Lake Forest College – förlag

Kathy Lou Schultz’s Introduction to Claudia Rankine provides the first book-length introduction to this vitally important poet. Written for scholars, poets, students, and general readers, Schultz’s book outlines Rankine’s poetic career in all its major facets, including an analysis of Rankine’s seminal book, Citizen. Rankine’s poetry, writes Schultz, gives voice to the “unspeakable wounds” and trauma of race in America. Schultz places Rankine’s poetry in the context of the poet’s life, her works in other genres, and our challenging political moment.

In 2002, art collector and philanthropist Madeleine P. Plonsker began traveling to Cuba to uncover Havana’s thriving art scene. The Light in Cuban Eyes: Lake Forest College’s Madeleine P. Plonsker Collection of Contemporary Cuban Photography focuses on Cuban photography between 1992 and 2012. These years cover Cuba’s “Special Period,” a desperate time resulting from the withdrawal of financial support from the former Soviet Union that continues to present day.The fifty artists represented in this bilingual book—including Juan Carlos Alom, Adrián Fernández Milanés, Marta María Pérez Bravo, Cirenaica Moreira, and Glenda León—shoot their worlds in styles ranging from fabulist to gritty. This is world-class work, yet the artists are often known only to the small population of collectors fortunate enough to have traveled to this tightly restricted country, or through art world reputations that have only recently started to expand beyond the island.

Winner of the Madeleine P. Plonsker Emerging Writers Residency Prize.Cecilia Corrigan's first book, Titanic, is an epic love poem depicting the eternal gothic romance between man and machine. Titanic's protagonist is Alan Turing, cracker of codes and father of artificial intelligence. Turing escapes his frustrated love life and tragic death into the safe haven of virtual reality. The setting shifts from Snow White's forest to Ludwig Wittgenstein's seminar at Cambridge, amid iMessage chats and appearances by a cast of thrilling guest stars, including Frank O'Hara, Spike and Willow from Buffy the Vampire Slayer, and Julianne Moore's BMW. Titanic: collide with destiny!

Galerie de Difformite is a cabinet of curiosities of things deformed, disabled, reformed and enabled...A book that combines the metacriticism of Tristram Shandy with the randomness of a complex video game, Henderson has created a unique work that aims at being extraordinary, arcane, and eminently accessible. A book you won t forget. --Lennard J. Davis, author of Enforcing Normalcy and Bending Over Backwards: Disability, Dismodernism and Other Difficult Positions

This second volume of The &Now Awards recognises the most provocative, hardest-hitting, deadly serious, patently absurd, cutting-edge, avant-everything-and-nothing work from the years 2009–11. The &NOW Awards features writing as a contemporary art form: writing as it is practiced today by authors who consciously treat their work as an art, and as a practice explicitly aware of its own literary and extra-literary history— as much about its form and materials, language, as it about its subject matter. The &NOW conference, moving from the University of Notre Dame (2004), Lake Forest College (2006), Chapman University (2008), the University at Buffalo (2009), the University of California, San Diego (2011), and Paris (Sorbonne and Diderot, 2012)—sets the stage for this aesthetic, while The &Now Awards features work from the wider world of innovative publishing and serves as an ideal survey of the contemporary scene.

Jose Perez Beduya’s first book Throng takes us ""inside the bright wheel"" where selfhood and community whirl along the event horizon of an elusive centre—the fused question of the Singular and the Common. Jennifer Moxley, who selected Beduya as the winner of the 2011 Plonsker Emerging Writers Residency, writes that in this book ""a shimmering subjectivity—sometimes singular, more often plural—emits an intermittent signal, coming in and out of view like some mysterious lost ‘other’ flashing a pocket mirror against the sun in hope of rescue.""In spare lyrics, evocative of what George Oppen called ""the bright light of shipwreck,"" Beduya searches not just for the meaning of being numerous but how to sustain that numerousness, with ""No trace showing / The quickest way back / No light caught / In the hair of the void."" The poems are fierce, tensile, and assured, but also display a heartbreaking vulnerability: ""Who belongs / To this wounded face / How do we / Extinguish our hands / In prayer."" The ethics of beauty in the face of violence contend with and haunt the forms of political desire in this marvellous and unexpected debut.

Whether by road, rail, water, or sky . . . people come to Chicago. In droves. In waves of migration and immigration. For work and for play. But how do they get to Chicago?Terminal Town answers this question with a fast-moving history of Chicago's many passenger transportation terminals. These have, for generations, served as defining features of the city's cosmopolitan character. Showcasing great icons of transportation, including Chicago's Union Station, Dearborn Station, and Midway and O'Hare airports, as well as lesser-known and long-gone terminals throughout the metropolitan region, this book illustrates why the Windy City so richly deserves its reputation as America's premier travel hub.Featuring 48 stations and terminals through short narrative, 215 color photographs, and 20 custom maps, Terminal Town provides a fascinating portrait of the city's famously complex and constantly changing transportation system.

To celebrate the 125th anniversary, this album offers 18 pieces of “souvenir music” from the 1893 World’s Columbian Exposition. The tracks have little to do with the music actually heard at the 1893 World’s Columbian Exposition; instead, the music on this album capitalized on the Fair craze in Chicago and across the country. Along with buttons, medals, brochures, postcards, and other memorabilia that flooded the market, this sheet music offered a musical “souvenir” of one’s time at the Fair. Some of these pieces were made popular in local theaters, either played by orchestras or performed by popular singers on the vaudeville stage. Others were simply meant to be taken home and played on the parlor piano. They provide a glimpse into the way the visitors understood and remembered this profound experience.  Composer and musicologist Don Meyer, Professor of Music at Lake Forest College, has written original scores for a number of independent films and rescored several movies from the Silent Era. In addition, he has composed incidental music and sound collages for theater productions, dance troupes, online literary journals, and television commercials. He has also written articles about film music and music in American life. He is the program note annotator for the Mid-Columbia Symphony Orchestra in Washington State.

The Starling sisters, Pearl, Minny, and Esther are being raised by film, by what they hear on the radio, and by the hottest new pop culture phenomenon: television. They spend their feral trailer park childhood devising their own contortionist skits, daydreaming their own soap operas, and gushing over the latest episode of their favorite absurdist puppet show. After their lounge-singing mother flies the coop, the sisters run away to join an all-female revue in Northern California, run by the charismatic and power-hungry Bette Bunting. Their story is a portrait of a cultural moment in which television, a private viewing experience for the intimacy of home and nuclear families, precipitated the erosion of live, public performance and the mid-century American music hall. The glamour of Callbacks is vulgar and gimcrack, the humor crass and slapstick. The women on stage rebel against the male gaze and male domination in entertainment. Callbacks is inspired by the structure and tone of the serial sitcom format, with fragments of unresolved narrative, a focus on the ensemble, pattering dialogue, recurrence, fadeouts, and a denial of closure. The uncanny and carnivalesque create an entrancing tone that is parried by the tragic side of showbiz - the scrutiny of women aging in front of an audience, and the resulting fear of failure and obscurity that drives rivalry and family feuds.

At once sharp and tender, this debut collection from Christine Larusso (winner of the Madeleine P. Plonsker Emerging Writers Residency Prize) overflows with all the sorrows and ecstasies, the violations and acts of revenge, of girlhood and women's coming-of-age. Set against the landscape of Southern California, where wide, wild expanses mingle with segregated sprawl, written from the viewpoint of a woman in a multiracial family, There Will Be No More Daughters has one foot planted in the firm realities of patriarchal domination, racial unbelonging, sex, death, and intergenerational alcoholism-and another in vivid flights of dream and dissociation.

In this debut collection of short stories by the winner of the Madeleine P. Plonsker Emerging Writer's Residency Prize, the sly fabulism of JD Scott's fiction casts its own peculiar spell upon the reader as it outlines a world unsettlingly similar to our own. Scott troubles the line between what is literary and genre, fairy tale and parable.  In one story, a perfumer keeps his boyfriend close at hand by dosing him with precise measures of poison. In another, a comical domestic drama hinges upon the life and death of an ancient chinchilla. Scott pushes liminality with magical scrolls, a drowned twin returning from the sea, and a witty retelling of the Crucifixion where a gym bunny chops down a tree in the Garden of Eden - only to transform the wood into a cross for himself.  The collection ends with an epic novella in which a heroic teenager comes of age inside an otherworldly shopping mall that spans the entire globe. Visceral, dreamlike, and full of dazzling prose: Moonflower, Nightshade, All the Hours of the Day announces the arrival of a distinctive talent who challenges us to see our own endless possibilities - to find luminescence inside and beyond the shadows.

For more than fifty years, in literary circles certainly, 'Buffalo' has signalled not just the rust belt city in western New York but an active centre for poetry and speculative poetics in America. Beginning in 1963 with the arrival on campus of Charles Olson, followed a few years later by Robert Creeley, the State University of New York at Buffalo was the academic home for transgressive literary thought and expansive poetries and fictions. At Buffalo, a collection of memorial pieces and interviews, traces this development from the Olson years and Creeley's long tenure through the founding in 1991 by Creeley and Susan Howe of the Poetics Program and the eventual creation of the Electronic Poetry Center and Charles Bernstein's Electronic Poetry List.Today, under the guidance of Myung Mi Kim, the program continues to thrive as part of the expanded network of poetic activities around the city. There is a great deal of documentary material and historical detail here. Best, though, are the personal accounts by faculty and students of the challenging, even dizzying, literary and intellectual activity that made Buffalo Buffalo.

I. W. Colburn: Emotion in Modern Architecture is the story of an exceptional architect and of more than 100 design projects, some of which seemed outlandish when built, but many of which appear timeless today.

An American odyssey in miniature, Pike and Bloom maps the trajectories of three characters—Pike, Bloom, and Clytie—as they spiral through ""the serious blues of Indianapolis,"" attempting to construct meaning from the absurd.Pike, a paranoiac everyman, lays confined in a hospital bed, convinced that the medical staff conspire against him. He flees into the city streets to seek the root of the plot, certain that he is followed. Meanwhile, the romantic, meandering Bloom attempts to make sense of his own conflicting impulses toward both chaos and order. Bloom’s wife Clytie, who suspects her husband of infidelity, follows him from their suburban farmhouse into the refracted, unified field of the city center.Together, Pike, Bloom, and Clytie navigate the city’s circling and crisscrossing pathways in their attempts to find out what is real.

There’s No Place Like Time is a strange beast: a fictional catalogue of a real retrospective of experimental films by a videographer who never existed.A collection of critical and biographical essays, stills, and reminiscences about Alana Olsen’s (a character who first appeared in Lance Olsen’s novel Theories of Forgetting) powerful body of work produced in relative anonymity, There’s No Place Like Time remembers an oeuvre of fewer than 30 videos that span roughly four decades and have influenced artists as varied as Lars von Trier, Douglas Gordon, and Martin Arnold.Author Lance Olsen and filmmaker Andi Olsen have already begun staging Alana Olsen’s faux retrospective in galleries in Berlin and elsewhere. Enter those spaces and one enters a three-dimensional novel: a ""real"" place dedicated to the""unreal"" career of one of America’s most unjustly overlooked artists. From her videos and the language surrounding them (including this catalogue) one is invited to infer Alana’s character, development, obsessions, and relationship with her equally fictive daughter, Aila, who curates the exhibits.In one sense, then, There’s No Place Like Time is part of a larger conceptual work investigating the problems of identity construction and historical knowledge. In another it is an exploration of two questions: What does an aesthetics of obscurity looks like, and what is the connection between quality and quantity in the contemporary art world, where celebrity, lucrative simulation, and media saturation are equated with success?

Two Short Plays by Kenneth Sawyer Goodman breathes new life into Chicago’s historic Little Theater Movement. This illustrated edition of two of Goodman’s best-known plays, The Wonder Hat and Back of the Yards, recalls that Goodman—still wellremembered as a key figure in Chicago’s theater scene and the man for whom the Goodman Theatre was named—wrote and produced his own works before the influenza epidemic of 1918 cut short his life.Cowritten in 1916 with Ben Hecht, The Wonder Hat comically updates classic European commedia dell’arte. The Wonder Hat was Goodman’s most widely performed play and is still his bestknown work. Whimsical illustrations accompany this vivid play, which features a hat that confers invisibility on the wearer, a pair of star-crossed lovers, and the assurance that love still conquers all. In contrast, Back of the Yards presents a gritty realist drama about Irish Americans in one of Chicago’s toughest neighborhoods, in which a cop and a priest collaborate to save a young man at risk.Original artwork accompanies both plays, and Ioana Cornea and Benjamin Goluboff’s critical introduction uses material from the Kenneth Sawyer Goodman archives at Chicago’s Newberry Library to illustrate Goodman’s life and career, the Little Theater Movement, and Goodman’s collaboration with Hecht.

A poetic roman à clef, gauguin's notebook follows an anonymous protagonist - who keeps a diary while reading through Paul Gauguin's Tahiti - as he travels clandestinely across the U.S. - Mexico border and in the occupied West Bank of Palestine. What begins as a search for a strange angel quickly descends into the mire of Internet forums, where narco terror, soldier porn, and blue stars give the impression that amid forced immigration and self-exile there's also something searing, tragic, and funny when what you love gets irrevocably lost.The winner of the 2015 Madeleine P. Plonsker Emerging Writers Residency Prize, gauguin's notebook was selected by the acclaimed poet and translator Eleni Sikelianos, author most recently of You Animal Machine (The Golden Greek) (Coffee House Press, 2014) and The Loving Detail of the Living & the Dead (Coffee House Press, 2013).