David Lazar – författare

A fieldwork-based sociological study of how participants in City of London financial markets view the markets in which they work and the market mechanism in general. It is more than a narrow study of financial market participants because it is also an empirical investigation into how ideologies function and it develops a critique of pro-market ideologies such as "Thatcherism". Finally, it is a sociological study into the privileged world of high earners and the wealthy.

Contending with Hitler is a distillation of recent scholarship on Germany's domestic resistance to the Nazi dictatorship. Comprising twelve original essays by leading German and American scholars, it sets forth the issues that specialists and laymen alike must keep in mind as they try to understand the nature and significance of this complex problem. Unlike most histories of the German resistance, this volume does not restrict its focus to well-known opposition factions like the Kreisau Circle and the Twentieth of July conspiracy; rather, it includes investigations of resistance efforts by Jews, women, workers, and young people. The Socialist opposition is illuminated by the personal observations of former West German chancellor, Willy Brandt.

A Past Renewed portrays the generation of German-speaking refugee historians who settled in the United States after fleeing Hitler's Europe. Bio-bibliographical entries on eighty-eight refugee historians document their scholarly contributions, historical interests, and impact on the American historical profession after 1945. Besides material on noted historians of modern Europe such as Felix Gilbert, Hajo Holborn, and Hans Rosenberg, the catalogue includes information on many other historians influential in the fields of Jewish history, Renaissance history, the history of Roman and canon law, Chinese history, and the history of medicine. A Past Renewed provides a valuable reference work for scholars interested in the academic emigration from Nazi Germany, historiographical developments in the United States in the postwar era, the collective contribution of refugee historians to the American historical profession, and the lives and works of individual refugee historians.

In his new collection of essays, Occasional Desire, David Lazar meditates on random violence and vanished phone booths, on the excessive relationship to jewelry that links Kobe Bryant and Elizabeth Taylor, on Hitchcock, Francis Bacon, and M. F. K. Fisher. He explores, in his concentrically self-aware, amused, and ironic voice, what it means to be occasionally aware that we are surviving by our wits, and that our desires, ulterior or obvious, are what keep us alive. Lazar also turns his attention on the essay itself, affording us a three-dimensional look at the craft and the art of reading and writing a literary form that maps the world as it charts the peregrinations of the mind.Lazar is especially interested in the trappings of memory, the trapdoors of memory, the way we gild or codify, select, soften, and self-delude ourselves based on our understanding of the past. His own process of selection and reflection reminds us of how far this literary form can take us, bound only by the limits of desire and imagination.

Writers of the modern essay can trace their chosen genre all the way back to Michel de Montaigne (1533–92). But save for the recent notable best seller How to Live: A Life of Montaigne by Sarah Bakewell, Montaigne is largely ignored. After Montaigne—a collection of twenty-four new personal essays intended as tribute—aims to correct this collective lapse of memory and introduce modern readers and writers to their stylistic forebear.Though it’s been over four hundred years since he began writing his essays, Montaigne’s writing is still fresh, and his use of the form as a means of self-exploration in the world around him reads as innovative—even by modern standards. He is, simply put, the writer to whom all essayists are indebted. Each contributor has chosen one of Montaigne’s 107 essays and has written his/her own essay of the same title and on the same theme, using a quote from Montaigne’s essay as an epigraph. The overall effect is akin to a covers album, with each writer offering his or her own interpretation and stylistic verve to Montaigne’s themes in ways that both reinforce and challenge the French writer’s prose, ideas, and forms. Featuring a who’s who of contemporary essayists, After Montaigne offers astartling engagement with Montaigne and the essay form while also pointing the way to the genre’s potential new directions.

Writers of the modern essay can trace their chosen genre all the way back to Michel de Montaigne (1533–92). But save for the recent notable best seller How to Live: A Life of Montaigne by Sarah Bakewell, Montaigne is largely ignored. After Montaigne—a collection of twenty-four new personal essays intended as tribute—aims to correct this collective lapse of memory and introduce modern readers and writers to their stylistic forebear.Though it’s been over four hundred years since he began writing his essays, Montaigne’s writing is still fresh, and his use of the form as a means of self-exploration in the world around him reads as innovative—even by modern standards. He is, simply put, the writer to whom all essayists are indebted. Each contributor has chosen one of Montaigne’s 107 essays and has written his/her own essay of the same title and on the same theme, using a quote from Montaigne’s essay as an epigraph. The overall effect is akin to a covers album, with each writer offering his or her own interpretation and stylistic verve to Montaigne’s themes in ways that both reinforce and challenge the French writer’s prose, ideas, and forms. Featuring a who’s who of contemporary essayists, After Montaigne offers astartling engagement with Montaigne and the essay form while also pointing the way to the genre’s potential new directions.

This collection of interviews captures the conversation of one of the most prominent prose writers in the Unites States. About her the Chicago Sun-Times says, ""She is to literary prose what Sir Laurence Olivier is to acting or Willie Mays is to baseball.""These interviews reveal her uncompromising and frequently contradictory attitudes toward the luxuries and necessities of gastronomy, the idea that sensual appreciation, in all aspects of life, is or should be necessary. In her conversations m. F. K. Fisher often returns to the complexities of her life. Other recurring subjects in these interviews include the nature of aging, the differences between men and women, and her own relationship to her work, which she describes with precision and a selective memory.These pieces give us a view of M. F. K. Fisher in motion--speaking and changing her mind at will, with fierce wit, unable to tolerate simplistic strategies of thinking and living.

Markets and Ideology in the City of London is the first fieldwork-based sociological study of how participants in City of London financial markets view the markets in which they work and the market mechanism in general.

Longlisted for the PEN/Diamonstein-Spielvogel Award for the Art of the EssayIn this essay collection David Lazar looks to our intimate relationships with characters, both well-known and lesser known, from Hollywood’s Golden Age. Veering through considerations of melancholy and wit, sexuality and gender, and the surrealism of comedies of the self in an uncanny world, mixed with his own autobiographical reflections of cinephilia, Lazar creates an alluring hybrid of essay forms as he moves through the movies in his mind.Character actors from the classical era of the 1930s through the 1950s including Thelma Ritter, Oscar Levant, Martin Balsam, Nina Foch, Elizabeth Wilson, Eric Blore, Edward Everett Horton, and the eponymous Celeste Holm all make appearances in these considerations of how essential character actors were, and remain, to cinema.

When walking down the street, it is not uncommon to see lost items that have escaped their proper receptacles, but how often does one stop to read the messages left behind? David Lazar has stopped often, capturing the pieces of a “lost world on the streets” and thinking about the life of the discarder from the fragments left behind.Stories of the Street is a series of imaginative meditations-through prose poems, short-short essays, microfictions, and prose pieces without precise genre distinction-of what it means to encounter lost or discarded texts. Rather than simply deconstructing the lists, notes, receipts, or book pages he finds strewn in various cities, Lazar uses them as suggestive, capable of inspiring possible narratives that are at most latent in the text itself. The encounter, then, is an encounter with oneself and the mysteries of cities, where detritus frequently doubles as a sign saying, “Consider this.” Lazar’s narrative voice ranges in tone from the comically antic to the melancholy. By photographing what he describes as “messages that had escaped their bottles” on-location as found, Lazar has become a flaneur of paper debris, puzzling over the evidence of urban human life.

British filmmaker Michael Powell (1905-1990) began his career assisting director Rex Ingram in the waning years of silent film. Given a boost by Alfred Hitchcock, Powell spent much of the 1930s directing what were known as ""quota quickies,"" low-budget B movies. Later he created some of the most daring, interesting, and literate films ever made, including The Edge of the World (1937), Peeping Tom (1960), and his work with Hungarian-born filmmaker Emeric Pressburger, with whom producer/director Alexander Korda paired him. Powell's conversations disclose the same intellectual and artistic range that makes his films so rewarding. This collection of interviews manifests how he imagined himself simultaneously as a classic English gentleman and as a citizen of the world, making films with social conscience about life both in England and abroad. His expressions are charged with brilliance, wit, and jauntiness as he discusses his work on Thief of Baghdad, One of Our Aircraft Is Missing, The Red Shoes, The Tales of Hoffman, and Black Narcissus, as well as the politics of the British film industry. He is candid about the controversy surrounding his thriller Peeping Tom (1960). Now regarded as a classic, it was so derided upon its original release that Powell could not direct in the United Kingdom for a decade. This collection reveals the mind and the tactics of a master filmmaker who is woefully under-known, even as his films are widely celebrated throughout the world. Martin Scorsese, whom Powell befriended in his later years, considers him a towering genius of cinema. David Lazar, an associate professor of English at Ohio University, senior editor of Hotel Amerika, and editor/publisher of CreativeNonfiction.com, edited Conversations with M. F. K. Fisher (University Press of Mississippi). He is the author of The Body of Brooklyn and his work has appeared in the Houston Chronicle, Aperture, Southwest Review, and many other journals and magazines.