It was called “the year of the thaw”—a time when Stalin’s dark legacy of dictatorship died in February only to be reborn later that December. This historic arc from rising hope to crushing despair opened with a speech by Nikita Khrushchev, then the unpredictable leader of the Soviet Union. He astounded everyone by denouncing the one figure who, up to that time, had been hailed as a “genius,” a wizard of communism—Josef Stalin himself. Now, suddenly, this once unassailable god was being portrayed as a “madman” whose idiosyncratic rule had seriously undermined communism and endangered the Soviet state.This amazing switch from hero to villain lifted a heavy overcoat of fear from the backs of ordinary Russians. It also quickly led to anti-communist uprisings in Eastern Europe, none more bloody and challenging than the one in Hungary, which Soviet troops crushed at year’s end.Marvin Kalb, then a young diplomatic attaché at the U.S. Embassy in Moscow, observed this tumultuous year that foretold the end of Soviet communism three decades later. Fluent in Russian, a doctoral candidate at Harvard, he went where few other foreigners would dare go, listening to Russian students secretly attack communism and threaten rebellion against the Soviet system, traveling from one end of a changing country to the other and, thanks to his diplomatic position, meeting and talking with Khrushchev, who playfully nicknamed him Peter the Great.In this, his fifteenth book, Kalb writes a fascinating eyewitness account of a superpower in upheaval and of a people yearning for an end to dictatorship.

    Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    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.

    Such a legend has accrued to this movement that the story of the SI now demands to be told in a contemporary voice capable of putting it into the context of twenty-first-century struggles.McKenzie Wark delves into the Situationists’ unacknowledged diversity, revealing a world as rich in practice as it is in theory. Tracing the group’s development from the bohemian Paris of the ‘50s to the explosive days of May ‘68, Wark’s take on the Situationists is biographically and historically rich, presenting the group as an ensemble creation, rather than the brainchild and dominion of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement—including Constant, Asger Jorn, Michèle Bernstein, Alex Trocchi and Jacqueline De Jong—Wark uncovers an international movement riven with conflicting passions.Accessible to those who have only just discovered the Situationists and filled with new insights, The Beach Beneath the Street rereads the group’s history in the light of our contemporary experience of communications, architecture, and everyday life. The Situationists tried to escape the world of twentieth-century spectacle and failed in the attempt. Wark argues that they may still help us to escape the twenty-first century, while we still can ...The book’s jacket folds out into a poster, Totality for Beginners, a collaborative graphic essay employing text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle.

    Street life, drugs, art and nature, family, AIDS, politics, friendship and acceptance: Wojnarowicz challenges us to examine our lives -- politically, socially, emotionally, and aesthetically.

    The name alone conjures images of chestnut-lined boulevards, sidewalk cafés, breathtaking façades around every corner--in short, an exquisite romanticism that has captured the American imagination for as long as there have been Americans.In 1995, Adam Gopnik, his wife, and their infant son left the familiar comforts and hassles of New York City for the urbane glamour of the City of Light. Gopnik is a longtime New Yorker writer, and the magazine has sent its writers to Paris for decades--but his was above all a personal pilgrimage to the place that had for so long been the undisputed capital of everything cultural and beautiful. It was also the opportunity to raise a child who would know what it was to romp in the Luxembourg Gardens, to enjoy a croque monsieur in a Left Bank café--a child (and perhaps a father, too) who would have a grasp of that Parisian sense of style we Americans find so elusive.So, in the grand tradition of the American abroad, Gopnik walked the paths of the Tuileries, enjoyed philosophical discussions at his local bistro, wrote as violet twilight fell on the arrondissements. Of course, as readers of Gopnik's beloved and award-winning "Paris Journals" in The New Yorker know, there was also the matter of raising a child and carrying on with day-to-day, not-so-fabled life. Evenings with French intellectuals preceded middle-of-the-night baby feedings; afternoons were filled with trips to the Musée d'Orsay and pinball games; weekday leftovers were eaten while three-star chefs debated a "culinary crisis."As Gopnik describes in this funny and tender book, the dual processes of navigating a foreign city and becoming a parent are not completely dissimilar journeys--both hold new routines, new languages, a new set of rules by which everyday life is lived. With singular wit and insight, Gopnik weaves the magical with the mundane in a wholly delightful, often hilarious look at what it was to be an American family man in Paris at the end of the twentieth century. "We went to Paris for a sentimental reeducation - I did anyway - even though the sentiments we were instructed in were not the ones we were expecting to learn, which I believe is why they call it an education."

    Combining memoir with artistic and philosophical musings, the poet and National Book Critics Circle Award winner (for My Alexandria) begins by confessing his obsession with the 17th-century Dutch still life that serves as the title of this book. As he analyzes the items depicted in the painting, he skillfully introduces his thoughts on our intimate relationships to objects and subsequently explains how they are often inextricably bound to the people and places of an individual lifetime. Further defined by imperfections attained from use, each object from an aging oak table to a chipped blue and white china platter forms a springboard for reflection. Doty intersperses personal reminiscences throughout, but he always returns to the subject of still-life painting and its silent eloquence. Doty's observations on balance, grief, beauty, space, love, and time are imparted with wisdom and poetic grace.Books like this, that address the sources of creation and the sources of our humanness, come along once in a decade. -Susan Salter Reynolds, Los Angeles Times"This small book is as wise, sensitive, intense, and affecting as anything I have read in recent years." -Doris Grumbach, author of Fifty Days of Solitude"A gem." -Library Journal"Mark Doty's prose is insistently exploratory, yet every aside, every detour, turns into pertinence, and it all seems effortless, as though the author were wondering, and marveling, aloud." -Bernard Cooper, author of Truth Serum"A dazzling accomplishment, its radiance bred of lucid attention and acute insight. The subject is the profoundly personal act of perception translated into description. Doty succeeds in rendering this most contemplative of arts-the still life-into a riveting drama." -Patricia Hampl, author of I Could Tell You Stories

    When first published, La Batarde earned Violette Leduc comparisons to Jean Genet for the frank depiction of her sexual escapades and immoral behavior. A confession that contains portraits of several famous French authors, this book is more than just a scintillating memoir. Like that of Henry Miller, Leduc's brilliant writing style and attention to language transform this autobiography into a work of art.Violette Leduc was born the illegitimate daughter of a servant girl and was encouraged to write by Maurice Sachs and Simone de Beauvoir. Her first novel, L'Asphyxie (In the Prison of Her Skin), was published by Camus for Gallimard and earned her praise from Jean-Paul Sartre, Jean Cocteau, and Jean Genet. She went on to write eight more books, including Ravages, L'Affamee, and La Folie en tete (Mad in Pursuit), the second part of her literary autobiography.

    These four took the nihilism of the movement to its ultimate conclusion, their works are remnants of lives lived to the limit and then cast aside with nonchalance and abandon: Vache died of a drug overdose, Rigaut shot himself, Cravan and Torma simply vanished, their fates still a mystery. Yet their fragmentary works - to which they attached so little importance - still exert a powerful allure and were a vital inspiration for the literary movements that followed them. Vache's bitter humour, Cravan's energetic invective, Rigaut's dandyfied introspection, and Torma's imperturbable asperity: all had their influence. This collection contains biographical introductions to each author as well as personal recollections by their contemporaries.

    Whom the gods wish to destroy they first call promising.--Cyril Connolly Cyril Connolly (1903-1974) was one of the most influential book reviewers and critics in England, contributing regularly to The New Statesman, The Observer, and The Sunday Times, His many books and essays have been published to great acclaim on both sides of the Atlantic. First published in 1938 and long unavailable, Enemies of Promise is considered his major work. An inquiry into the problem of how to write a masterpiece, Connolly identifies the forces that work against the fulfillment of artistic promise--among them, politics, domesticity, advertising, and journalism. His concluding recollection of his education at Eton examines the factors which interfered with his own promise. Seventy years after it was written, Enemies of Promise remains powerful and true. It is a brilliant work by one of the most important critics of the period.

    Weaving these texts together, Peck brilliantly imagines the book that Baldwin never wrote. In his final years, Baldwin had envisioned a book about his three assassinated friends, Medgar Evers, Malcolm X, and Martin Luther King. His deeply personal notes for the project have never been published before. Peck s film uses them to jump through time, juxtaposing Baldwin s private words with his public statements, in a blazing examination of the tragic history of race in America.

    How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning? The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation. Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot's writing is a "language of pure transcendence, without correlative." Literary theorist and critic Geoffrey Hartman remarked that Blanchot's influence on contemporary writers "cannot be overestimated."

    Recounting Pierre-Auguste's extraordinary career, beginning as a painter of fans and porcelain, recording the rules of thumb by which he worked, and capturing his unpretentious and wonderfully engaging talk and personality, Jean Renoir's book is both a wonderful double portrait of father and son, and in the words of the distinguished art historian John Golding, it "remains the best account of Renoir, and, furthermore, among the most beautiful and moving biographies we have." Includes 12 pages of color plates and 18 pages of black and white images.

    Lauren Collins discovered this firsthand when, in her early thirties, she moved to London and fell for a Frenchman named Olivier—a surprising turn of events for someone who didn’t have a passport until she was in college. But what does it mean to love someone in a second language? Collins wonders, as her relationship with Olivier continues to grow entirely in English. Are there things she doesn’t understand about Olivier, having never spoken to him in his native tongue? Does “I love you” even mean the same thing as “Je t’aime”? When the couple, newly married, relocates to Francophone Geneva, Collins—fearful of one day becoming "a Borat of a mother" who doesn’t understand her own kids—decides to answer her questions for herself by learning French. When in French is a laugh-out-loud funny and surprising memoir about the lengths we go to for love, as well as an exploration across culture and history into how we learn languages—and what they say about who we are. Collins grapples with the complexities of the French language, enduring excruciating role-playing games with her classmates at a Swiss language school and accidentally telling her mother-in-law that she’s given birth to a coffee machine. In learning French, Collins must wrestle with the very nature of French identity and society—which, it turns out, is a far cry from life back home in North Carolina. Plumbing the mysterious depths of humanity’s many forms of language, Collins describes with great style and wicked humor the frustrations, embarrassments, surprises, and, finally, joys of learning—and living in—French.