Author Essays, Interviews, and Excerpts

The Professional: Donald E. Westlake

October 15, 2014
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The Professional: Donald E. Westlake

 

Deadspin columnist/Yankees fan/out-of-print litterateur Alex Belth recently sat down over email with Levi Stahl, University of Chicago Press promotions director and editor of The Getaway Car: A Donald Westlake Nonfiction Miscellany. Their resulting conversation, published today at Deadspin, al0ng with an excerpt from the book, includes the history of their engagement with the Parker novels, Jimmy the Kid‘s amazing cover design, culling through Westlake’s archive, an obscure British comedy show, and the perils of professional envy vs. professional admiration. You can read the interview in full here, and have a look at a clip after the jump below.

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Q: In a letter, Westlake described the difference between an author and a writer. A writer was a hack, a professional. There’s something appealing and unpretentious about this but does it take on a romance of its own? I’m not saying he was being a phony but do you think that difference between a writer and an author is that great?

LS: I suspect that it’s not, and that to some extent even Westlake himself would have disagreed with his younger self by the end of his life. I think the key distinction . . .

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Literature in translation

October 13, 2014
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Literature in translation

In the wake of the controversy (or welcomed interest, depending on your position) surrounding Patrick Modiano’s recent Nobel Prize in Literature, the AAUP circulated the hashtag #litintranslation, in order to promote those books published by university presses that attempt to overcome the dearth of literature in translation that has long acquiesced to a peculiar hegemony in American letters. In fact, Yale University Press already had plans to publish Modiano’s Suspended Sentences: Three Novellas this fall, as part of their Margellos World Republic of Letters series. A quick review of the tweets circulating under #litintranslation reveals an equally robust list of works brought into the English language by the university press community, including several by the University of Chicago Press. With that in mind, and on the heels of the Frankfurt Book Fair, we’re debuting our sales catalog Translations from Chicago, where among hundreds of storied works spanning the disciplines, you can find:

The Selected Letters of Charles Baudelaire: The Conquest of Solitude, ed. and trans. by Rosemary Lloyd

Vegetables: A Biography by Evelyn Bloch-Dano, trans. by Teresa Lavender Fagan

One Must Also Be Hungarian by Adam Biro, trans. by Catherine Tehanyi

Sketch for a Self-Analysis by . . .

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An excerpt from Lee Siegel’s Trance Migrations

October 8, 2014
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An excerpt from Lee Siegel’s Trance Migrations

From Trance Migrations: Stories of India, Tales of Hypnosis by Lee Siegel

The Child’s Story

And now, if you dare, LOOK into the hypnotic eye! You cannot look away! You cannot look away! You cannot look away!

—THE GREAT DESMOND IN THE HYPNOTIC EYE (1960)

I was eight years old when my mother was hypnotized by a sinister Hindu yogi. Yes, she was entranced by him, entirely under his control, and made do things she would never have done in her normal waking state. My father wasn’t there to protect her and there was nothing I, a mere child, could do about it. I vividly remember his turban and flowing robes, his strange voice, gliding gait, and those eerie eyes that widened to capture her mind. I heard his suggestive whispers—“Sleep Memsaab, sleep”—and saw his hand moving over her face in circular hypnotic passes. “Sleep, Memsaab.”

It’s true. I heard it with my own ears and saw it with my own eyes as I watched “The Unknown Terror,” an episode of the series Ramar of the Jungle, on television one evening in 1953. Playing the part of a teak plantation owner in India, . . .

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Excerpt: Roger Grenier’s Palace of Books

October 2, 2014
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Excerpt: Roger Grenier’s Palace of Books

 

“Private Life”

The expansion of the media has put the writer in the spotlight, even if, nowadays, people who write have lost much of their prestige and their importance in society. Some of them find themselves afflicted with a lack of privacy once reserved for movie stars. Sometimes they ask for it. Michel Contat writes about “this form of media totalitarianism that gives the right to know everything about someone based on the simple fact that he or she has created a public image.” This phenomenon is not so new, if you think about Sartre and Beauvoir, not to mention Musset and George Sand, Dante and Beatrice, Petrarch and Laura, or even the self-dramatizing Byron or Chateaubriand. Nowadays we have scribblers who manage to pass themselves off as writers because they’ve already made a name for themselves as celebrities.

Gérard de Nerval was a victim of the public’s need to know, due to conditions that would be unimaginable today. Jules Janin, in the Journal des débats of March 1, 1841; Alexandre Dumas, in Le Mousquetaire of December 10, 1853; Eugène de Mirecourt in a little monograph in his series Les Contemporains in . . .

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For Mark Rothko on his birthday

September 25, 2014
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For Mark Rothko on his birthday

James E. B. Breslin’s book on the life of painter Mark Rothko helped redefine the field of the artist’s biography and, in its day, was praised by outlets such as the New York Times Book Review (on the front cover, no less), where critic Hilton Kramer ascribed it as, “the best life of an American painter that has yet been written.” On what would have been the artist’s 111th birthday, Biographile revisted Breslin’s work:

In Breslin’s book, we follow Rothko’s search for the approach that would become such a significant contribution to art and painting in the twentieth century. He was in his forties before he started making his “multiforms,” and even after he started painting them in his studio, he didn’t show them right away. Breslin dissects and details the techniques Rothko developed upon creating his greatest works. He rotated the canvas as he worked, so that the painting wouldn’t be weighted in any one direction. He spent much more time in the studio figuring out a painting than actually painting it, and he filled a canvas as many as twenty times before feeling it was done. Maybe most important, he worked tirelessly to eliminate any recognizable shapes . . .

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Rachel Sussman and The Oldest Living Things in the World

September 15, 2014
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Rachel Sussman and The Oldest Living Things in the World

 

This past week, Rachel Sussman’s colossal photography project—and its associated book—The Oldest Living Things in the World, which documents her attempts to photograph continuously living organisms that are 2,000 years old and older, was profiled by the New Yorker:

To find the oldest living thing in New York City, set out from Staten Island’s West Shore Plaza mall (Chuck E. Cheese’s, Burlington Coat Factory, D.M.V.). Take a right, pass Industry Road, go left. The urban bleakness will fade into a litter-strewn route that bisects a nature preserve called Saw Mill Creek Marsh. Check the tides, and wear rubber boots; trudging through the muddy wetlands is necessary.

The other day, directions in hand, Rachel Sussman, a photographer from Greenpoint, Brooklyn, went looking for the city’s most antiquated resident: a colony of Spartina alterniflora or Spartina patens cordgrass which, she suspects, has been cloning and re-cloning itself for millennia.

Not simply the story of a cordgrass selfie, Sussman’s pursuit becomes contextualized by the lives—and deaths—of our fragile ecological forbearers, and her desire to document their existence while they are still of the earth. In support of the project, Sussman has a series of upcoming events surrounding The Oldest . . .

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Terror and Wonder: our free ebook for September

September 2, 2014
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Terror and Wonder: our free ebook for September

For more than twenty years now, Blair Kamin of the Chicago Tribune has explored how architecture captures our imagination and engages our deepest emotions. A winner of the Pulitzer Prize for criticism, Kamin treats his subjects not only as works of art but also as symbols of the cultural and political forces that inspire them. Terror and Wonder gathers the best of Kamin’s writings from the past decade along with new reflections on an era framed by the destruction of the World Trade Center and the opening of the world’s tallest skyscraper.

Assessing ordinary commercial structures as well as head-turning designs by some of the world’s leading architects, Kamin paints a sweeping but finely textured portrait of a tumultuous age torn between the conflicting mandates of architectural spectacle and sustainability. For Kamin, the story of our built environment over the past ten years is, in tangible ways, the story of the decade itself. Terror and Wonder considers how architecture has been central to the main events and crosscurrents in American life since 2001: the devastating and debilitating consequences of 9/11 and Hurricane Katrina; the real estate boom and bust; the use of over-the-top cultural designs as engines of civic renewal; new challenges . . .

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Chicago 1968, the militarization of police, and Ferguson

August 29, 2014
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Chicago 1968, the militarization of police, and Ferguson

John Schultz, author of The Chicago Conspiracy Trial and No One Was Killed: The Democratic National Convention, August 1968, recently spoke with WMNF about the history of police militarization, in light of both recent events in Ferguson, Missouri, and the forty-sixth anniversary (this week) of the 1968 Democratic National Convention in Chicago. Providing historical and social context to the ongoing “debate over whether the nation’s police have become so militarized that they are no longer there to preserve and protect but have adopted an attitude of ‘us’ and ‘them,'” Schultz related his eyewitness accounts to that collision of 22,000 police and members of the National Guard with demonstrators in Chicago to the armed forces that swarmed around mostly peaceful protesters in Ferguson these past few weeks.

The selection below, drawn in part from a larger excerpt from No One Was Killed, relays some of that primary account from what happened in Grant Park nearly half a century ago. The full excerpt can be accessed here.

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The cop bullhorn bellowed that anyone in the Park, including newsmen, were in violation of the law. Nobody moved. The newsmen did not believe that they were marked men; they thought it was . . .

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The State of the University Press

August 21, 2014
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The State of the University Press

Recently, a spate of articles appeared surrounding the future of the university press. Many of these, of course, focused on the roles institutional library sales, e-books, and shifting concerns around tenure play in determining the strictures and limitations to be overcome as scholarly publishing moves forward in an increasingly digital age. Last week, Book Business published an profile on what goes on behind the scenes as discussions about these issues shape, abet, and occasionally undermine the relationships between the university press, its supporting institution, its constituents, and the consumers and scholars for whom it markets its books. Including commentary from directors at the University of North Carolina Press, the University of California Press, and Johns Hopkins University Press, the piece also included a conversation with our own director, Garrett Kiely:

From Dan Eldridge’s “The State of the University Presses” at Book Business:

Talk to University of Chicago Press director Garrett Kiely, who also sits on the board of the Association of American University Presses (AAUP), and he’ll tell you that many of the presses that are struggling today — financially or otherwise — are dealing with the same sort of headaches being suffered by their colleagues in the commercial world. . . .

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Against Prediction: #Ferguson

August 14, 2014
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Against Prediction: #Ferguson

 

From Bernard E. Harcourt’s Against Prediction: Profiling, Policing, and Punishing in an Actuarial Age

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The ratchet contributes to an exaggerated general perception in the public imagination and among police officers of an association between being African American and being a criminal—between, in Dorothy Roberts’s words, “blackness and criminality.” As she explains,

One of the main tests in American culture for distinguishing law-abiding from lawless people is their race. Many, if not most, Americans believe that Black people are “prone to violence” and make race-based assessments of the danger posed by strangers they encounter. The myth of Black criminality is part of a belief system deeply embedded in American culture that is premised on the superiority of whites and inferiority of Blacks. Stereotypes that originated in slavery are perpetuated today by the media and reinforced by the huge numbers of Blacks under criminal justice supervision. As Jody Armour puts it, “it is unrealistic to dispute the depressing conclusion that, for many Americans, crime has a black face.”

Roberts discusses one extremely revealing symptom of the “black face” of crime, namely, the strong tendency of white victims and eyewitnesses to misidentify suspects in . . .

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