“Still longer than a tweet and still shorter than A River Runs Through It—”
SUMMER CHICAGO SHORTS
Publication Date: June 18, 2013
The University of Chicago Press is pleased to announce the launch of our summer series of Chicago Shorts—distinguished selections, including never-before-published material, off-the-radar reads culled from the University of Chicago Press’s commanding archive, and the best of our newest books, all priced for impulse buying and presented exclusively in DRM-free e-book format.
Aimed at the general reader and running the gamut from the latest in contemporary scholarship to can’t-miss chapters from classic publications, Chicago Shorts continues to turn the page on the twenty-first-century reading experience.
With summer upon us, we’ve selected a group of shorts that offer all the pleasures you look for in that season: they’re light, funny, and engaging; they stoke our dreams of faraway places and outdoor adventures; and like summer itself—they leave you wanting more.
Among the Summer Shorts, you’ll find:
Ain’t Love Grand! From Earthworms to Elephant Seals by Marty Crump God: The Autobiography by Franco Ferrucci (trans. by Raymond Rosenthal) Spiral Jetta Summer: Swimming in the Great Salt Lake by Erin Hogan It’s Alive! The . . .
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David S. Shields’s Still: American Silent Motion Picture Photography chronicles the still camera work generated by the American silent film industry—and in the process, uncovers the intersection of publicity and aesthetics that shaped our placement of cinematic culture. Fittingly, it’s profiled over at the Turner Classic Movies site, which touches on the relevance of Shields’s endeavor:
Recent movies like The Artist and Hugo (both 2011) have recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. While the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than 80 percent of silent films have disappeared. We now know about many of these cinematic masterpieces only from collections of still portraits and production photographs that were originally created for publicity and reference. Still: American Silent Motion Picture Photography (The University of Chicago Press), by David S. Shields, is the first history of still camera work generated by the American silent motion picture industry. Exploring the work of over 60 camera artists, Still . . .
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Saddened today to note the passing of Andrew M. Greeley (1928–2013)—priest, sociologist, journalist, prolific critic, novelist, and philanthropist. Father Greeley (his preferred moniker) was a priest’s priest—while at the same time an ardent and impassioned critic of established Catholic authority. His writings spanned academic treaties—ecumenical and secular, ethnographic and sociological—weekly newspaper columns, literary potboilers, and vehemently outspoken diatribes against the hypocrisy of the Church in which he was ordained. Among these, the University of Chicago Press was fortunate to publish two works, Priests: A Calling in Crisis (2004) and The Truth about Conservative Christians: What They Think and What They Believe (coauthored with Michael Hout; 2006). A longtime affiliate of the National Opinion Research Center at the University of Chicago, Greeley also gifted the school with a 1.25 million dollar endowment in 1984 (despite three denials of his own tenure while a professor), which was formerly used to endow a chair of Catholic studies.
“I’m a priest, pure and simple,” he once said, “albeit a priest with a condo in the John Hancock Building and a home in Arizona.”
Chicago Sun-Times obituary
New York Times obituary
. . .
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A recent review from the New Yorker—and more about the book here.
“The wings of the pterosaur take us to the Wright Brothers, the pinhole eyes of the nautilus to the invention of the daguerreotype. In fact, the linkage is pointed: it’s not nature’s story or ours but both together. Divorcing human achievements from their relations in natural life means that Homo sapiens, too, is only ‘barely imagined.’”
. . .
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From Josh Cook’s review of Recalculating by Charles Bernstein, in the May issue of Bookslut:
With translations, imitations, and homages, and with poems of poetry’s motion, and manifestos of politics and poetics, Bernstein has gone beyond a personal anthology of poetics to write a book I struggle to categorize. If you could remove all the term’s negative connotations, all the personal and cultural associations with boredom and restriction, if you could extract the term from the worst of academics and education, you could call Recalculating a textbook. It is the syllabus, the required reading, the example, the supplemental critical exploration, and the challenge. It is a shiv tearing at the fabric of poetry for a glimpse of the poetic future. It is the wall, the empty cans of spray paint, and the graffiti. It is the schematics for every part of the bomb but the fuse; the reader is the fuse. But as explosive as Recalculating is, the image of a bomb isn’t right, for, ultimately Bernstein is not a destroyer but a motivator. At the end of Recalculating, Bernstein wants you to believe poetry has not met its potential.
The . . .
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Barbara J. King is having quite a week—at least in terms of traversing brave new (pop-cultural) frontiers for the scholarly pursuits of animal intelligence and emotion. First came an excerpt from King’s latest book How Animals Grieve in a recent edition of the New York Post—noteworthy enough; so noteworthy, in fact, that it led to a mention of the book and King’s work on an episode of Howard Stern’s syndicated SIRIUS radio show (Stern, who along with his wife, is an animal rights advocate, experienced the traumatic loss of his English bulldog Bianca just a year ago; he even gave the book a plug via his Twitter feed). As if all this weren’t enough to render a tear in academic publishing’s space-time continuum, King herself made an appearance on Stern’s show, evidencing some of the ideas surrounding animal mourning that her book draws upon.
In How Animals Grieve, King considers a recent shift in anthropological attention to our companion species, which recognizes our long-chided tendency to anthropomorphize animal emotions might instead hold grains of truth. She tells of elephants surrounding their matriarch as she weakens and dies, and, in the following days, attending to her corpse as if holding a vigil. . . .
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Last week the New York Times Book Review ran a review of three books about Chicago. The review generated an “epic backlash,” and got everyone talking about, well, everything but the books reviewed. We want to change that.
For the first five days of May, we are making Neil Steinberg’s book You Were Never in Chicago available for download—free of charge—exclusively through the University of Chicago Press website at http://bit.ly/freebk. It’s one of our bestsellers; it just won the Society of Midland Authors Award for Best Non-Fiction of 2012; and it has been critically acclaimed—even by the New York Times itself, who in September called it, “A strong case for Second City exceptionalism.”
Why free? Because we are so certain people will fall in love with Steinberg’s distinctive, wry, and unpretentious take on Chicago that we think they’ll read it and want to buy it as a gift for themselves or someone else who loves Chicago. Or who loves any city of the broad-shouldered kind.
Steinberg’s book takes its title from a Chicagoan’s outraged response to a New Yorker’s critique of Chicago—A. J. Liebling’s 1952 three-part essay in the New Yorker, in which he dubbed Chicago the “Second City.” . . .
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