“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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In wrapping of the year’s best-of-2012 lists, we couldn’t help but single out the University of Chicago Press titles that made the cut as reads worth remembering. With that in mind, here’s a list of our books that earned praise as cream of the crop here and abroad, from scholarly journals, literary blogs, metropolitan newspapers, and the like. If you’re looking, might we (and others) recommend—
A Naked Singularity by Sergio De La Pava
made the Philadelphia City Paper’s Best of the Year list named one of the best books of the year by the Houston Chronicle included in Bookriot’s list of the five most overlooked books of 2012 picked as the book of the year by a bookseller at the Oxford Blackwell’s: “ feel so evangelical about I want to run around screaming ‘YOU MUST READ THIS BOOK OR YOUR LIFE WILL BE INCOMPLETE,’ in Billy Graham style.” named one of the ten best fiction books of 2012 by the Wall Street Journal named by Wall Street Journal fiction editor Sam Sacks as one of his own favorite fiction books of 2012 named by Sasha Frere-Jones of the New Yorker as . . .
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“With Antron and Nylon and Lycra and Orlon and Dacron, the world’s a better place. You know we all have a smile on that started with Nylon and stretches across each happy face.” King of the jingle (and prince of the cabaret), Michael Brown wrote and directed DuPont’s “industrial musical” The Wonderful World of Chemistry, which would air an unprecedented 14,600 times, or 40 times per day, during the two-year run of the 1964–65 World’s Fair in New York City. (It should be pointed out that a bit of research on Timothy D. Taylor’s forthcoming The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture led us here. The book hones in on the indiscriminate blurring between advertising copy and popular music, unearthing an as-yet unclaimed piece of our cultural history—the musical aesthetics of consumerism, and its buzz-buzz-buzzing.) Brown was a children’s book author, lyricist, and producer, who penned tales about Santa Mouse and put the words, literally, in Carol Channing’s mouth during a run of Sugar Babies. The Wonderful World of Chemistry was his masterpiece, among songs scribed for notable Broadway musicals (like “Lizzie Borden” in Leonard Sillman’s New Faces of 1952) and other “industrial” pieces. Even his . . .
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It’s nearly impossible to turn away from the tumultuous events in Cairo, and to make sense of rights and freedoms on the line from an international vantage. We’ve been following the feeds at the Guardian and most recently reading PEN International’s statement, released this morning, and thinking about the March of Millions planned for Tuesday. In trying to stay present with the coverage and assessing where to begin to solidify our understanding of a nation’s culture and a movement for its people, we came across the music of Umm Kulthum, whose fallahah (peasant) perspective imbued her life and work, offering insight into the cultural and political studies that Egypt faced only a generation or two before.
Kulthum, the “voice of Egypt” (also “the Star of the East” and the “Nightingale of the Nile”), was one of the most celebrated performers of the twentieth-century Arab world. The idiom she created from local culture and traditions helped her to develop a populist musical practice that was heralded as a crowning example of a new, yet authentically Arab-Egyptian culture, during tumultuous changes mid-century.
Perhaps most pressingly, Kulthum’s music and public persona helped to contribute to the artistic, societal, and political forces . . .
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