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She likes tea, sews, draws on papers and is a self-taught master of tying and untying knots. But she is not a crafty woman of the DIY set: she is Wattana, an orangutan who lives in the Jardin des Plantes Zoo in Paris. And it is in Paris where Chris Herzfeld first encounters and becomes impressed by Wattana and her exceptional abilities with knots. In Wattana: An Orangutan in Paris Herzfeld tells not only Wattana’s fascinating story, but also the story of orangutans and other primates—including bonobos, chimpanzees, and gorillas—in captivity.

Offering a uniquely intimate look at the daily lives of captive great apes, Herzfeld uses Wattana’s life to trace the history of orangutans from their first arrival in Europe in 1776 to the inhabitants of the Zoo of Paris and other zoos today. She provides a close look at the habits, technical know-how, and skills of Wattana, who, remarkably, uses strings, paper rolls, rope, and even pieces of wood to make things.  And she thoughtfully explores how apes individually—and often with ingenuity—come to terms with and adapt to their captive environments and caretakers. Through these stories, Wattana sympathetically reveals the extraordinary psychology and distinctive personalities of great apes as well as the interconnections between animal and human lives, especially in zoos.

Scientists predict that orangutans will disappear from the wild by 2030, and captive animals like Wattana may, as a result, provide our best chance to understand and appreciate their astonishing intelligence and abilities. Wattana, the accomplished maker of knots, is the hero of this poignant book, which will enthrall anyone curious about the lives of our primate cousins.
 

This long-lost novel recounts a passionate triangle of love and loss among three of the most daring women of belle époque Paris. In this barely disguised roman à clef, the legendary American heiress, writer, and arts patron Natalie Clifford Barney, the dashing Italian baroness Mimi Franchetti, and the beautiful French courtesan Liane de Pougy share erotic liaisons that break all taboos and end in devastation as one unexpectedly becomes the “third woman.” Never before published in English, and only recently published in French, this modernist, experimental work has been brought to light by Chelsea Ray’s research and translation.

What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed.

In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications.

Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.

200 years ago, the women of revolutionary Paris were demanding legal equality in marriage; educational opportunities for girls, including vocational training; public instruction, licensing, and support for midwives; guarantees for women's rights to employment; and an end to the exclusion of women from certain professions. The editors have uncovered, translated, and annotated sixty documents which shed light on these and other socioeconomic struggles by women and their impact on the French Revolutionary era. This work makes a significant contribution to the growing appreciation of the role of women in history, politics, ideology, and social change.
 
"This unique collection of documents will be a boon to teachers of history and to scholars of the French Revolution. . . . Recommended."
-- Library Journal
 
 

“We’ll always have Paris,” Humphrey Bogart assures Ingrid Bergman in the oft-quoted farewell scene from Casablanca in which Bogart’s character, hard-hearted restaurateur Rick Blaine, bids former lover Ilsa Lund goodbye. The backdrop against which they first fell in love, Paris later serves as a reminder of their deep mutual longings. And with a host of different realizations by filmmakers from Philip Kaufman to Julien Leclercq to Woody Allen, there is no question that Paris has likewise endured in the memories of cinephiles worldwide.

 

World Film Locations: Paris takes readers on an unforgettable tour of the City of Lights past and present through the many films that have been set there. Along the way, we revisit iconic tourist sites from the Eiffel Tower—whose stairs and crossbars inspired more than one famous chase scene—to the Moulin Rouge overlooking the famously seedy Place Pigalle. Other films explore lesser-known quartiers usually tucked away from the tourist’s admiring gaze. Handsomely illustrated with full-color film stills and contemporary photographs, more than fifty scenes are individually considered with special attention to their use of Paris’s topography as it intersects with characters, narrative, and plot. A host of important genres and cinematic movements are featured, including poetic realism, the New Wave, cinéma-verité, the literary works of the Left Bank Group, and Luc Besson’s slickly stylized cinéma du look. Meanwhile, essays foreground contributions from Francophone African directors and émigré filmmakers.

 

For centuries, Paris has reigned over the popular imagination. For those who have visited or those who have only imagined it through art, literature, and film, World Film Locations: Paris presents a wonder-filled cinematic exploration of the mythical city that fans of French cinema—and new initiates—will appreciate.

In Writing for Justice, Elèna Mortara presents a richly layered study of the cultural and intellectual atmosphere of mid-nineteenth-century Europe and the United States, through close readings of the life and work of Victor Séjour, an expat American Creole from New Orleans living in Paris. In addition to writing The Mulatto, an early story on slavery in Saint-Domingue, Séjour penned La Tireuse de cartes (The Fortune-Teller, 1859), a popular play based on the famed Mortara case. In this historical incident, Pope Pius IX kidnapped Edgardo Mortara, the child of a Jewish family living in the Papal States. The details of the play’s production—and its reception on both sides of the Atlantic—are intertwined with the events of the Italian Risorgimento and of pre–Civil War America. Writing for Justice is full of surprising encounters with French and American writers and historical figures, including Hugo, Hawthorne, Twain, Napoleon III, Garibaldi, and Lincoln. As Elèna Mortara passionately argues, the enormous amount of public attention received by the case reveals an era of underappreciated transatlantic intellectual exchange, in which an African American writer used notions of emancipation in religious as well as racial terms, linking the plight of blacks in America to that of Jews in Europe, and to the larger battles for freedom and nationhood advancing across the continent. This book will appeal both to general readers and to scholars, including historians, literary critics, and specialists in African American studies, Jewish, Catholic, or religious studies, multilingual American literature, francophone literature, theatrical life, nineteenth-century European politics, and cross-cultural encounters.

Members of the Lost Generation, American writers and artists who lived in Paris during the 1920s, continue to occupy an important place in our literary history. Rebelling against increased commercialism and the ebb of cosmopolitan society in early twentieth-century America, they rejected the culture of what Ernest Hemingway called a place of “broad lawns and narrow minds.”
      Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies.
      In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.