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Schroder
A lyrical and deeply affecting novel recounting the seven days a father spends on the road with his daughter after kidnapping her during a parental visit. Attending a New England summer camp, young Eric Schroder-a first-generation East German immigrant-adopts the last name Kennedy to more easily fit in, a fateful white lie that will set him on an improbable and ultimately tragic course. Schroder relates the story of Eric's urgent escape years later to Lake Champlain, Vermont, with his six-year-old daughter, Meadow, in an attempt to outrun the authorities amid a heated custody battle with his wife, who will soon discover that her husband is not who he says he is. From a correctional facility, Eric surveys the course of his life to understand-and maybe even explain-his behavior: the painful separation from his mother in childhood; a harrowing escape to America with his taciturn father; a romance that withered under a shadow of lies; and his proudest moments and greatest regrets as a flawed but loving father. Alternately lovesick and ecstatic, Amity Gaige's deftly imagined novel offers a profound meditation on history and fatherhood, and the many identities we take on in our lives--those we are born with and those we construct for ourselves.
Hollywood Highbrow
Author: Shyon Baumann
language: en
Publisher: Princeton University Press
Release Date: 2018-06-05
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
The System
'A fascinating exposé of the world behind your screen. Timely, often disturbing, and so important' Caroline Criado Perez, author of Invisible Women 'Takes us beyond Zuckerberg, Bezos et al to a murkier world where we discover how everything online works and who benefits from it. Fascinating, engaging and important' Observer 'Could not be more timely' Spectator The internet is a network of physical cables and connections, a web of wires enmeshing the world, linking huge data centres to one another and eventually to us. All are owned by someone, financed by someone, regulated by someone. We refer to the internet as abstract from reality. By doing so, we obscure where the real power lies. In this powerful and necessary book, James Ball sets out on a global journey into the inner workings of the system. From the computer scientists to the cable guys, the billionaire investors to the ad men, the intelligence agencies to the regulators, these are the real-life figures powering the internet and pulling the strings of our society. Ball brilliantly shows how an invention once hailed as a democratising force has concentrated power in places it already existed – that the system, in other words, remains the same as it did before.