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The Austrian artist Oskar Kokoschka (1886–1980) achieved global fame with his intense expressionistic portraits and landscapes. In this first English-language biography, Rüdiger Görner depicts the artist in all his fascinating and contradictory complexity. He traces Kokoschka’s path from bête noire of the bourgeoisie and “hunger artist” who had to flee the Nazis to a wealthy and cosmopolitan political and critical artist who played a significant role in shaping the European art scene of the twentieth century and whose relevance is undiminished to this day. 

In Kokoschka: A Life in Art, Görner emphasizes the artist’s versatility. Kokoschka, although best known for his expressionistic portraits and landscapes, was more than a mere visual artist: his achievements as a playwright, essayist, and poet bear witness to a remarkable literary talent. Music, too, played a central role in his work, and a passion for teaching led him to establish in 1953 the School of Seeing, an unconventional art school intended to revive humanist ideals in the horrific aftermath of war.  This biography shows brilliantly how all the pieces of Kokoschka’s disparate interests and achievements cohered in the richly creative life of a singular artist.

Films like Shoplifters and After the Storm have made Kore-eda Hirokazu one of the most acclaimed auteurs working today. Critics often see Kore-eda as a director steeped in the Japanese tradition defined by Yasujirō Ozu. Marc Yamada, however, views Kore-eda’s work in relation to the same socioeconomic concerns explored by other contemporary international filmmakers. Yamada reveals that a type of excess, not the minimalism associated with traditional aesthetics, defines Kore-eda’s trademark humanism. This excess manifests in small moments when a desire for human connection exceeds the logic of the institutions and policies formed by the neoliberal values that have shaped modern-day Japan. As Yamada shows, Kore-eda captures the shared spaces formed by bodies that move, perform, and assemble in ways that express the humanistic impulse at the core of the filmmaker’s expanding worldwide appeal.

William Elliot Griffis (1843 – 1928) graduated from Rutgers College in 1869 and taught four years in Fukui and Tokyo. After his return to the United States, he devoted himself to his research and writing on East Asia throughout his life. He authored 20 books about Japan and five books about Korea including, Corea: The Hermit Nation (1882), Corea, Without and Within: Chapters on Corean History, Manners and Religion (1885), The Unmannerly Tiger, and Other Korean Tales (1911), A Modern Pioneer in Korea: The Life Story of Henry G. Appenzeller (1912), and Korean Fairy Tales (1922). In particular, his bestseller, Corea: The Hermit Nation (1882) was reprinted numerous times through nine editions over thirty years. He was not only known as "the foremost interpreter of Japan to the West before World War I but also the American expert on Korea. After his death, his collection of books, documents, photographs and ephemera was donated to Rutgers.

The Korean materials in the Griffis Collection at Rutgers University consist of journals, correspondence, articles, maps, prints, photos, postcards, manuscripts, scrapbooks, and ephemera. These papers reflect Griffis's interests and activities in relation to Korea as a historian, scholar, and theologian. They provide a rare window into the turbulent period of late nineteenth- and twentieth-century Korea, witnessed and evaluated by Griffis and early American missionaries in East Asia. The Korea Letters in the William Elliot Griffis Collection are divided into two parts: letters from missionaries and letters from Japanese and Korean political figures. Newly available and accessible through this collection, these letters develop a multifaceted history of early American missionaries in Korea, the Korean independence movement, and Griffis's views on Korean culture.

If you are a casual reader who wants an intriguing glimpse into Eskimo life, a novice oral historian who wants to know how it is done right, or a student of Alaska who wants an Inupiat perspective of the changes that swept the western Arctic this century, read Kusiq.
(Journal of the West)

A vivid 'inside' account of an observant Eskimo male who mastered much of the traditional subsistence technology and lore and who lived through the end of commercial whaling, the development and decline of introduced reindeer herding and the fur market, and through World War II and its aftermath. In its scope as well as in the presentation of historical, cultural, and linguistic context,Kusiq is far more extensive than [other] autobiographies.
(American Indian Culture and Research Journal)

Kusiq represents a new wave in literature, the expressions of cultural awakenings among native American cultures, the attempt to redefine the native world in written form, to recast history, a history for too long the domain of the white system.
(ARCTIC)

It would be difficult to find a better, more interesting first-person account of Eskimo life during the first half of this century. [It is] second in an ambitious series of oral histories developed by the University of Alaska Press.
(Scan-A-Book)

The collaborators for this book include William Schneider, curator of oral history at the Elmer E. Rasmuson Library, University of Alaska Fairbanks; Leona Kisautaq Okakok, manager of the Arctic Education Foundation at the Arctic Slope Regional Corporation; and James Mumigana Nageak, coordinator of bilingual and multicultural instruction at the North Slope Borough School District. Schneider recorded and compiled Bodfish's stories, while Okakok and Nageak, both Inupiaq Eskimo language specialists, contributed their skills in interviewing, translating, and clarifying Inupiaq concepts. The book contains twelve chapters of Bodfish's narrative, background and commentary by the collaborators, and information on pronunciation, personal names, genealogical relations, and place names.