Read Matthew Biberman's posts on the Penguin Blog. "If you believe it is possible to fall in love with a motorcycle, you will love this book." -Jay Leno When Big Sid had a heart attack and gave up the will to live, his son Matthew Biberman panicked. Impulsively, Matthew promised his father that they would build a Vincati together. This fusion of two legendary motorcycles, the Vincent Black Shadow and the Ducati GT, a Vincati was considered near-impossible to build. But if anyone could do it, Matthew knew his father could. Big Sid was the mechanic to see about repairing Vincents for nearly sixty years. But now, Sid was old, busted up and broke. Matthew, despite sharing his dad's passion, had become a Shakespearean scholar. The two men hadn't spoken in years-but called a truce to attempt a shared dream. Zen and the Art of Motorcycle Maintenance meets Shop Class as Soulcraft, in this heartfelt memoir that shows how two very different men built a legendary motorcycle, and along the way, discovered what it means to be father and son.

Break into that barn - you know you want to - there might be a vintage Harley inside. If you won't break in, Tom Cotter will; amazing motorcycles await. Driving down a country road, a flash of chrome catches your eye as you pass an old farmstead. Next time you roll by, you slow down and focus on a shed behind the house. Could that be? Good lord, it is! Hard on the brakes, quick reverse, and pull in the drive. Yep, it's a vintage Triumph Bonneville peering forlornly from beneath a tattered cover. You've just begun the journey that fuels the dreams of every motorcycle collector: the long-forgotten machine, rediscovered. The Harley in the Barn offers forty-plus tales of lost Nortons, hidden Hondas, dormant Indians, and busted BSAs, all squirreled away from prying eyes but found by lucky collectors just like you. Author Tom Cotter is not only a barn-find master, he's also master of discovering the collectors with the best stories and the most outlandish finds. In The Harley in the Barn, all those great stories are told. If you can't pass a padlocked garage without wondering if there's a great old bike stashed inside, this is your book. Hell, this is your life.

Offering a profound re-assessment of the conceptual, rhetorical, and cultural intersections among sexuality, race and religion in English Renaissance texts, this study argues that antisemitism is a by-product of tensions between received Classical conceptions of masculinity and Christianity's strident critique of that ideal. Utilizing works by Shakespeare, Milton, Marlowe and others, Biberman illustrates how modern antisemitism develops as a way to stigmatize hypermasculine behavior, thus facilitating the transformation of the culture's gender ideal from knight to businessman. Subsequently, the function of antisemitism changes, becoming instead the mark of effeminate behavior. Consequently, the central antisemitic image changes from Jew-Devil to Jew-Sissy. Biberman traces this shift's repercussions, both in renaissance culture and what followed it. He also contends that as a result of this linkage between Jewishness and the limits of masculine behavior, the image of the Jewish woman remains especially unstable. In concluding, Biberman argues that the Gothic resurrects the Jew-Devil (bequeathing it to the Nazis), and that the horror genre is often a rewriting of Renaissance discourse about Jews. In the course of making this larger argument, Biberman introduces a series of more limited claims that challenge the conventional wisdom within the field of literary studies. First, Biberman overturns the assumption that Jewishness and femininity are always associated in the cultural imagination of Western Europe. Second, Biberman provides the historical context needed to understand the emergence of the stereotype of the pathological Jewish woman. Third, Biberman revises the incorrect notion that divorce was not practiced in Renaissance England. Fourth, Biberman argues for the novel claim that serial monogamy in Western culture is a practice understood to possess a Jewish "taint." Fifth, Biberman contributes a major advance in scholarship devoted to T. S. Eliot, illustrating how Eliot's famous critical argument against Milton is an expression of his antisemitism, and a coherent compliment to the antisemitic touches in his poetry. Sixth, in his discussion of Gothic literature, Biberman introduces novel readings of Frankenstein and Dracula, persuasively arguing that Mary Shelley's monster bears the mark of the Jew according to modern antisemitic discourse; and that, in Stoker, both the vampire and the vampire-killer represent Jews executing a scenario of self-policing that was realized in the ghettos and the concentration camps. Biberman's final contribution in this study is to provide a definition for postmodern antisemitism and to apply it to various contemporary incidents, including September 11th and the Arab-Israeli conflict.

Assembles a composite picture of Shakespeare's afterlives in media and cultural imagination. This title provides fresh insight about how our understanding of Shakespeare has changed after the terrorist attacks of September 11, 2001. It investigates the impact of 9/11 on our understanding of specific Shakespeare plays.