I am professor emeritus at the University of Pennsylvania. Although I’ve written more than twenty books on a variety of subjects, I was trained as an architect and I’ve designed and built houses, researched low cost housing, and taught budding architects for four decades. I was architecture critic for Wigwag and Slate and I’ve written for numerous national magazines and newspapers. Perhaps more important, my wife and I built our own house, mixing concrete, sawing wood, and hammering nails. I wrote a book about that, too.
If you’ve ever wondered why modern buildings look the way they do—and look so different from say, the buildings of our grandparents’ generation—you cannot do better than read this collection of essays that examines the current state of modern architecture. Glazer, a sociologist who was a noted public intellectual, brings a down-to-earth intelligence and a sharp eye to his subject.
Modernism in architecture and urban design has failed the American city. This is the decisive conclusion that renowned public intellectual Nathan Glazer has drawn from two decades of writing and thinking about what this architectural movement will bequeath to future generations. In From a Cause to a Style, he proclaims his disappointment with modernism and its impact on the American city. Writing in the tradition of legendary American architectural critics Lewis Mumford and Jane Jacobs, Glazer contends that modernism, this new urban form that signaled not just a radical revolution in style but a social ambition to enhance the conditions…
I am a Professor of modern European history at the University of San Francisco. I have written or co-edited three major books and many articles and reviews, as well as serving as a correspondent for a German newspaper. My areas of expertise are intellectual, political, military, and cultural history. I also work on the history of espionage and served as a consultant to the CIA on my last book about student radicals in Germany.
This book is beautiful even as its subject is ugly: how the shock of the Great War led inexorably in Germany to the rise of Hitler.
I loved the aesthetics of this book. Eksteins begins by transporting us back to Paris, sitting us in the audience on opening night in May 1913 for Stravinsky's ballet The Rites of Spring, which caused mayhem because of the wild dance techniques and jarring music. Eksteins then takes us on a journey through the culture of Weimar Germany as Berlin seized the title of Europe's cultural capital from Paris.
I was enraptured by the dizzying esthetics of modernism, dada, surrealism, and other, punctuated bursts of artistic trends, both celebrated and opposed, in a right-wing backlash that had real-world consequences. Ekstein's thesis convinced me counter-intuitively that Hitler and Nazism were connected in the irrational conglomeration of birth and destruction, first introduced by Stravinsky.
Named "One of the 100 best books ever published in Canada" (Literary Review of Canada), Rites of Spring is a brilliant and captivating work of cultural history from the internationally acclaimed scholar and writer Modris Eksteins.
A rare and remarkable cultural history of World War I that unearths the roots of modernism.
Dazzling in its originality, Rites of Spring probes the origins, impact, and aftermath of World War I, from the premiere of Stravinsky's ballet The Rite of Spring in 1913 to the death of Hitler in 1945.
Recognizing that “[t]he Great War was the psychological turning point . .…
I am fascinated by time, how a few brief moments can change or define a life, and how, when faced with danger, a first reaction can make you a hero or a coward. In trying cases, I saw how a slight hesitation or a quick glance away could make a witness under cross-examination seem a liar. The instant of truth, when everything about someone’s character becomes clear–the common theme of the five novels–is what my book is all about. The captain, Vincent Marlowe, had to make a decision about the price he had to pay for the deaths he had caused.
My father, who had spent three years at sea before going to college, used to tell me stories of adventures in the Pacific when I was a small boy, which is perhaps the reason I was drawn to Lord Jim, Joseph Conrad’s story of a failed romantic, a hero in all his youthful dreams who became notorious as a coward and then known everywhere as the truly heroic Lord Jim.
The story of living with, and then overcoming, my own cowardice was not some made-up tale of the past for me; it was, and it remains, a reminder of things I should have done and did not and what, if anything, I did later to make things right.
Introduction and Notes by Susan Jones, St Hilda's College, Oxford.
First published in 1900, Lord Jim established Conrad as one of the great storytellers of the twentieth century. Set in the Malay Archipelago, the novel not only provides a gripping account of maritime adventure and romance, but also an exotic tale of the East. Its themes also challenge the conventions of nineteenth-century adventure fiction, confirming Conrad's place in literature as one of the first 'modernists' of English letters.
Lord Jim explores the dilemmas of conscience, of moral isolation, of loyalty and betrayal confronting a sensitive individual whose romantic quest for…
Don’t ask me why I grew aware, from the earliest age, of living in more than one world. There seemed to be a strident world of what we said was happening, and a twilight world of what was really happening. I ended up liking and writing about the world of what really happens, because while all our seamless goal-driven plans are filling the air there’s this beautiful, whimsical, frail and often ridiculous world where we’re hapless and riddled with twists. The world of humanity. The backstage of laughter and tears. And for that, I present five outrageous old friends living in books from our strange human history.
A doctor in early twentieth-century Trieste demands that an eccentric patient write his memoirs as a form of psychotherapy. These pages are those memoirs – the doctor calls them all lies – and form the fictional life story of one of my favourite misfits, the unreliable Zeno Cosini, with his horde of idiosyncrasies. Between proposing to three sisters within an hour and making a fortune on the stock market by mistake, he spends his time nurturing his hypochondria and trying to give up smoking, which means endlessly smoking ‘last cigarettes’. A seminal work of modernism, this is another novel with autobiographical ties to the author, and I left it torn between laughter and tears over just how complex, ironic and funny we humans can be.
A marvel of psychological insight from one of the most important Italian literary figures of the twentieth century
When vain, obsessive and guilt-ridden Zeno Cosini seeks help for his neuroses, his psychoanalyst suggests he writes his memoirs as a form of therapy. Zeno's account is an alternative reality, a series of elliptical episodes dealing with the death of his father, his career, his marriage and affairs, and, above all, his passion for smoking and his spectacular failure to resist the promise of that last cigarette. A hymn to self-delusion and procrastination, Svevo's devilishly funny portrayal of a man's attempt to…
I came to Shanghai largely by accident back in the late twentieth century and found a city of art deco and modernism, of influences form east and west – then far less developed, smaller and more intimate, as if a dust sheet had been thrown over the city in 1949 and the metropolis underneath left to await a new era. The old city, the once international city that was the most modern in Asia – jazz, skyscrapers with elevators, streamline moderne villas, a hundred nationalities living cheek-by-jowl was still, seemingly, just within reach. I’ve never stopped being fascinated by that old world, or writing about it.
This is a collection of short stories by one of China’s modernist masters, mostly translated by Andrew Field. However, Mu is largely forgotten and rarely read now either in Chinese or in translation. The reason is simple – he chose to collaborate with the Japanese in World War Two. Yet his short stories are so emblematic of old Shanghai, its dancehalls and bars; nightclubs and bordellos. Mu moves through a Shanghai demimonde of Chinese and foreigners, gangsters and tycoons, imported whisky, and Shanghainese cuisine. His writing is the epitome of the nighttime neon-lit old photography of the city we are so familiar with; his characters those we see on the old pre-war black and white movies from Shanghai’s film studios.
Shanghai’s “Literary Comet” When the avant-garde writer Mu Shiying was assassinated in 1940, China lost one of its greatest modernist writers while Shanghai lost its most detailed chronicler of the city’s Jazz-Age nightlife. Mu’s highly original stream-of-consciousness approach to short story writing deserves to be re-examined and re-read. As Andrew Field argues, Mu advanced modern Chinese writing beyond the vernacular expression of May Fourth giants Lu Xun and Lao She to reveal even more starkly the alienation of a city trapped between the forces of civilization and barbarism in the 1930s. Mu Shiying China’s Lost Modernist includes translations of six…
I love cities and I teach about them. I was born in the capital of Sofia, Bulgaria, and landed in the US (mostly by chance) in 1993. Spent most of my professional life in US academia (Michigan, Virginia Tech, Harvard, Maryland, and now Georgia). I never stopped wondering how cities change and why American cities look and function so differently than European cities. So, I wrote a few books about cities, includingIron Curtains; Gates, Suburbs and Privatization of Space, which is about changes in East European Cities after the fall of the Berlin Wall.
A sweeping study and critique of modern culture! If you are looking for a comprehensive and passionate analysis of time and space in the “late capitalist era,” this is the one to read. Nobody has written more authoritatively on modern and post-modern “time-space compression” (you have to read the book to see what this means). Harvey’s intellectual breadth and depth are astonishing. No wonder he is one of the most cited scholars of our time.
In this new book, David Harvey seeks to determine what is meant by the term in its different contexts and to identify how accurate and useful it is as a description of contemporary experience.
I’ve been living in and writing about Japan for two decades—it’s where my wife and I have raised a bicultural family and where I don’t think I’ll ever run out of stories I want to tell. Whether written by Japanese or non-Japanese, I love reading work that documents Japan and its culture in an honest and thoughtful way. I hope you’ll try some of the books on this list because, with so much Japan coverage today veering towards cultural exoticism and fetishism or leaning on familiar stereotypes and tropes, it’s even more important to seek out great Japanese writing.
When your short stories inspire a Kurosawa movie, they must be something special. This collection includes Rashomon and In a Bamboo Grove, two stories set in medieval Japan that inspired the movie Rashomon. It also mixes stylistically vivid pieces that explore moral ambiguity, can be witty and cynical, and are deeply poignant.
That’s especially true in stories where Akutagawa writes of his own personal struggles—he took his own life aged just 35 in 1927. As Haruki Murakami puts it, Akutagawa’s work is “spine-tingling brilliance.”
Ryunosuke Akutagawa (1892-1927) is one of Japan's foremost stylists - a modernist master whose short stories are marked by highly original imagery, cynicism, beauty and wild humour. 'Rashoemon' and 'In a Bamboo Grove' inspired Kurosawa's magnificent film and depict a past in which morality is turned upside down, while tales such as 'The Nose', 'O-Gin' and 'Loyalty' paint a rich and imaginative picture of a medieval Japan peopled by Shoguns and priests, vagrants and peasants. And in later works such as 'Death Register', 'The Life of a Stupid Man' and 'Spinning Gears', Akutagawa drew from his own life to devastating…
I am a historian of cities and the ways people shape them. Living in Berlin, both before and after the Wall came down, made me aware of how the shared experiences and memories of particular places give meaning to civic life. (And for a historian it was thrilling to find a place where history was taken very seriously.) Although I have since written broader studies—of cars and cities (Autophobia) and of earlier street life (The Streets of Europe)–it was the experience of living in Berlin while learning its history that enabled me to see the layers of meaning embedded in buildings and streets.
There are many books about the glitz and the cultural icons that we associate with Weimar Berlin. This one gives us a broader and deeper picture. Instead of concentrating on a few writers and artists, it anchors the city’s creative explosion in mass-market newspapers and their readers, turning our eyes to people in the streetcars and cafés and the stories they read about their own lives. We can read about sensational crimes just as Berliners did, and we find the prototypes of modern art in the layout and content of newspapers and in the chaos of the streets where they are hawked.
The great cities at the turn of the century were mediated by words--newspapers, advertisements, signs, and schedules--by which the inhabitants lived, dreamed, and imagined their surroundings. In this original study of the classic text of urban modernism--the newspaper page--Peter Fritzsche analyzes how reading and writing dramatized Imperial Berlin and anticipated the modernist sensibility that celebrated discontinuity, instability, and transience. It is a sharp-edged story with cameo appearances by Georg Simmel, Walter Benjamin, and Alfred Doeblin. This sumptuous history of a metropolis and its social and literary texts provides a rich evocation of a particularly exuberant and fleeting moment in history.
I adore non-fiction books that read like novels. After ten years of working in research labs, my master’s degree in biology led me to a new career in science writing. I recently dove into the worlds of narrative non-fiction and history when I wrote Radiant, the Dancer, The Scientist and a Friendship Forged in Light. Immersing myself in Belle Époque Paris to research and intertwine the stories of Marie Curie and the inventor/dancer Loie Fuller helped me discover a passion for telling the stories of important figures forgotten by history.
In Portrait of a Marriage, Steinbeck scholar Susan Shillinglaw beautifully brings John Steinbeck’s first wife Carol into the spotlight. The impeccably researched narrative lays out the path of a ten-year marriage doomed to fail, even as Carol shapes John into one of America’s great writers. I couldn’t put it down.
Carol Henning Steinbeck, writer John Steinbeck's first wife, was his creative anchor, the inspiration for his great work of the 1930s, culminating in The Grapes of Wrath. When they met at Lake Tahoe in 1928, their attachment was immediate, their personalities meshing in creative synergy. Carol was unconventional, artistic, and compelling. During the formative years of Steinbeck's career, when they lived in San Francisco, Pacific Grove, and Los Gatos, their modernist circle included Ed Ricketts, Joseph Campbell, and Lincoln Steffens. In many ways Carol's story is all too familiar: a creative and intelligent woman subsumes her own life and work…
I’ve long been interested in what different traditions have to say about how to live our best lives. While a graduate student, I naturally drifted towards studying both Stoicism and Buddhism and wrote my MA dissertation on a comparison of both (which ultimately, much later, became the basis for my book). During my time as a Ph.D. student, I was actively involved in the Modern Stoicism project. As well as running the blog for the project, I was also involved, along with a team of academics and psychotherapists, in creating adaptations of that ancient philosophy for the modern world. I also draw on both philosophies in coping with chronic illness.
McMahon’s book was a real opener for me as a practising Buddhist in my early 20s.
I’d always naturally assumed that the Buddhism I practised was essentially the same as the Buddhism of any other time and place. McMahon’s penetrating analysis of the differences between ancient and ‘Western’ Buddhism shattered that illusion, showing me that the Buddhism I followed was mainly the product of Buddhism’s encounter with the modern, Western world.
I deeply valued the doors McMahon opened for me: suddenly, I could take a much larger view of the Buddhist tradition, and I also came to realize how the various manifestations of philosophies and religions are interesting not just for what they teach but also because of what they can reveal about the societies that practise them.
In this book, David McMahan offers the first comprehensive attempt to chart the development of "modern Buddhism." His position is critical but empathetic: while he presents modern Buddhism as a construction of numerous parties with varying interests, he does not reduce it to a mistake, a misrepresentation, or a fabrication. Rather, he presents modern Buddhism as a complex historical process constituted by a variety of responses - sometimes trivial, often profound - to some of the most important concerns of the modern era.
