Bøker utgitt av The New York Review of Books, Inc

The first-ever collection of comics and assorted artwork by Michael McMillan—not only a legendary underground cartoonist, but also a sculptor, painter, printmaker, filmmaker, animator, poster designer, and an avid rock climber.Michael McMillan has said he’s “not really a cartoonist,” but the evidence suggests otherwise. Born and raised in California, he studied architecture and design before a visit in 1969 to an exhibition of Chicago’s Hairy Who and encounters with the bourgeoning San Francisco underground comix scene convinced McMillan to make his own comics.He plunged in, drawing for legendary publications like Weirdo, Young Lust, Lemme Out Here, Arcade, and eventually his own one-issue wonder, Terminal. Over the following decades, McMillian kept playing with the form of comics. He reimagined the kind of stories single-panel, two-panel, and many-panel strips could tell, blending favorite genres from his childhood (horror, swords and sandals, science fiction) with more mature themes (autobiography, dating, sex) into new and striking forms.In Terminal Exposure, McMillan’s comics are collected for the first time, alongside a selection of his electrifying sculptures, eye-popping paintings, and stunning pages from the journals he kept during his years rock climbing in California’s Sierra Nevada. With an introduction by Dan Nadel, this volume offers a first-time portrait of the great “not really a cartoonist” cartoonist.

"Love, faith, and the political mingle in these two short novels by a Nobel Prize-winning Danish author. One about a young couple making a new life in Rome, the other about a priest who goes to live among native peoples in Greenland, both books explore the reaches of the human heart through their complex and unforgettable characters. The White Bear and The Rearguard are two of Nobel laureate Henrik Pontoppidan's most acclaimed novellas: tales of personal, political, and religious strife, full of keen psychological insight, set amid the sweeping changes of late nineteenth-century Danish society. Pontoppidan's prose is spellbinding in its taut, unvarnished grace, a quality translator Paul Larkin masterfully captures in this stunning new translation. The White Bear is the odyssey of the priest Thorkild Mèuller, who becomes minister to a remote Inuit tribe in Greenland and is slowly integrated within the community. After spending much of his adult life in Greenland, he returns to Denmark, where his popularity among his parishioners brings the ire of the Church upon his head. Newlyweds J²rgen Hallager and Ursula Branth are as different as night and day. The brash son of a poor village teacher, J²rgen is an avowed socialist whose revolutionary beliefs translate into his work as a painter of social realism. Ursula, on the other hand, comes from an upper-middle-class family and is politically conservative. Though each strives to change the other's worldview as they start their new life in Rome, tensions rise, and misunderstandings abound. A searching examination of art and individuality, this version of The Rearguard is the never-before-translated 1905 edition, which elucidates with greater complexity Jorgen's character as well as Ursula's resolve to temper him with love"--

"In Misery of Love, a spiritual sequel to the acclaimed Yellow Negroes and Other Imaginary Creatures, Yvan Alagbâe continues his interrogation of race and family in modern France. The book focuses on the dream-like memories of a woman named Clare, who is spending time with her family for her grandfather's funeral. Alagbâe shifts between narratives of the family, all haunted by the legacy of France's colonial subjugation of Africa. Alagbâe works in stormy grayscale washes, using comics, as he puts it, as "a sacred dimension which celebrates, questions and perpetuates life.... I believe that life is not damnation but grace.""--

"Roberta Leem a lovely Berkeley student of unusual promise, went running one November Sunday in 1984 with her lover, Bradley Page. He came back alone. Roberta, sometimes volatile and moody, had run off on her own, he said. When she failed to return, one of the largest missing-person searches in California history was launched. Five weeks later, her battered body was found on a bed of branches in a shallow grave. Within hours, Page had confessed to the murder of Roberta Lee- and then recanted. The story of the dead girl had begun. Melanie Thernstrom, a brilliant young writer and poet, was Roberta's closest friend. IN this stunning debut, she has written a heartbreaking tribute, both elegy and celebration, to her lost friend. IN a haunting, many-layered work of striking originality, we experience the horrifying crime at its center, the agonizing search for the body, the trial and its wrenching, explosive climax, the sinister and deceptively bland defendant. Through the filter of memory, Roberta herself- gifted, fiercly intelligent, yearning for love- is intensely alive. Even in a time of numbing violence, every reader will mourn the loss of this one spirited young girl"--

"Stephen Rodefer was one of the most innovative and singular of American poets, a student of Charles Olson's often associated with the Language poets but whose eclectic, energetic verse defies categorization and embraces a worldly lyricism uniquely his own. Four Lectures is widely considered to be his masterpiece, a book of four long poems that explore the radical possibilities of language through a generous, intimate collage of the sights and sounds, the words and images that form the poet's world. Making freewheeling reference to Shakespeare and Sappho, Looney Tunes and Ethel Waters, among others, Rodefer boldly reimagines the modern philosophical poem, exemplified by Four Quartets and Self Portrait in a Convex Mirror, for a new and fragmentary age. First published in 1982 by Geoffrey Young's legendary press The Figures and long beloved by readers, these witty, playful poems have been unavailable in a single volume for nearly half a century. This new edition will reproduce the layout of the original, in which the material presentation of words on the page is integral to the meaning of the poem. Of Four Lectures, Ron Silliman writes: "Philosopher-harlequin, the poet speaks plainly, having just now invented the line. What other writer can give us this much of the real.""--

"Best known as a master novelist, Henry James was also an incisive critic whose essays on the novel had as profound an influence on its development as did his fiction. Here, Pulitzer-finalist Michael Gorra, author of Portrait of a Novel: Henry James and the Making of an American Masterpiece, gathers some of the most virtuosic essays from across fifty years of James's career. From his landmark essay "The Art of Fiction," an exhilarating treatise on the complexity of literary form, to "The Lesson of Balzac," a tender portrait of one of James's greatest touchstones, to career-defining assessments of writers such as George Eliot and Ivan Turgenev, James reveals himself as a passionate and sensitive reader, one whose unerring ability to locate the currents within Anglophone literature was matched only by his uncommon prescience regarding its future. Slyly humorous and unabashedly opinionated, On Writers and Writing is a compelling artistic biography of a writer at his cogent and stylish best"--

"Each chapter in this remarkable consideration of American culture evokes an actual meeting between two historical figures. In 1854, as a boy, Henry James has his daguerreotype made by Mathew Brady. We encounter Brady again as he photographs Walt Whitman and then Ulysses Grant. Meanwhile, Henry James begins a lasting friendship with William Dean Howells, and also meets Sarah Orne Jewett, who in turn is a mentor to Willa Cather... Cohen brilliantly reanimates these unforgettable pairings and those of Edward Steichen and Alfred Stieglitz; Carl Van Vechten and Gertrude Stein; Hart Crane and Charlie Chaplin; Langston Hughes and Zora Neale Hurston; Elizabeth Bishop and Marianne Moore; Richard Avedon and James Baldwin; and John Cage and Marcel Duchamp; Norman Mailer and Robert Lowell. Ultimately, Cohen reveals and long chain of friendship, rebellion and influence stretching from the moment before the Civil War through a century that had a profound effect on our own time. A Chance Meeting is an intimate and original act of biography and cultural history that makes its own contribution to the tradition about which Cohen writes."--

"In the biographical note accompanying one of her books, Cristina Campo said of herself: "She has written little and would like to have written less". That little is almost all collected in this book and will impose an observation on every perceptive reader: these pages belong to the most beautiful Italian prose has been shown in the last fifty years. Cristina Campo was unforgivable, in the sense that the word has in the essay that gives the title to this book: like Marianne Moore, like Hofmannsthal, like Benn, like Weil, she had the "passion for perfection". She could not otherwise have written the pages that are read here on Chopin or on the fairy tale, on the Arabian Nights or about language. "I salute a wisdom among the strangest today" Ceronetti once wrote from Campo. Perhaps the time has come for readers to realize that in Italy, among so many promoters of their own mediocrity, this "trappist of perfection" also lived"--

"The narrator of this creepy but feministically delicious novella, an early 21st-century novelist decides to write the biography of Helen Ralston, an all-but-forgotten 20th-century novelist she has long admired. In the late 1920s, Helen studied painting with W.E. Logan. Logan painted her as Circe, and Helen painted herself as an island titled My Death. When they parted for good, both turned to writing. Willy became famous; Helen did not. The narrator of My Death intends to do something about that. But first she must solve the mystery of Helen's relationship with Willy and why Helen titled her self-portrait My Death"--

The first-ever collection of comics by Ed Subitzky—comedy writer, National Lampoon legend, Atari spokesperson, “The Impostor” on The David Letterman Show, and an enduring influence on an entire generation of cartoonists and humorists.For the entire run of National Lampoon, Ed Subitzky bent, broke, and reimagined what a cartoon could do: A cartoon that hypnotizes you. A cartoon that goes to prison. A cartoon that folds up and flies away. Framed by an interview with Mark Newgarden, this first-ever collection of Subitzky’s work is a portrait of one of the funniest, most prolific humorists of the ’70s and ’80s.

"A compelling record of one year in the life of a writer, including observations about movies, art, music, friendship, travel, and family. The essay is the most pluckily pedestrian and blithely transgressive of literary genres, the one that is most at large and in need, picking through the accumulated disjecta of daily life and personal and social history to take what it needs and remake it as it sees fit. It is, at its lively best, quite indifferent to the claims of style, fashion, theory, and respectability, provoking and inspiring through the pleasure of surprise. In 2016, Philip Lopate, who has been writing essays and thinking about the essay for decades now, turned his attention to one of the essay's offshoots, the blog, a form by that time already thick, as he knew, with virtual dust. Lopate committed to writing a weekly blog about, really, whatever over the course of a year, a quicker pace of delivery than he'd ever undertaken and one that carried the risk of all too regularly falling short. What emerged was A Year and a Day, a collection of forty-seven essays best characterized as a single essay a year in the making, a virtuosic (if never showy) demonstration of the essay's range and reach, meandering, looping back, pressing reset, forging on. Lopate's topics along the way include family, James Baldwin, a trip to China, Agnes Martin, Abbas Kiarastomi, the resistable rise of Donald Trump, death, desire, and the tribulations, small and large, of daily life. What results is at once a self-portrait, a picture of the times, and a splendid new elaboration of what the essay can be"--

"First published in Italian under the title Teorema by Garzanti Editore"--Title page verso.

"A daring novel, once widely censored, about the scrappy, harrowing, and inventive lives of Rome's unhoused youth by one of Italy's greatest film directors. Boys Alive, published in 1955, was Pier Paolo Pasolini's first novel and remains his best-known work of fiction. He'd moved to Rome a few years before, after finding himself embroiled in a provincial sex scandal, and the impact of the city on Pasolini-its lively, aggressive dialect, its postwar squalor and violence-was accompanied by a new awareness that for him respectability was no longer an option: "Like it or not, I was tarred with the brush of Rimbaud ... or even Oscar Wilde." Urgently looking for teaching work, walk-on parts in films, literary journalism, anything to achieve independence and security, he was drawn to other outcasts who cared nothing for bourgeois values, who lived intensely, carelessly, refusing to be hampered by scruple and convention. This was the context in which he began to work on a novel, and though socialism was the intellectual and artistic fashion of the day and Pasolini was a socialist, his book was completely free of any sentimental or patronizing concern for the plight of the underprivileged. Pasolini revels in the vitality of the squalor he so lavishly and energetically evokes. In Boys Alive, he devotes his native lyricism and vast literary resources to conjuring up an urban inferno as vast and hideous as it is colourful and dynamic. There is no grand plot, but Pasolini's narrative voice moves like a heat-seeking missile, infallibly locking onto situations of great intensity, conflict and comedy. Possessing nothing, his young characters fight to survive and to live. At all costs they must have fun; boredom is death. And if food and fun must be paid for, then money will be found: looting, hustling, scavenging, stealing. Once found it is immediately squandered on sharp clothes and shoes, drunk away, gambled away, or simply lost. Boasting and exhibitionism are the norm, and every boy aspires to be the toughest, the shrewdest, the most unscrupulous punk on the block. As each new episode begins-a warehouse heist, an evening's gambling, a search for sex-the reader can only tremble, waiting for disaster to strike. Everything is up in the air. Nothing is predictable. Tim Parks' new translation of Pasolini's early masterpiece brings out the salt and intelligence of this vital and never less than scandalous work of art"--

A moving graphic memoir about home, childhood, and family by the author of Storeyville and Pompeii. Pittsburgh is the story of a family, and a city. Frank Santoro faces a straightforward yet heart-rending reality: His parents, once high-school sweethearts, now never speak to each other—despite working in the same building. Stuck in the middle, he tries to understand. The result is this book. Using markers, pencils, scissors, and tape, with a variety of papers, drawing in vivid colors and exuberant lines, Santoro constructs a multi-generational retelling of their lives. Framed by his parents’ courtship and marriage, and set amid the vital but fading neighborhood streets, the pages of Pittsburgh are filled with details both quotidian and dramatic—from his childhood mishaps to his father’s trauma in Vietnam—interspersed throughout with the mute witness of the family dog, Pretzel. Santoro, the acclaimed author of Storeyville and Pompeii, has created his masterpiece. Pittsburgh is an extraordinary reimagining of the comics form to depict the processes of memory, and a powerful, searching account of a family taking shape, falling apart, and struggling to reinvent itself, as the city around them does the same.

"Ivan Turgenev's Fathers and Children is a masterpiece not only of the nineteenth century but of the whole of Russian literature, a book full to bursting with life. It is a novel about the relations between the young and the old, about love, families, politics, religion, about strong beliefs and heated disagreements, illness and death. It is about the clash between liberals and conservatives, revolutionaries and reactionaries. At the time of its publication in 1862, the book aroused indignation in its critics who felt betrayed by Turgenev's refusal to let his novel serve a single ideology; it also received spirited defense by those who saw in his diffuse sympathies a greater service to art and to humanity. Fathers and Children is not a practical manifesto but a lasting work of art and a timely book for our present age, newly and ably translated by Nicolas Pasternak Slater and Maya Slater"--

A futuristic punk ventures through a madcap, dystopian fantasia in this astounding work of comics literature by a celebrated artist and illustrator.Gary Panter is one of America's great creative forces: illustrator for the trailblazing punk magazine Slash, set designer for the legendary TV show Pee-wee's Playhouse, and one of the wildest, most innovative comics artists of all time. Jimbo: Adventures in Paradise is a leap into the uproarious life of Panter's ever-cheerful punk everyman, Jimbo, and a perfect introduction to Panter's ever-shifting style. Amid a jumbled cityscape of rundown NYC streets and futuristic LA freeways, Jimbo crowd surfs at a riot, makes amends with Ernie Bushmiller's Nancy, and rescues his pal Smoggo's sister from giant cockroaches, all while the world teeters between extravagance and apocalypse. Veering between the crude and the elegant, the wise and the funny, Jimbo: Adventures in Paradise proves Panter is a master of cartooning, and still way ahead of the rest of us.