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The Collected Autobiographies of Maya Angelou by
NEW YORK TIMES BESTSELLER * Maya Angelou's classic memoirs have had an enduring impact on American literature and culture. Her life story is told in the documentary film And Still I Rise, as seen on PBS's American Masters. This Modern Library edition contains I Know Why the Caged Bird Sings, Gather Together in My Name, Singin' and Swingin' and Gettin' Merry Like Christmas, The Heart of a Woman, All God's Children Need Traveling Shoes, and A Song Flung Up to Heaven. When I Know Why the Caged Bird Sings was published to widespread acclaim in 1969, Maya Angelou garnered the attention of an international audience with the triumphs and tragedies of her childhood in the American South. This soul-baring memoir launched a six-book epic spanning the sweep of the author's incredible life. Now, for the first time, all six celebrated and bestselling autobiographies are available in this handsome one-volume edition. Dedicated fans and newcomers alike can follow the continually absorbing chronicle of Angelou's life: her formative childhood in Stamps, Arkansas; the birth of her son, Guy, at the end of World War II; her adventures traveling abroad with the famed cast of Porgy and Bess; her experience living in a black expatriate "colony" in Ghana; her intense involvement with the civil rights movement, including her association with Dr. Martin Luther King, Jr., and Malcolm X; and, finally, the beginning of her writing career. The Collected Autobiographies of Maya Angelou traces the best and worst of the American experience in an achingly personal way. Angelou has chronicled her remarkable journey and inspired people of every generation and nationality to embrace life with commitment and passion.
Gwendolyn Brooks by
2004 Carter G. Woodson Honor Award Winner
Hip Hip - Bring the Noise by
Rap is generally acknowledged as originating from New York, when the Jamaican-born DJ Cool Herc started spinning discs for parties in the late seventies. People would originally talk and then "rap" over the top of this. From there it spread all across the United States and then around the world. But the key songs are from the United States, and are all featured in this unique book. Hip Hop: Bring the Noise expands the best-selling Stories Behind the Songs series to include musical genres. Rap is the most powerful and overtly political music ever. Rappers always had a lot of words, but what were they really talking about? This book features dozens of photographs and examines fifty of the greatest hip hop songs ever recorded, from the innocent, fun-loving classics of the founding fathers ("Rapper's Delight"--The Sugar Hill Gang) through Gangsta-rapping anti-authoritarianism ("F**k the Police"--N.W.A.) and bad-boy sexism ("Gangster of Love"--Geto Boys) to the multiplatinum sellers of the twenty-first century ("Stan"--Eminem). The subtlety and intelligence of many rappers lie hidden behind media hype and misinformation. Hip Hop: Bring the Noise helps to right this wrong and showcase rap for the groundbreaking musical movement that it is.
Louis Armstrong's New Orleans by
The richly evocative tale of a musician, his city, and the origins of jazz. In the early twentieth century, New Orleans was a place of colliding identities and histories, and Louis Armstrong was a gifted young man of psychological nimbleness. A dark-skinned, impoverished child, he grew up under low expectations, Jim Crow legislation, and vigilante terrorism. Yet he also grew up at the center of African American vernacular traditions from the Deep South, learning the ecstatic music of the Sanctified Church, blues played by street musicians, and the plantation tradition of ragging a tune. Louis Armstrong's New Orleans interweaves a searching account of early twentieth-century New Orleans with a narrative of the first twenty-one years of Armstrong's life. Drawing on a stunning body of first-person accounts, this book tells the rags-to-riches tale of Armstrong's early life and the social and musical forces that shaped him. The city and the musician are both extraordinary, their relationship unique, and their impact on American culture incalculable. 16 pages of illustrations.
They Can't Kill Us Until They Kill Us by
*2018 "12 best books to give this holiday season"--TODAY Show *Best Books of 2018--Rolling Stone "A Best Book of 2017" --NPR,Buzzfeed, Paste Magazine, Esquire, Chicago Tribune,Vol. 1 Brooklyn, CBC, Stereogum, National Post, Entropy, Heavy, Book Riot, Chicago Review of Books, The Los Angeles Review, Michigan Daily *American Booksellers Association (ABA) 'December 2017 Indie Next List Great Reads' *Midwest Indie Bestseller In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by theNew York Times,MTV, andPitchfork, among others--along with original, previously unreleased essays--Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times. "Funny, painful, precise, desperate, and loving throughout. Not a day has sounded the same since I read him." --Greil Marcus, Village Voice
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The Return of the Epic Film by
What does the new epic film now look like? How is it classified? Why has it returned? The success of Gladiator re-launched a genre which had lain dormant for 35 years. The Return of the Epic Film is one of the first books to examine this return as a coherent body of films. Studying a range of films from Gladiator to Clash of the Titans, the various essays question how we define these new epics, their aesthetics, their relationship to history, and who decides which films should be in the canon. Over the course of 11 essays by key figures in the field, the book examines in what ways, why, and how the epic film has returned to our cinemas. By embracing a range of approaches which take into account the production process, and by questioning the canon of films conventionally accepted as epics, this book will inspire Film Studies students and scholars to rethink the epic film.
Film Worlds by
Film Worlds unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, Film Worlds extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film.
