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It's Fun to Be a Person I Don't Know
At first glance a reader might mistake It’s Fun to Be a Person I Don’t Know for a juicy Hollywood tell-all, given Chachi D. Hauser’s background as the great-granddaughter of Roy Disney, a cofounder with his brother Walt of the Walt Disney Company. And to her credit, Hauser doesn’t shy away from confronting painful family memories when considering how the stories, myths, and rumors surrounding this entertainment empire have influenced her own imagination. But family history is only one strand in this intricate and variegated weave that also interlaces the social and environmental history of Hauser’s adopted hometown of New Orleans, intimate reflections on love and navigating open relationships, and a searing self-examination that reveals a gender fluidity chafing against social barriers. Hauser’s innovative and multifaceted narrative navigates a variety of terrains, seeking truth as its final destination. While the family company excels in fantasy, Hauser’s story is that of a young documentary filmmaker determined to train a sharply focused lens on the reality of her lived experiences.
Shift
"A collection of memories throughout Penny Guisinger's life recounting her story of sexuality, love, and marriage"--
Homing
Homing: Instincts of a Rustbelt Feminist traces the creative coming of age of a mill-town feminist. Sherrie Flick, whose childhood spanned the 1970s rise and 1980s collapse of the steel industry, returned to Pittsburgh in the late 1990s, witnessing the region’s before and its after. With essays braiding, unbraiding, and then tangling the story of the author’s father with Andy Warhol, faith, dialect, labor, whiskey, Pittsburgh’s South Side Slopes neighborhood, grief, gardening, the author’s compulsion to travel, and her reluctance to return home, Flick examines how place shaped her experiences of sexism and feminism. She also looks at the changing food and art cultures and the unique geography that has historically kept this weird hilly place isolated from trendy change. Carefully researched, deeply personal, and politically grounded in place and identity, Homing is an explicitly feminist and anti-nostalgic intervention in writing about the Rustbelt.
Autumn Song
We all live lives littered with what we leave behind: places we once lived, friendships we once had, dreams we once envisioned, the people we once were. Each new day we attempt to find a way to continue living despite the absences we experience because of loss and disappointment, injustice and inequity, change and the passage of time. Autumn Song: Essays on Absence invites readers into one Black woman’s experiences encountering absences, seeing beyond the empty spaces, and grasping at the glimmers of glory that remain. In a world marred with brokenness, these glimmers speak to the possibility of grieving losses, healing heartache, and allowing ourselves to be changed.
It's Fun to be a Person I Don't Know
At first glance a reader might mistake It's Fun to Be a Person I Don't Know for a juicy Hollywood tell-all, given Chachi D. Hauser's background as the great-granddaughter of Roy Disney, a cofounder with his brother Walt of the Walt Disney Company. And to her credit, Hauser doesn't shy away from confronting painful family memories when considering how the stories, myths, and rumors surrounding this entertainment empire have influenced her own imagination. But family history is only one strand in this intricate and variegated weave that also interlaces the social and environmental history of Hauser's adopted hometown of New Orleans, intimate reflections on love and navigating open relationships, and a searing self-examination that reveals a gender fluidity chafing against social barriers. Hauser's innovative and multifaceted narrative navigates a variety of terrains, seeking truth as its final destination. While the family company excels in fantasy, Hauser's story is that of a young documentary filmmaker determined to train a sharply focused lens on the reality of her lived experiences.
Didn't We Almost Have It All
Named a BEST BOOK OF THE YEAR... SO FAR by The New Yorker Named a BEST BOOK OF THE MONTH by The Washington Post A candid exploration of the genius, shame, and celebrity of Whitney Houston a decade after her passing On February 11, 2012, Whitney Houston was found submerged in the bathtub of her suite at the Beverly Hilton Hotel. In the decade since, the world has mourned her death amid new revelations about her relationship to her Blackness, her sexuality, and her addictions. Didn’t We Almost Have It All is author Gerrick Kennedy’s exploration of the duality of Whitney’s life as both a woman in the spotlight and someone who often had to hide who she was. This is the story of Whitney’s...
'80s Action Movies on the Cheap
The 1980s was the decade when the action film as it's now known came into being. Nonstop, big-budget excitement became the standard as epic adventures like Raiders of the Lost Ark and The Road Warrior set the tone for the summer blockbusters of Sylvester Stallone, Arnold Schwarzenegger and Chuck Norris. Homages (and ripoffs) made with lesser budgets followed every hit, especially with the advent of direct-to-video releases. Providing detailed commentary on 284 films, this book explores the excitement, audacity and sheer weirdness of '80s low budget action cinema, from the American Ninja series to dime-a-dozen barbarian pictures to such bargain-basement productions as The Courier of Death, Kill Squad and Samurai Cop.
The Crane Wife
A memoir in essays that expands on the viral sensation “The Crane Wife” with a frank and funny look at love, intimacy, and self in the twenty-first century. From friends and lovers to blood family and chosen family, this “elegant masterpiece” (Roxane Gay, New York Times bestselling author of Hunger) asks what more expansive definitions of love might offer us all. A BEST BOOK OF THE YEAR: TIME, THE GUARDIAN, GARDEN & GUN "Hauser builds their life's inventory out of deconstructed personal narratives, resulting in a reading experience that's rich like a complicated dessert—not for wolfing down but for savoring in small bites." —The New York Times “Clever, heartfelt, and wrenchi...
Without Destroying Ourselves
Without Destroying Ourselves is an intellectual history of Native activism seeking greater access to and control of higher education in the twentieth century. John A. Goodwin traces themes of Henry Roe Cloud’s (Ho-Chunk) vision for Native intellectual leadership and empowerment in the early 1900s to the later missions of tribal colleges and universities (TCUs) and education-based, self-determination movements of the 1960s onward. Vital to Cloud’s work was the idea of how to build from Native identity and adapt without destroying that identity. As the central themes of the movement for Native control in higher education developed over the course of several decades, a variety of Native act...
En Mas'
EN MAS': Carnival and Performance Art of the Caribbean is an extension of the Independent Curators International (ICI) and Contemporary Art Center, New Orleans (CAC) produced touring exhibition of the same title. The publication is an extension of the exhibition curated by Claire Tancons and Krista Thompson, but is also one of the first publications to give serious scholarly attention to contemporary art practices considering the connections between Carnival and performance, masquerade and social criticism, diaspora and transnationalism. EN MAS' will appeal to popular and scholarly audiences interested in Caribbean art, contemporary art, and performance studies. It fills a gap in two decades...
