Cynthia Carr – författare

The first full biography of legendary East Village artist and gay activist David Wojnarowicz, whose work continues to provoke twenty years after his death'Carr’s biography is both sympathetic and compendious; it’s also a many-angled account of the downtown art world of the 1980s . . . a vivid and peculiarly American story' New York Times'A beautifully written, sympathetic, unsentimental portrait of one of the most lastingly influential late 20th century New York artists' LA Times______________________David Wojnarowicz was an abused child, a teen runaway who barely finished high school, but he emerged as one of the most important voices of his generation.He found his tribe in New York’s East Village, a neighborhood noted in the 1970s and ’80s for drugs, blight, and a burgeoning art scene. His creativity spilled out in paintings, photographs, films, texts, installations, and in his life and its recounting—creating a sort of mythos around himself. His circle of East Village artists moved into the national spotlight just as the AIDS plague began its devastating advance, and as right-wing culture warriors reared their heads.As Wojnarowicz’s reputation as an artist grew, so did his reputation as an agitator—because he dealt so openly with his homosexuality, so angrily with his circumstances as a Person With AIDS, and so fiercely with his would-be censors.Fire in the Belly is the untold story of a polarizing figure at a pivotal moment in American culture—and one of the most highly acclaimed biographies of the year.

The brutal lynching of two young black men in Marion, Indiana, on August 7, 1930, cast a shadow over the town that still lingers. It is only one event in the long and complicated history of race relations in Marion, a history much ignored and considered by many to be best forgotten. But the lynching cannot be forgotten. It is too much a part of the fabric of Marion, too much ingrained even now in the minds of those who live there. In Our Town journalist Cynthia Carr explores the issues of race, loyalty, and memory in America through the lens of a specific hate crime that occurred in Marion but could have happened anywhere.Marion is our town, America’s town, and its legacy is our legacy.Like everyone in Marion, Carr knew the basic details of the lynching even as a child: three black men were arrested for attempted murder and rape, and two of them were hanged in the courthouse square, a fate the third miraculously escaped. Meeting James Cameron–the man who’d survived–led her to examine how the quiet Midwestern town she loved could harbor such dark secrets. Spurred by the realization that, like her, millions of white Americans are intimately connected to this hidden history, Carr began an investigation into the events of that night, racism in Marion, the presence of the Ku Klux Klan–past and present–in Indiana, and her own grandfather’s involvement. She uncovered a pattern of white guilt and indifference, of black anger and fear that are the hallmark of race relations across the country. In a sweeping narrative that takes her from the angry energy of a white supremacist rally to the peaceful fields of Weaver–once an all-black settlement neighboring Marion–in search of the good and the bad in the story of race in America, Carr returns to her roots to seek out the fascinating people and places that have shaped the town. Her intensely compelling account of the Marion lynching and of her own family’s secrets offers a fresh examination of the complex legacy of whiteness in America. Part mystery, part history, part true crime saga, Our Town is a riveting read that lays bare a raw and little-chronicled facet of our national memory and provides a starting point toward reconciliation with the past.On August 7, 1930, three black teenagers were dragged from their jail cells in Marion, Indiana, and beaten before a howling mob. Two of them were hanged; by fate the third escaped. A photo taken that night shows the bodies hanging from the tree but focuses on the faces in the crowd—some enraged, some laughing, and some subdued, perhaps already feeling the first pangs of regret.Sixty-three years later, journalist Cynthia Carr began searching the photo for her grandfather’s face.From the Hardcover edition.

Warhol superstar and transgender icon Candy Darling was glamour personified, but she was without a real place in the world.Growing up on Long Island, lonely and quiet and queer, she was enchanted by Hollywood starlets like Kim Novak. She found her turn in New York’s early Off-Off-Broadway theatre scene, in Warhol’s films Flesh and Women in Revolt, and at the famed nightclub Max's Kansas City. She inspired songs by Lou Reed and the Rolling Stones. She became friends with Jane Fonda and Lily Tomlin, borrowed a dress from Lauren Hutton, posed for Richard Avedon, and performed alongside Tennessee Williams in his own play.Yet Candy lived on the edge, relying on the kindness of strangers, friends, and her quietly devoted mother, sleeping on couches and in cheap hotel rooms, keeping a part of herself hidden. She wanted to be a star, but mostly she wanted to be loved. Her last diary entry was: “I shall try to be grateful for life . . . Cannot imagine who would want me.' Candy died at twenty-nine in 1974, as conversations about gender and identity were really just starting. She never knew it, but she changed the world.Packed with tales of luminaries and gossip and meticulous research, immersive and laced with Candy’s words and her friends' recollections, Cynthia Carr's Candy Darling is Candy's long-overdue return to the spotlight.

A consummate compendium that highlights the work of an audacious, incomparable theatremaker.A vital presence in the avant-garde theatre movement since the 1970s, Robbie McCauley worked as a playwright, director, and performer for many decades, garnering international acclaim for her thought-provoking work. Her plays consistently confronted uncomfortable truths about race and racism in America by breaking down the walls between performer and spectator. McCauley's uncompromising and uplifting work sought to highlight the varied lived experiences of Black women, as well as their indelible mark on global culture.In this volume, you'll find: The full text of McCauleys plays Sallys Rape, Indian Blood, Sugar, and Jazz n ClassInsightful introductions to each playAdditional essays by McCauley and other leading writers and academics about her work and legacy

The first full biography of legendary East Village artist and gay activist David Wojnarowicz, whose work continues to provoke twenty years after his death''Carr''s biography is both sympathetic and compendious; it''s also a many-angled account of the downtown art world of the 1980s . . . a vivid and peculiarly American story'' New York Times''A beautifully written, sympathetic, unsentimental portrait of one of the most lastingly influential late 20th century New York artists'' LA Times______________________David Wojnarowicz was an abused child, a teen runaway who barely finished high school, but he emerged as one of the most important voices of his generation.He found his tribe in New York''s East Village, a neighborhood noted in the 1970s and ''80s for drugs, blight, and a burgeoning art scene. His creativity spilled out in paintings, photographs, films, texts, installations, and in his life and its recounting-creating a sort of mythos around himself. His circle of East Village artists moved into the national spotlight just as the AIDS plague began its devastating advance, and as right-wing culture warriors reared their heads.As Wojnarowicz''s reputation as an artist grew, so did his reputation as an agitator-because he dealt so openly with his homosexuality, so angrily with his circumstances as a Person With AIDS, and so fiercely with his would-be censors.Fire in the Belly is the untold story of a polarizing figure at a pivotal moment in American culture-and one of the most highly acclaimed biographies of the year.

Growing up on Long Island, lonely and quiet and queer, she was enchanted by Hollywood starlets like Kim Novak. She found her turn in New York’s early Off-Off-Broadway theater scene, in Warhol’s films Flesh and Women in Revolt, and at the famed nightclub Max’s Kansas City. She inspired songs by Lou Reed and the Rolling Stones. She became friends with Jane Fonda and Lily Tomlin, borrowed a dress from Lauren Hutton, posed for Richard Avedon, and performed alongside Tennessee Williams in his own play.Yet Candy lived on the edge, relying on the kindness of strangers, friends, and her quietly devoted mother, sleeping on couches and in cheap hotel rooms, keeping a part of herself hidden. She wanted to be a star, but mostly she wanted to be loved. Her last diary entry was: “I shall try to be grateful for life . . . Cannot imagine who would want me.” Candy died at twenty-nine in 1974, as conversations about gender and identity were really just starting. She never knew it, but she changed the world.Packed with tales of luminaries and gossip and meticulous research, immersive and laced with Candy’s words and her friends’ recollections, Cynthia Carr’s Candy Darling is Candy’s long-overdue return to the spotlight.