"American ecstasy is a memoir in pictures and words of the twelve years photographer Barbara Nitke spent shooting stills on porn movie sets in New York City. The book takes place in the 1980s at the end of the Golden Age of Porn, as the industry transitioned from high budget, scripted film productions to smaller and ever cheaper video shoots. Nitke's images reveal the contradictions inherent in the business - great beauty, tinged with sadness, punctuated by surreal silliness. As she chronicles the sights and sounds of life on the sets, her stories also reveal her own struggle to come to terms with the end of her marriage and her fascination with the sexual outlaws of the porn world. Among the porn stars featured are Ron Jeremy, Vanessa del Rio, Nina Hartley, Sharon Mitchell, Sharon Kane, Siobhan Hunter, Jeanna Fine, Damian Cashmere, Tasha Voux, and many more. Directors include Henri Pachard, Candida Royalle, Lasse Braun and others."--

Honorable Mention, Barnard Hewitt Award from the American Society for Theater Research Explores the intersection and history of American literary realism and the performance of spiritual and racial embodiment. Recovering a series of ecstatic performances in late nineteenth- and early twentieth-century American realism, Realist Ecstasy travels from camp meetings to Native American ghost dances to storefront church revivals to explore realism’s relationship to spiritual experience. In her approach to realism as both an unruly archive of performance and a wide-ranging repertoire of media practices—including literature, photography, audio recording, and early film—Lindsay V. Reckson argues that the real was repetitively enacted and reenacted through bodily practice. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped construct and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance: its production of new and immanent forms of being beside. Across her readings of Stephen Crane, James Weldon Johnson, and Nella Larsen, among others, Reckson triangulates secularism, realism, and racial formation in the post-Reconstruction moment. Realist Ecstasy shows how post-Reconstruction realist texts mobilized gestures—especially the gestures associated with religious ecstasy—to racialize secularism itself. Reckson offers us a distinctly new vision of American realism as a performative practice, a sustained account of how performance lives in and through literary archives, and a rich sense of how closely secularization and racialization were linked in Jim Crow America.

“The role of the critic,” Daniel Mendelsohn writes, “is to mediate intelligently and stylishly between a work and its audience; to educate and edify in an engaging and, preferably, entertaining way.” His latest collection exemplifies the range, depth, and erudition that have made him “required reading for anyone interested in dissecting culture” (The Daily Beast). In Ecstasy and Terror, Mendelsohn once again casts an eye at literature, film, television, and the personal essay, filtering his insights through his training as a scholar of classical antiquity in illuminating and sometimes surprising ways. Many of these essays look with fresh eyes at our culture’s Greek and Roman models: some find an arresting modernity in canonical works (Bacchae, the Aeneid), while others detect a “Greek DNA” in our responses to national traumas such as the Boston Marathon bombings and the assassination of JFK. There are pieces on contemporary literature, from the “aesthetics of victimhood” in Hanya Yanagihara’s A Little Life to the uncomfortable mixture of art and autobiography in novels by Henry Roth, Ingmar Bergman, and Karl Ove Knausgård. Mendelsohn considers pop culture, too, in essays on the feminism of Game of Thrones and on recent films about artificial intelligence—a subject, he reminds us, that was already of interest to Homer. This collection also brings together for the first time a number of the award-winning memoirist’s personal essays, including his “critic’s manifesto” and a touching reminiscence of his boyhood correspondence with the historical novelist Mary Renault, who inspired him to study the Classics.

Irving Stone's powerful and passionate biographical novel of Michelangelo. His time: the turbulent Renaissance, the years of poisoning princes, warring popes, the all-powerful Medici family, the fanatic monk Savonarola. His loves: the frail and lovely daughter of Lorenzo de Medici; the ardent mistress of Marco Aldovrandi; and his last love - his greatest love - the beautiful, unhappy Vittoria Colonna. His genius: a God-driven fury from which he wrested the greatest art the world has ever known. Michelangelo Buonarotti, creator of David, painter of the Sistine ceiling, architect of the dome of St Peter's, lives once more in the tempestuous, powerful pages of Irving Stone's marvellous book.

On June 6, 1944, Frederick Giesbert, assigned to the American army’s 29th division, landed on bloody Omaha Beach, Normandy, an experience from which he never recovered. Three years later, Frederick had returned to his hometown of Chicago, married to a French girl. But when the seemingly happy couple moved to Normandy to make a home with their baby, something in Frederick snapped, and he turned cruel and violent. His son, Franz-Oliver, spent his childhood doing everything he could to defy his father. The American is a son’s fiercely honest and emotionally gripping story of a search for paternal understanding and forgiveness.

An international bestseller with over 100,000 copies in print - one of the first sources of information about the drug and its correspondent dance culture.

In The Black Body in Ecstasy, Jennifer C. Nash rewrites black feminism's theory of representation. Her analysis moves beyond black feminism's preoccupation with injury and recovery to consider how racial fictions can create a space of agency and even pleasure for black female subjects. Nash's innovative readings of hardcore pornographic films from the 1970s and 1980s develop a new method of analyzing racialized pornography that focuses on black women's pleasures in blackness: delights in toying with and subverting blackness, moments of racialized excitement, deliberate enactments of hyperbolic blackness, and humorous performances of blackness that poke fun at the fantastical project of race. Drawing on feminist and queer theory, critical race theory, and media studies, Nash creates a new black feminist interpretative practice, one attentive to the messy contradictions—between delight and discomfort, between desire and degradation—at the heart of black pleasures.

AMERICA ARRIBA! is a comedy/satire about Don Quijote and Sancho Panza in the 21st century. A giant American fast food company convinces the author, Miguel Cervantes, to permit the famous duo to advertise burgers in South America. After the duo are educated In the realities of the modern world, they set about their tasks only to find every plan of Naches Fast Foods backfires in one comic episode after another.