Robin Morgan - Böcker

Ariel Leve and Robin Morgan's oral history 1963: The Year of the Revolution is the first book to recount the kinetic story of the twelve months that witnessed a demographic power shift-the rise of the Youth Quake movement, a cultural transformation through music, fashion, politics, and the arts. Leve and Morgan detail how, for the first time in history, youth became a commercial and cultural force with the power to command the attention of government and religion and shape society. While the Cold War began to thaw, the race into space heated up, feminism and civil rights percolated in politics, and JFK's assassination shocked the world, the Beatles and Bob Dylan would emerge as poster boys and the prophet of a revolution that changed the world. 1963: The Year of the Revolution records, documentary-style, the incredible roller-coaster ride of those twelve months, told through the recollections of some of the period's most influential figures-from Keith Richards to Mary Quant, Vidal Sassoon to Graham Nash, Alan Parker to Peter Frampton, Eric Clapton to Gay Talese, Stevie Nicks to Norma Kamali, and many more.

Robin Morgan's work, celebrated for its vindication of female experience and its evocation of the zeitgeist, is here intensely personal and powerful in new ways. In her sixth book of poems, prize-winning poet Robin Morgan undertakes a radical departure from her previous work, as she locates the landscape of her vision in the stark isolation of a self confronting love's aftermath, its losses, and its undeniable betrayals. In poems documenting a seven-year silence, Morgan's voice emerges markedly different, sounding a singular passage through a private hell of despair, the madness of a "Hot January," to a place of furious peace in which the artist weeps "to recognize the self I'd fled to find."

The religious right is gaining enormous power in the United States, thanks to a well-organized, media-savvy movement with powerful friends in high places. Yet many Americans , both observant and secular , are alarmed by this trend, especially by the religious right's attempts to erase the boundary between church and state and re-make the U.S. into a Christian nation. But most Americans lack the tools for arguing with the religious right, especially when fundamentalist conservatives claim their tradition started with the Framers of The Constitution. Fighting Words is a a tool-kit for arguing, especially for those of us who haven't read the founding documents of this nation since grade school. Robin Morgan has assembled a lively, accessible, eye-opening primer and reference tool, a "verbal karate" guide, revealing what the Framers and many other leading Americans really believed , in their own words , rescuing the Founders from images of dusty, pompous old men in powdered wigs, and resurrecting them as the revolutionaries they truly were: a hodgepodge of freethinkers, Deists, agnostics, Christians, atheists, and Freemasons , and they were radicals as well.

"I was impressed by The Stones. They were dressed casually, had mischief in them and were different to other bands." Terry O Neill In July 1962, a group of young men played a gig at The Marquee Club on Oxford Street, London. They called themselves 'The Rollin' Stones' and little did they know they would soon be making music history. This evocative new book captures the youth, the times and the spirit of The Stones' formative early years. And documenting 1963-1965 were two young photographers just starting out in their careers. Terry O'Neill, aged just 25, had a few years' experience photographing musicians and knew that this group had the same magic as another British phenomenon that just recently started to chart, The Beatles. As the band was starting to record and tour, Gered Mankowitz came along. His first shoot, the now famous Mason's Yard session, was so fruitful, Gered was asked to tag along on tour to America. Gered was a mere 19 when he picked up his camera and joined the band on stage in 1965. Between these two legendary photographers, they chronicle the band's beginnings and these indelible images are forever placed in music's consciousness. The photography throughout this book is embellished with various memories and interviews, celebrating the early days and giving an insight into what it must have felt like to go from a small club in Soho with no record deal to touring the world a few years later with a number one record. Terry O'Neill and Gered Mankowitz, two of the most respected, collected and exhibited photographers in the world were sitting in the front-row. In 2016, London's Saatchi Gallery hosted the first ever major exhibition dedicated to the band: Exhibitionism, a career-spanning, museum-style display of Stones artefacts and memorabilia. The publication of this book coincided with the opening of this ground-breaking exhibition.

Parallax is a luscious story that enfolds you and demands immediate rereading the moment you finish, a story that surprises you and invites you to play with the patterns inside its paradoxes, a story whose characters will accompany you for the rest of your life.