the century itself. Hip, metaphorical and allusive...--Gail Caldwell, Boston Sunday Globe. Full-color illustrations and halftones.

    Why are storytellers so often women, and how does that affect the status of fairy tales? Are they a source of wisdom or a misleading temptation to indulge in romancing?

    To mark the book's twentieth anniversary, Kern provides an illuminating new preface about the breakthrough in interpretive approach that has made this a seminal work in interdisciplinary studies.From about 1880 to World War I, sweeping changes in technology and culture created new modes of understanding and experiencing time and space. Stephen Kern writes about the onrush of technics that reshaped life concretely--telephone, electric lighting, steamship, skyscraper, bicycle, cinema, plane, x-ray, machine gun-and the cultural innovations that shattered older forms of art and thought--the stream-of-consciousness novel, psychoanalysis, Cubism, simultaneous poetry, relativity, and the introduction of world standard time. Kern interprets this generation's revolutionized sense of past, present, and future, and of form, distance, and direction. This overview includes such figures as Proust Joyce, Mann, Wells, Gertrude Stein, Strindberg, Freud, Husserl, Apollinaire, Conrad, Picasso, and Einstein, as well as diverse sources of popular culture drawn from journals, newspapers, and magazines. It also treats new developments in personal and social relations including scientific management, assembly lines, urbanism, imperialism, and trench warfare. While exploring transformed spatial-temporal dimensions, the book focuses on the way new sensibilities subverted traditional values. Kern identifies a broad leveling of cultural hierarchies such as the Cubist breakdown of the conventional distinction between the prominent subject and the framing background, and he argues that these levelings parallel the challenge to aristocratic society, the rise of democracy, and the death of God. This entire reworking of time and space is shown finally to have influenced the conduct of diplomacy during the crisis of July 1914 and to havestructured the Cubist war that followed.

    Using the popular literature of the seventeenth, eighteenth, and early nineteenth centuries-including captivity narratives, the Daniel Boone tales, and the writings of Hawthorne, Thoreau, and Melville-Slotkin traces the full development of this myth.

    In "Fracture: Life and Culture in the West, 1918-1938", critically acclaimed historian Philipp Blom argues that, amid this uncertainty, Europeans and Americans directed their energies inwards toward aesthetic and intellectual self-discovery. Europe produced strange new brands of art, science, and spirituality—such as Surrealism and Art Deco—while flocking to exciting but dangerous new ideologies including communism and fascism. In America, the Harlem Renaissance marked the flourishing of black culture, and flappers sparked new thinking about the place of women in society. Yet undercurrents of racial and class conflict were pronounced, fueled by immigration quotas and the poverty of the Dust Bowl."Fracture: Life and Culture in the West, 1918-1938" is a sweeping evocation of the tumultuous interwar period, and the sublime cultural movements and terrifying ideologies it spawned.

    In City of the Soul, William Murray begins to show us why.Growing up in Rome and spending much of his life in the city, William Murray is an expert guide as he takes us on an intimate walking tour of some of Rome’s most glorious achievements, illuminating the history and the mythology that define the city. Murray leads us through the centro, the city’s historic downtown center. He writes about the Villa Borghese, the Piazza di Spagna, and the Trevi Fountain and describes such singular attractions as the Capuchin Church of Santa Maria della Concezione, whose macabre crypt has impressed visitors from Mark Twain to the Marquis de Sade. As he walks, he reveals stories that only a longtime resident would know, capturing the sights, sounds, and flavors that make Rome a combination of the deep past and the ever-sensual present.

    In 1980, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1968, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.Whitewalling: Art, Race, & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

    Many of the important essays and interviews from those pages have been revised and reorganized for The Essential Wrapped In Plastic: Pathways to Twin Peaks. The Essential Wrapped In Plastic is a work of critical analysis and historical reporting. The core of the book is a detailed episode guide that reviews each chapter of David Lynch and Mark Frost’s landmark series (which originally aired on ABC television in 1990 and 1991). These reviews are supplemented by comments from actors, writers, producers and other creative personnel who provide intimate and first-hand remarks about Twin Peaks. Each critique also includes analysis of scripted scenes that were deleted from the final televised episodes, allowing for a deeper understanding of how Twin Peaks was being crafted as it went along. The last episode of Twin Peaks is examined in detail, with a chapter that focuses on the installment’s final, mesmerizing act—an essay that sheds light on what really happened to the series’ enigmatic protagonist, Dale Cooper. The feature film, Fire Walk With Me, is the subject of two in-depth essays. The first delves into the character of Laura Palmer and shows how David Lynch transformed the idea of Laura (from the series) into a fully realized character (in the film). The second essay radically challenges the design of the Fire Walk With Me prologue, arguing that Dale Cooper is a more prominent and vital presence in the story than might first appear. Vibrant and provocative, Twin Peaks is an enduring masterpiece. The Essential Wrapped In Plastic is a crucial guide to this remarkable work.

    Showcasing the best photographs as documented by up to a million or more participants from across the United States, the publication of America 24/7 will coincide with network television specials, a DVD documentary, a traveling exhibition of photographs, and a compelling website. In addition to the 1,000+ top photojournalists being hired by the America 24/7 team, amateur photographers from across the country will be invited to submit their own digital photographs of American life via the project's website--america24-7.com. Participants across the United States will help to create a vivid panorama of modern American life capturing the myriad experiences that take place across the nation within a week. The creators of America 24/7 have several New York Times bestsellers to their credit, including A Day in the Life of America, A Day in the Life of the Soviet Union, and Christmas in America.

    Passionately argued, brilliantly written, and filled with Paglia’s trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown—paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context—from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock’s abstract Green Silver to Renée Cox’s daring performance piece Chillin’ with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world’s greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.

    Friedman's uncompromising look at the radicals of youth culture in the extreme worlds of skateboarding, punk and rap. From day one behind his camera, Friedman has had an unerring ability to be in the right place ahead of everybody else. He was a teenaged photographer for 'Thrasher' and 'Skateboarder' magazines, he created the seminal one-hit punk fanzine 'My Rules', worked with Black Flag and Suicidal Tendencies in their early days, wrote for Maximum Rock & Roll, did street promotion for Def Jam's west coast office and shot sleeve photos for everyone from Minor Threat to Public Enemy. This book presents the photographic distillation of Glen's ethic: it's about the perfect shots of the people who live by the touchstones of intensity and integrity.

    His work spans some sixty years and includes original work on a diverse range of subjects, from dialectical materialism to architecture, urbanism and the experience of everyday life. The Production of Space is his major philosophical work and its translation has been long awaited by scholars in many different fields. The book is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. In doing so, he ranges through art, literature, architecture and economics, and further provides a powerful antidote to the sterile and obfuscatory methods and theories characteristic of much recent continental philosophy. This is a work of great vision and incisiveness. It is also characterized by its author's wit and by anecdote, as well as by a deftness of style which Donald Nicholson-Smith's sensitive translation precisely captures.

    A truly landmark study, The Hour of Our Death reveals a pattern of gradually developing evolutionary stages in our perceptions of life in relation to death, each stage representing a virtual redefinition of human nature. Starting at the very foundations of Western culture, the eminent historian Phillipe Aries shows how, from Graeco-Roman times through the first ten centuries of the Common Era, death was too common to be frightening; each life was quietly subordinated to the community, which paid its respects and then moved on. Aries identifies the first major shift in attitude with the turn of the eleventh century when a sense of individuality began to rise and with it, profound consequences: death no longer meant merely the weakening of community, but rather the destruction of self. Hence the growing fear of the afterlife, new conceptions of the Last Judgment, and the first attempts (by Masses and other rituals) to guarantee a better life in the next world. In the 1500s attention shifted from the demise of the self to that of the loved one (as family supplants community), and by the nineteenth century death comes to be viewed as simply a staging post toward reunion in the hereafter. Finally, Aries shows why death has become such an unendurable truth in our own century--how it has been nearly banished from our daily lives--and points out what may be done to re-tame this secret terror. The richness of Aries's source material and investigative work is breathtaking. While exploring everything from churches, religious rituals, and graveyards (with their often macabre headstones and monuments), to wills and testaments, love letters, literature, paintings, diaries, town plans, crime and sanitation reports, and grave robbing complaints, Aries ranges across Europe to Russia on the one hand and to England and America on the other. As he sorts out the tangled mysteries of our accumulated terrors and beliefs, we come to understand the history--indeed the pathology--of our intellectual and psychological tensions in the face of death.

    In As We Have Always Done, Leanne Betasamosake Simpson locates Indigenous political resurgence as a practice rooted in uniquely Indigenous theorizing, writing, organizing, and thinking.Indigenous resistance is a radical rejection of contemporary colonialism focused around the refusal of the dispossession of both Indigenous bodies and land. Simpson makes clear that its goal can no longer be cultural resurgence as a mechanism for inclusion in a multicultural mosaic. Instead, she calls for unapologetic, place-based Indigenous alternatives to the destructive logics of the settler colonial state, including heteropatriarchy, white supremacy, and capitalist exploitation.

    Vivid photos capture these historically important machinesincluding the Eniac, Crays 13, Apple I and IIwhile authoritative text profiles each, telling the stories of their innovations and peculiarities. Thirty-five machines are profiled in over 100 extraordinary color photographs, making Core Memory a surprising addition to the library of photography collectors and the ultimate geek-chic gift.