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“Playing in an orchestra in an intelligent way is the best school for democracy.”—Daniel Barenboim
 
The Chicago Symphony Orchestra has been led by a storied group of conductors. And from 1994 to 2015, through the best work of Daniel Barenboim, Pierre Boulez, Bernard Haitink, and Riccardo Muti, Andrew Patner was right there. As a classical music critic for the Chicago Sun-Times and WFMT radio, Patner was able to trace the arc of the CSO’s changing repertories, all while cultivating a deep rapport with its four principal conductors.

This book assembles Patner’s reviews of the concerts given by the CSO during this time, as well as transcripts of his remarkable radio interviews with these colossal figures. These pages hold tidbits for the curious, such as Patner’s “driving survey” that playfully ranks the Maestri he knew on a scale of “total comfort” to “fright level five,” and the observation that Muti appears to be a southpaw on the baseball field. Moving easily between registers, they also open revealing windows onto the sometimes difficult pasts that brought these conductors to music in the first place, including Boulez’s and Haitink’s heartbreaking experiences of Nazi occupation in their native countries as children. Throughout, these reviews and interviews are threaded together with insights about the power of music and the techniques behind it—from the conductors’ varied approaches to research, preparing scores, and interacting with other musicians, to how the sound and personality of the orchestra evolved over time, to the ways that we can all learn to listen better and hear more in the music we love. Featuring a foreword by fellow critic Alex Ross on the ethos and humor that informed Patner’s writing, as well as an introduction and extensive historical commentary by musicologist Douglas W. Shadle, this book offers a rich portrait of the musical life of Chicago through the eyes and ears of one of its most beloved critics.

Adiós Muchachos is a candid insider’s account of the leftist Sandinista revolution in Nicaragua. During the 1970s, Sergio Ramírez led prominent intellectuals, priests, and business leaders to support the Sandinista National Liberation Front (FSLN), against Anastasio Somoza’s dictatorship. After the Sandinistas overthrew the Somoza regime in 1979, Ramírez served as vice-president under Daniel Ortega from 1985 until 1990, when the FSLN lost power in a national election. Disillusioned by his former comrades’ increasing intolerance of dissent and resistance to democratization, Ramírez defected from the Sandinistas in 1995 and founded the Sandinista Renovation Movement. In Adiós Muchachos, he describes the utopian aspirations for liberation and reform that motivated the Sandinista revolution against the Somoza regime, as well as the triumphs and shortcomings of the movement’s leadership as it struggled to turn an insurrection into a government, reconstruct a country beset by poverty and internal conflict, and defend the revolution against the Contras, an armed counterinsurgency supported by the United States. Adiós Muchachos was first published in 1999. Based on a later edition, this translation includes Ramírez’s thoughts on more recent developments, including the re-election of Daniel Ortega as president in 2006.

In August 1995 David Kaczynski's wife Linda asked him a difficult question: "Do you think your brother Ted is the Unabomber?" He couldn't be, David thought. But as the couple pored over the Unabomber's seventy-eight-page manifesto, David couldn't rule out the possibility. It slowly became clear to them that Ted was likely responsible for mailing the seventeen bombs that killed three people and injured many more. Wanting to prevent further violence, David made the agonizing decision to turn his brother in to the FBI.

 

Every Last Tie is David's highly personal and powerful memoir of his family, as well as a meditation on the possibilities for reconciliation and maintaining family bonds. Seen through David's eyes, Ted was a brilliant, yet troubled, young mathematician and a loving older brother. Their parents were supportive and emphasized to their sons the importance of education and empathy. But as Ted grew older he became more and more withdrawn, his behavior became increasingly erratic, and he often sent angry letters to his family from his isolated cabin in rural Montana. 

 

During Ted's trial David worked hard to save Ted from the death penalty, and since then he has been a leading activist in the anti–death penalty movement. The book concludes with an afterword by psychiatry professor and forensic psychiatrist James L. Knoll IV, who discusses the current challenges facing the mental health system in the United States as well as the link between mental illness and violence. 

 

This story begins with a phone call out of the blue: a lawyer tells a writer that his ninety-six-year-old father, with whom he has had no contact since the age of three and whom he has twice tried to find without success, has just died, leaving him nothing. Half-reluctant, half-fascinated, both angry and curious, Keith Maillard begins to research his father’s life. The result is a suspenseful work of historical reconstruction—a social history often reading like a detective story—as well as a psychologically acute portrait of the impact of a father’s absence. Walking a tightrope between the known and the unknown, and following a trail that takes him from Vancouver to Montreal to his native Wheeling, West Virginia, Keith Maillard has pulled off a book that only a novelist of his stature could write.

Over the course of his career Werner Herzog, known for such visionary masterpieces as Aguirre: The Wrath of God (1972) and The Enigma of Kaspar Hauser (1974), has directed almost sixty films, roughly half of which are documentaries. And yet, in a statement delivered during a public appearance in 1999, the filmmaker declared: “There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization.” Ferocious Reality is the first book to ask how this conviction, so hostile to the traditional tenets of documentary, can inform the work of one of the world’s most provocative documentarians.

Herzog, whose Cave of Forgotten Dreams was perhaps the most celebrated documentary of 2010, may be the most influential filmmaker missing from major studies and histories of documentary. Examining such notable films as Lessons of Darkness (1992) and Grizzly Man (2005), Eric Ames shows how Herzog dismisses documentary as a mode of filmmaking in order to creatively intervene and participate in it. In close, contextualized analysis of more than twenty-five films spanning Herzog’s career, Ames makes a case for exploring documentary films in terms of performance and explains what it means to do so. Thus his book expands the field of cinema studies even as it offers an invaluable new perspective on a little studied but integral part of Werner Herzog’s extraordinary oeuvre.

In First Son, Keith Koeneman chronicles the sometimes Shakespearean, sometimes Machiavellian life of an American political legend. Making deft use of unprecedented access to key players in the Daley administration, as well as Chicago's business and cultural leaders, Koeneman draws on more than one hundred interviews to tell an up-close, insider story of political triumph and personal evolution.

With Koeneman as our guide, we follow young Daley from his beginnings as an average Bridgeport kid thought to lack his father's talent and charisma to his unlikely transformation into an iron-fisted leader. Daley not only escaped the giant shadow of his father but also transformed Chicago from a gritty, post-industrial Midwestern capital into a beautiful, sophisticated global city widely recognized as a model for innovative metropolises throughout the world.

But in spite of his many accomplishments, Richard M. Daley's record is far from flawless. First Son sets the dramatic improvement of certain parts of the city against the persistent realities of crime, financial stress , failing public housing, and dysfunctional schools. And it reveals that while in many ways Daley broke with the machine politics of his father, he continued to reward loyalty with favors, use the resources of city government to overwhelm opponents, and tolerate political corruption.

A nuanced portrait of a complex man, First Son shows Daley to be sensitive yet tough, impatient yet persistent, a street-smart fighter and detail-driven policy expert who not only ran Chicago, but was Chicago.

Good Vibrations brings together scholars with a variety of expertise, from music to cultural studies to literature, to assess the full extent of the contributions to popular culture and popular music of one the most successful and influential pop bands of the twentieth century. The book covers the full fifty-year history of the Beach Boys’ music, from essays on some of the group’s best-known music—such as their hit single “Good Vibrations” —to their mythical unfinished masterpiece, Smile. Throughout, the book places special focus on the individual whose creative vision brought the whole enterprise to life, Brian Wilson, advancing our understanding of his gifts as a songwriter, arranger, and producer.

The book joins a growing body of literature on the popular music of the 1960s, in general, and on Brian Wilson and the Beach Boys in particular. But Good Vibrations extends the investigation further and deeper than it has gone before, not only offering new understanding and insights into individual songs and albums, but also providing close examination of compositional techniques and reflections on the group’s place in American popular culture.

 

These days, the idea of the cyborg is less the stuff of science fiction and more a reality, as we are all, in one way or another, constantly connected, extended, wired, and dispersed in and through technology. One wonders where the individual, the person, the human, and the body are—or, alternatively, where they stop. These are the kinds of questions Hélène Mialet explores in this fascinating volume, as she focuses on a man who is permanently attached to assemblages of machines, devices, and collectivities of people: Stephen Hawking.

Drawing on an extensive and in-depth series of interviews with Hawking, his assistants and colleagues, physicists, engineers, writers, journalists, archivists, and artists, Mialet reconstructs the human, material, and machine-based networks that enable Hawking to live and work. She reveals how Hawking—who is often portrayed as the most singular, individual, rational, and bodiless of all—is in fact not only incorporated, materialized, and distributed in a complex nexus of machines and human beings like everyone else, but even more so. Each chapter focuses on a description of the functioning and coordination of different elements or media that create his presence, agency, identity, and competencies. Attentive to Hawking’s daily activities, including his lecturing and scientific writing, Mialet’s ethnographic analysis powerfully reassesses the notion of scientific genius and its associations with human singularity. This book will fascinate anyone interested in Stephen Hawking or an extraordinary life in science.

Roger Ebert was the most influential film critic in the United States, the first to win a Pulitzer Prize. For almost fifty years, he wrote with plainspoken eloquence about the films he loved for the Chicago Sun-Times, his vast cinematic knowledge matched by a sheer love of life that bolstered his appreciation of films. Ebert had particular admiration for the work of director Werner Herzog, whom he first encountered at the New York Film Festival in 1968, the start of a long and productive relationship between the filmmaker and the film critic.

Herzog by Ebert is a comprehensive collection of Ebert’s writings about the legendary director, featuring all of his reviews of individual films, as well as longer essays he wrote for his Great Movies series. The book also brings together other essays, letters, and interviews, including a letter Ebert wrote Herzog upon learning of the dedication to him of “Encounters at the End of the World;” a multifaceted profile written at the 1982 Cannes Film Festival; and an interview with Herzog at Facet’s Multimedia in 1979 that has previously been available only in a difficult-to-obtain pamphlet. Herzog himself contributes a foreword in which he discusses his relationship with Ebert.

Brimming with insights from both filmmaker and film critic, Herzog by Ebert will be essential for fans of either of their prolific bodies of work.
 

During the Khmer Rouge's brutal reign in Cambodia during the mid-to-late 1970s, a former math teacher named Duch served as the commandant of the S-21 security center, where as many as 20,000 victims were interrogated, tortured, and executed. In 2009 Duch stood trial for these crimes against humanity. While the prosecution painted Duch as evil, his defense lawyers claimed he simply followed orders. In Man or Monster? Alexander Hinton uses creative ethnographic writing, extensive fieldwork, hundreds of interviews, and his experience attending Duch's trial to create a nuanced analysis of Duch, the tribunal, the Khmer Rouge, and the after-effects of Cambodia's genocide. Interested in how a person becomes a torturer and executioner as well as the law's ability to grapple with crimes against humanity, Hinton adapts Hannah Arendt's notion of the "banality of evil" to consider how the potential for violence is embedded in the everyday ways people articulate meaning and comprehend the world. Man or Monster? provides novel ways to consider justice, terror, genocide, memory, truth, and humanity.

In this book, Peter Brunette analyzes the theatrical releases of Austrian film director Michael Haneke, including The White Ribbon, winner of the 2009 Palme d'Or at the Cannes Film Festival. Perhaps best known to U.S. audiences for Caché, The Piano Teacher, and his remake of his own disturbing Funny Games, Haneke has consistently challenged critics and film viewers to consider their own responsibility for what they watch when they seek to be "merely" entertained by such studio-produced Hollywood thrillers. Brunette highlights Haneke's brilliant use of uncompromising visual and aural techniques to express complex themes. His most recent films contain what has become his hallmark: a moment of violence or shock that is not intended to be exploitative, but that nevertheless goes beyond the conventional boundaries of most art cinema. Lauded for graphically revealing the powerful influence of contemporary media on social behavior, his films offer a chilling critique of contemporary consumer society. Brunette discusses Haneke's major releases in English, French, and German, including the film that first brought him to international attention, Benny's Video. The first full-length study of Haneke's work in any language, this book also includes an interview with the director that explores his motivations and methods.

The two primary goals of this ambitious study are to provide a new framework in which to interpret the films of Michael Haneke, including Funny Games, Caché, and others, and to show how the concept of intermediality can be used to expand the possibilities of film and media studies, tying the two more closely together. Christopher Rowe argues that Haneke’s practice of introducing nonfilmic media into his films is not simply an aspect of his interest in society’s oversaturation in various forms of media. Instead, the use of video, television, photography, literary voice, and other media must be understood as modes of expression that fundamentally oppose the film medium itself. The “intermedial void” is a product of the absolute incommensurability of these media forms as perceptual and affective phenomena. Close analysis of specific films shows how their relationship to noncinematic media transforms the nature of the film image, and of film spectatorship.

Muhammad Ali (born Cassius Clay) has always engendered an emotional reaction from the public. From his appearance as an Olympic champion to his iconic status as a national hero, his carefully constructed image and controversial persona has always been intensely scrutinized. In Muhammad Ali, Michael Ezra considers the boxer who calls himself “The Greatest” from a new perspective. He writes about Ali’s pre-championship bouts, the management of his career and his current legacy, exploring the promotional aspects of Ali and how they were wrapped up in political, economic, and cultural “ownership.”

Ezra’s incisive study examines the relationships between Ali’s cultural appeal and its commercial manifestations. Citing examples of the boxer’s relationship to the Vietnam War and the Nation of Islam—which serve as barometers of his “public moral authority”—Muhammad Ali analyzes the difficulties of creating and maintaining these cultural images, as well as the impact these themes have on Ali’s meaning to the public.

As its title implies, this book reflects in varying ways the experiences and attitudes of one who came of age in the first half of that now mythical decade, the 1960s. In an unusual combination of history, criticism, and autobiography, one of our best literary and cultural critics explores life and death in the late twentieth century and some of the older worlds that made American culture what it is today.

Sixties survivors, as Christopher Clausen points out, do not necessarily hold more beliefs or tastes in common than any other group. Nevertheless they may be more likely than most people born earlier or later to consider the relations between public and private life—the political and the personal—a problem, sometimes even an unresolvable problem. While this is not primarily a book about the 1960s, most of it occupies the noisy crossroads where public worlds intersect the private, mysterious lives of individuals and families, where ordinary people pursue their own destinies and desires while submitting consciously or unconsciously to the pressures of the public sphere—a set of demands or aspirations common to people in a particular time and place.

In modern America, where most of these essays are set, any individual is likely to live in several worlds at any given moment, as well as to pass through several more over a lifetime. Because of rapid transitions in public life and culture while they were still at an impressionable age, members of the “Kennedy generation” became almost morbidly conscious of the persistence of the past in the present. The often unpredictable effect on individual lives of historical forces is the main subject of Clausen's fascinating account.

In late November 1974, filmmaker Werner Herzog received a phone call from Paris delivering some terrible news. German film historian, mentor, and close friend Lotte Eisner was seriously ill and dying. Herzog was determined to prevent this and believed that an act of walking would keep Eisner from death. He took a jacket, a compass, and a duffel bag of the barest essentials, and wearing a pair of new boots, set off on a three-week pilgrimage from Munich to Paris through the deep chill and snowstorms of winter.

Of Walking in Ice is Herzog’s beautifully written, much-admired, yet often-overlooked diary account of that journey. Herzog documents everything he saw and felt on his quest to his friend’s bedside, from poetic descriptions of the frozen landscape and harsh weather conditions to the necessity of finding shelter in vacant or abandoned houses and the intense loneliness of his solo excursion.

Includes, for the first time, Werner Herzog’s 1982 “Tribute to Lotte Eisner” upon her receipt of the Helmut Käutner Prize

The Italian philosopher Giorgio Agamben is having an increasingly significant impact on Anglo-American political theory. His most prominent intervention to date is the powerful reassessment of sovereignty and the politics of life and death laid out in his multivolume Homo Sacer project. Agamben argues that in both the modern world and the ancient, politics inevitably involves a sovereign decision that bans some individuals from the political and human communities. For Agamben, the Nazi concentration camps—in which some inmates are reduced to a form of living death—are not a political aberration but instead the place where this essential political decision about life most clearly reveals itself. Engaging specifically with Homo Sacer, the essays in this collection draw out and contend with the wide-ranging implications of Agamben’s radical and controversial interpretation of modern political life.

The contributors analyze Agamben’s thought from the perspectives of political theory, philosophy, jurisprudence, and the history of law. They consider his work not only in relation to that of his major interlocutors—Hannah Arendt, Michel Foucault, Carl Schmitt, Walter Benjamin, and Martin Heidegger—but also in relation to the thought of Plato, Pindar, Heraclitus, Descartes, Kafka, Bataille, and Derrida. The essayists’ approaches are varied, as are their ultimate evaluations of the cogency and accuracy of Agamben’s arguments. This volume also includes an original essay by Agamben in which he considers the relation of Benjamin’s “Critique of Violence” to Schmitt’s Political Theology. Politics, Metaphysics, and Death is a necessary, multifaceted exposition and evaluation of the thought of one of today’s most important political theorists.

Contributors: Giorgio Agamben, Andrew Benjamin, Peter Fitzpatrick, Anselm Haverkamp, Paul Hegarty, Andreas Kalyvas, Rainer Maria Kiesow , Catherine Mills, Andrew Norris, Adam Thurschwell, Erik Vogt, Thomas Carl Wall

“What do you think? You don't understand. You'll never know how much. ” Barbara Scot's memoir begins with a trunk full of memories and her mother's cryptic letters about a marriage unraveling. Like a mystery detective, the author searches for the truth, which takes her back to the scene of a tragedy—to the farm her family lost and the close-knit and secretive community she left behind. In uncovering the secrets of her family, Scot comes to understand her own failed marriage. 

Red, White, Black, and Blue began as a collaborative memoir by William M. “Bill” Drennen, a European American, and Kojo (William T.) Jones, an African American. These Appalachian men grew up in the South Hills section of Charleston, West Virginia. As boys they played on the same Little League baseball team and experienced just one year together as schoolmates after the all-white Thomas Jefferson Junior High School was desegregated in 1955. After that, class, race, and choice separated their life experiences for forty-five years. In 1992 both had returned to Charleston from lives mostly lived elsewhere. They decided to work together on a memoir of growing up through the trauma of desegregation. Their aim was to foster understanding between their distinct cultures for themselves and for their own and future generations. Dolores Johnson, in editing the two texts, observed two very different modes of expression: Bill Drennen’s narrative is threaded with references that connote wealth, status, and personal privilege; Kojo Jones’s memoir is interwoven with African American signification, protest, and moral outrage. The stories of their Appalachian upbringing in homes less than a mile apart are anecdotal in nature, but their diverse uses of the English language as they endeavor to communicate shared memories and common meanings reveal significant cultural connotations that transform standard American English into two different languages, rendering interracial communication problematic. Dr. Johnson’s analysis is to the point. Red, White, Black, and Blue is a groundbreaking approach to studying not only cultural linguistics but also the cultural heritage of a historic time and place in America. It gives witness to the issues of race and class inherent in the way we write, speak, and think.

Roy Cape is a Trinidadian saxophonist active as a band musician for more than fifty years and as a bandleader for more than thirty. He is known throughout the islands and the Caribbean diasporas in North America and Europe. Part ethnography, part biography, and part Caribbean music history, Roy Cape is about the making of reputation and circulation, and about the meaning of labor and work ethics. An experiment in storytelling, it joins Roy's voice with that of ethnomusicologist Jocelyne Guilbault. The idea for the book emerged from an exchange they had while discussing Roy's journey as a performer and bandleader. In conversation, they began experimenting with voice, with who takes the lead, who says what, when, to whom, and why. Their book reflects that dynamic, combining first-person narrative, dialogue, and the polyphony of Roy's bandmates' voices. Listening to recordings and looking at old photographs elicited more recollections, which allowed Roy to expand on recurring themes and motifs. This congenial, candid book offers different ways of knowing Roy's labor of love—his sound and work through sound, his reputation and circulation as a renowned musician and bandleader in the world.

During the era of the slave trade, more than 12 million Africans were brought as slaves to the Americas. Their memories, ideas, beliefs, and practices would forever reshape its history and cultures. April C. E. Langley’s The Black Aesthetic Unbound exposes the dilemma of the literal, metaphorical, and rhetorical question, "What is African in African American literature?" Confronting the undeniable imprints of West African culture and consciousness in early black writing such as Olaudah Equiano’s The Interesting Narrative or Phillis Wheatley’s poetry, the author conceives eighteenth-century Black Experience to be literally and figuratively encompassing and inextricably linked to Africa, Europe, and America.

Consequently, this book has three aims: to locate the eighteenth century as the genesis of the cultural and historical movements which mark twentieth-century black aestheticism—known as the Black Aesthetic; to analyze problematic associations of African identity as manifested in an essentialized Afro-America; and to study the relationship between specific West African modes of thought and expression and the emergence of a black aesthetic in eighteenth-century North America. By exploring how Senegalese, Igbo, and other West African traditions provide striking new lenses for reading poetry and prose by six significant writers, Langley offers a fresh perspective on this important era in our literary history. Ultimately, the author confronts the difficult dilemma of how to use diasporic, syncretic, and vernacular theories of Black culture to think through the massive cultural transformations wrought by the Middle Passage.

Early in her tenure as president of Mount Holyoke College, Joanne V. Creighton faced crises as students staged protests and occupied academic buildings; the alumnae association threatened a revolt; and a distinguished professor became the subject of a major scandal. Yet Creighton weathered each storm, serving for nearly fifteen years in office and shepherding the college through a notable revitalization.

In her autobiography, The Educational Odyssey of a Woman College President, Creighton situates her tenure at Mount Holyoke within a life and career that have traversed breathtaking changes in higher education and social life. Having held multiple roles in academia spanning undergraduate, professor, and president, Creighton served at small colleges and large public universities and experienced the dramatic changes facing women across the academy. From her girlhood in Wisconsin to the presidency of a storied women's college, she bears witness to the forces that have reshaped higher education for women and continues to advocate for the liberal arts and sciences.

In this engaging new memoir, a loose sequel to her earlier Prairie Reunion, Barbara Scot explores her reluctance and longing to reconnect with a much-loved brother, lost to alcoholism for thirty years.

Scot uses long, meditative walks on the “clothing optional” beach of the idyllic Sauvie Island near Portland, Oregon, to explore family responsibility, time’s passage, and faith. She weaves entries from her notebook—a record of the island’s wildlife, descriptions of the “Odd Ones” she encounters on the beach, and stories about the native people who once lived on the river—with the main narrative, tracing her search for her brother, her close friendship with a fellow writer, and daily life on the houseboat moorage where she lives.

The Nude Beach Notebook highlights the importance of place as a means for exploring and interpreting one’s own story. In the end, Scot’s walks on Sauvie Island lead to her own redemptive journey. She considers the uses of fiction and non-fiction in memory and in writing, the brevity and beauty of human existence, and the inscrutable, enduring mystery of death.

Ownership battles over the marbles removed from the Parthenon by Lord Elgin have been rumbling into invective, pleading, and counterclaims for two centuries. The emotional temperature around them is high, and steering across the vast past to safe anchor in a brilliant heritage is tricky. The stories around antiquities become distorted by the pull of ownership, and it is these stories that urge Patricia Vigderman into her own exploration of their inspiring legacy in her compelling extended essay, The Real Life of the Parthenon.
 
Vigderman’s own journey began at the Parthenon, but curiosity edged her further onto the sea between antiquity and the present. She set out to seek the broken temples and amphorae, the mysterious smiles of archaic sculpture, and the finely hammered gold of a funeral wreath among the jumbled streets of modern Athens, the fertile fields of Sicily, the mozzarella buffalo of Paestum. Guided along the way toward the enduring landscapes and fractured history by archeologists, classicists, historians, and artists—and by the desire they inspire—she was caught by ongoing, contemporary local life among the ruins. Gathering present meaning and resonance for the once and future remains of vanished glory, The Real Life of the Parthenon illuminates an important but shadowy element of our common cultural life: the living dynamic between loss and delight.
 

Our traditional image of Chicago—as a gritty metropolis carved into ethnically defined enclaves where the game of machine politics overshadows its ends—is such a powerful shaper of the city’s identity that many of its closest observers fail to notice that a new Chicago has emerged over the past two decades. Larry Bennett here tackles some of our more commonly held ideas about the Windy City—inherited from such icons as Theodore Dreiser, Carl Sandburg, Daniel Burnham, Robert Park, Sara Paretsky, and Mike Royko—with the goal of better understanding Chicago as it is now: the third city.

Bennett calls contemporary Chicago the third city to distinguish it from its two predecessors: the first city, a sprawling industrial center whose historical arc ran from the Civil War to the Great Depression; and the second city, the Rustbelt exemplar of the period from around 1950 to 1990. The third city features a dramatically revitalized urban core, a shifting population mix that includes new immigrant streams, and a growing number of middle-class professionals working in new economy sectors. It is also a city utterly transformed by the top-to-bottom reconstruction of public housing developments and the ambitious provision of public works like Millennium Park. It is, according to Bennett, a work in progress spearheaded by Richard M. Daley, a self-consciously innovative mayor whose strategy of neighborhood revitalization and urban renewal is a prototype of city governance for the twenty-first century. The Third City ultimately contends that to understand Chicago under Daley’s charge is to understand what metropolitan life across North America may well look like in the coming decades.

Widely regarded as one of the most active and publicly engaged university presidents in modern academia, Duderstadt—who led the University of Michigan from 1988 to 1996—presided over a period of enormous change, not only for his institution, but for universities across the country. His presidency was a time of growth and conflict: of sweeping new affirmative-action and equal-opportunity programs, significant financial expansion, and reenergized student activism on issues from apartheid to codes of student conduct.

Under James Duderstadt’s stewardship, Michigan reaffirmed its reputation as a trailblazer among universities. Part memoir, part history, part commentary, The View from the Helm extracts general lessons from his experiences at the forefront of change in higher education, offering current and future administrators a primer on academic leadership and venturing bold ideas on how higher education should be steered into the twenty-first century.

Since 1974, German filmmaker Ulrike Ottinger has created a substantial body of films that explore a world of difference defined by the tension and transfer between settled and nomadic ways of life. In many of her films, including Exile Shanghai, an experimental documentary about the Jews of Shanghai, and Joan of Arc of Mongolia, in which passengers on the Trans-Siberian Express are abducted by Mongolian bandits, she also probes the encounter with the other, whether exotic or simply unpredictable.

In Ulrike Ottinger Laurence A. Rickels offers a series of sensitive and original analyses of Ottinger’s films, as well as her more recent photographic artworks, situated within a dazzling thought experiment centered on the history of art cinema through the turn of the twenty-first century. In addition to commemorating the death of a once-vital art form, this book also affirms Ottinger’s defiantly optimistic turn toward the documentary film as a means of mediating present clashes between tradition and modernity, between the local and the global.

Widely regarded as a singular and provocative talent, Ottinger’s conspicuous absence from critical discourse is, for Rickels, symptomatic of the art cinema’s demise. Incorporating interviews he conducted with Ottinger and illustrated with stunning examples from her photographic oeuvre, this book takes up the challenges posed by Ottinger’s filmography to interrogate, ultimately, the very practice-and possibility-of art cinema today.

Laurence A. Rickels is professor of German and comparative literature at the University of California, Santa Barbara, and the author of several books, including The Case of California, The Vampire Lectures, and the three-volume Nazi Psychoanalysis (all published by Minnesota). He is a recognized art writer whose reflections on contemporary visual art appear regularly in numerous exhibition catalogues as well as in Artforum, artUS, and Flash Art.

Werner Herzog's protean imagination has produced a filmography that is nothing less than a sustained meditation on the modern human condition. Though Herzog takes his topics from around the world, the Americas have provided the setting and subject matter for iconic works ranging from Aquirre, The Wrath of God and Fitzcarraldo to Grizzly Man.

Joshua Lund offers the first systematic interpretation of Werner Herzog's Americas-themed works, illuminating the director's career as a political filmmaker—a label Herzog himself rejects. Lund draws on materialist and post-colonial approaches to argue that Herzog's American work confronts us with the circulation, distribution, accumulation, application, and negotiation of power that resides, quietly, at the center of his films. By operating beyond conventional ideological categories, Herzog renders political ideas in radically unfamiliar ways while fearlessly confronting his viewers with questions of world-historical significance. His maddeningly opaque viewpoint challenges us to rethink discovery and conquest, migration and exploitation, resource extraction, slavery, and other foundational traumas of the contemporary human condition.

Whom does society consider an intellectual and on what grounds? Antonio Gramsci’s democratic vision of intelligence famously suggested that “all men are intellectuals,” yet within academic circles and among the general public, intellectuals continue to be defined by narrow, elite criteria. 

In this study of four celebrated citizens of the African diaspora—American boxer Muhammad Ali, West Indian Marxist critic C. L. R. James, British cultural theorist Stuart Hall, and Jamaican musician Bob Marley—Grant Farred develops a new category of engaged thinker: the vernacular intellectual. Extending Gramsci’s concept of the organic intellectual, Farred conceives of vernacular intellectuals as individuals who challenge social injustice from inside and outside traditional academic or political spheres. Muhammad Ali, for example, is celebrated as much for his dazzling verbal skills and courageous political stands as for his pugilistic talents; Bob Marley’s messages of liberation are as central to his popularity as his lyrical and melodic sophistication. Neither man is described as an intellectual, yet both perform crucial intellectual functions: shaping how people see the world, oppose hegemony, and understand their own history. In contrast, the careers of C. L. R. James and Stuart Hall reflect a dynamic blend of the traditional and the vernacular. Conventionally trained and situated,  James and Hall examine racism, history, and the lasting impact of colonialism in ways that draw on both established scholarship and more popular cultural experiences.

Challenging existing paradigms, What’s My Name offers an expansive and inclusive vision of intellectual activity that is as valid and meaningful in the boxing ring, the press conference, and the concert hall as in academia.

Life in the desert is a waiting game: waiting for rain. And in a year of drought, the stakes are especially high.

John Alcock knows the Sonoran Desert better than just about anyone else, and in this book he tracks the changes he observes in plant and animal life over the course of a drought year. Combining scientific knowledge with years of exploring the desert, he describes the variety of ways in which the wait for rain takes place—and what happens when it finally comes.

The desert is a land of five seasons, featuring two summers—hot, dry months followed by monsoon—and Alcock looks at the changes that take place in an entire desert community over the course of all five. He describes what he finds on hikes in the Usery Mountains near Phoenix, where he has studied desert life over three decades and where frequent visits have enabled him to notice effects of seasonal variation that might escape a casual glance.

Blending a personal perspective with field observation, Alcock shows how desert ecology depends entirely on rainfall. He touches on a wide range of topics concerning the desert’s natural history, noting the response of saguaro flowers to heat and the habits of predators, whether soaring red-tailed hawk or tiny horned lizard. He also describes unusual aspects of insects that few desert hikers will have noticed, such as the disruptive color pattern of certain grasshoppers that is more effective than most camouflage.

When the Rains Come is brimming with new insights into the desert, from the mating behaviors of insects to urban sprawl, and features photographs that document changes in the landscape as drought years come and go. It brings us the desert in the harshest of times—and shows that it is still teeming with life.