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Been Down So Long It Looks Like Up to Me
The classic novel of the 1960s"€"an unerring corrosively comic depiction of a campus in revolt. Richard Faria evokes the Sixties as precisely, wittily, and poignantly as F. Scott Fitzgerald captured the Jazz Age. The hero, Gnossus Pappadopoulis, weaves his way through the psychedelic landscape, encountering"€"among other things"€"mescaline, women, art, gluttony, falsehood, science, prayer, and, occasionally, truth. A portrait of an explosive decade, sparkling with inventive writing and conveying the essence of a generation, Been Down So Long It Looks Like Up to Me, as Thomas Pynchon wrote, "comes on like the Hallelujah Chorus done by 200 kazoo players with perfect pitch." "A marvelous storyteller, Faria is fit to join the company of Kerouac, Kesey, and Pynchon." "€"San Francisco Chronicle
Positively 4th Street
The story of how four young bohemians on the make - Bob Dylan, Joan Baez, Mimi Baez, and Richard Farina - converged in Greenwich Village, fell into love, and invented a sound and a style that are one of the most lasting legacies of the 1960s When Bob Dylan, age twenty-five, wrecked his motorcycle on the side of a road near Woodstock in 1966 and dropped out of the public eye, he was recognized as a genius, a youth idol, and the authentic voice of the counterculture: and Greenwich Village, where he first made his mark as a protest singer with an acid wit and a barbwire throat, was unquestionably the center of youth culture. So embedded are Dylan and the Village in the legend of the Sixties--on...
Been Down So Long It Looks Like Up to Me Counter Display
Richard Farina evokes the Sixties as precisely, wittily, and poignantly as F. Scott Fitzgerald captured the Jazz Age. The hero, Gnossos Pappadopoulis, weaves his way through the psychedelic landscape, encountering - among other things - mescaline, women, art, gluttony, falsehood, science, prayer, and, occasionally, truth. A portrait of an explosive decade, sparkling with inventive writing and conveying the essence of a generation, Been Down So Long It Looks Like Up to Me, as Thomas Pynchon writes in the introduction, "comes on like the Hallelujah Chorus done by 200 kazoo players with perfect pitch."
The New Southern Gentleman
"Daniel Randolph Deal is a Southern aristocrat, having the required bloodline, but little of the nobility. A man resistant to the folly of ethics, he prefers a selective, self-indulgent morality. He is a confessed hedonist, albeit responsibly so."--Back cover
Megafauna
“An enjoyable read that provides a substantial amount of detail on the biology, ecology, and distribution of these fantastic animals . . . Highly recommended.” —Choice More than 10,000 years ago spectacularly large mammals roamed the pampas and jungles of South America. This book tells the story of these great beasts during and just after the Pleistocene, the geological epoch marked by the great ice ages. Megafauna describes the history and way of life of these animals, their comings and goings, and what befell them at the beginning of the modern era and the arrival of humans. It places these giants within the context of the other mammals then alive, describing their paleobiology—how...
Positively 4th Street
Examines the lives of folk musicians Joan Baez and Bob Dylan, Joan's sister Mimi Baez Fariña, and Mimi's writer husband Richard, and discusses the impact of the four young people on the sound and style of the 1960s.
Why Science Needs Art
Why Science Needs Art explores the complex relationship between these seemingly polarised fields. Reflecting on a time when art and science were considered inseparable and symbiotic pursuits, the book discusses how they have historically informed and influenced each other, before considering how public perception of the relationship between these disciplines has fundamentally changed. Science and art have something very important in common: they both seek to reduce something infinitely complex to something simpler. Using examples from diverse areas including microscopy, brain injury, classical art, and data visualization, the book delves into the history of the intersection of these two disc...
Art-Rite
This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.
The Daybreak Boys
In these critical essays Gregory Stephenson takes the reader on a journey through the literature of the Beat Generation: a journey encompassing that common ethos of Beat literature—the passage from darkness to light, from fragmented being toward wholeness, from Beat to Beatific. He travels through Jack Kerouac’s Duluoz Legend,following Kerouac’s quests for identity, community, and spiritual knowledge. He examines Allen Ginsberg’s use of transcendence in “Howl,” discovers the Gnostic vision in William S. Burroughs’s fiction, and studies the mythic, visionary power of Lawrence Ferlinghetti’s poetry. Stephenson also provides detailed examinations of the writing of lesser-known Beat authors: John Clellon Holmes, Gregory Corso, Richard Fariña, and Michael McClure. He explores the myth and the mystery of the literary legend of Neal Cassady. The book concludes with a look at the common traits of the Beat writers—their use of primitivism, shamanism, myth and magic, spontaneity, and improvisation, all of which led them to a new idiom of consciousness and to the expansion of the parameters of American literature.
