“Cerebral and capacious, Teju Cole’s novel asks what it means to roam freely.”—The New York Times (One of the 25 Most Significant New York City Novels From the Last 100 Years) “Influential . . . makes you think about what kind of city is revealed to us based on where we cannot go.”—Katie Kitamura, bestselling author of Intimacies ONE OF THE TEN BEST BOOKS OF THE YEAR: Time, NPR • WINNER: PEN/Hemingway Award, Rosenthal Foundation Award, New York City Book Award Along the streets of Manhattan, a young Nigerian doctor named Julius doing his residency wanders aimlessly. The walks are a release from the tightly regulated mental environment of work, and they give him the opportunity to process his relationships, his recent breakup, his present, his past. Though he’s navigating the busy parts of town, the impression of countless faces does nothing to assuage his feelings of isolation. Julius crisscrosses social territory as well, encountering people from different cultures and classes who provide insight on his journey—which takes him to Brussels, to the Nigeria of his youth, and into the most unrecognizable facets of his own soul. Seething with intelligence and written in a clear, rhythmic voice, Open City is a haunting, mature, profound work about our country and our world. FINALIST: National Book Critics Circle Award, Young Lions Fiction Award • ONE OF THE BEST BOOKS OF THE YEAR: The New York Times Book Review, The New Yorker, The Atlantic, The Economist, Newsweek, The New Republic, New York Daily News, Los Angeles Times, The Boston Globe, The Seattle Times, Minneapolis Star Tribune, GQ, Salon, Slate, New York, The Week, The Kansas City Star, Kirkus Reviews, The Guardian, Toronto Star, The Globe and Mail, The Irish Times

Open City is an historical work detailing and analyzing the birth and growth of an organized crime "family" in Kansas City during the first 50 years of the 20th Century. It began with a Mafia-like clan labeled the Black Hand, its roots planted in the secret crime societies of Southern Italy and Sicily - a band of extortionists victimizing the city's "Little Italy" community in the early 1900s. From modest beginnings, the development of the criminal outfit is traced through prohibition, its alliance with the Pendergast Machine, the roaring 20s, Home Rule, the wide open 30s, the birth of La Cosa Nostra, and hard times in the 50s. It is the story of Kansas City, politics, powerful and colorful mob bosses, gangland murders, racket activities, and courageous police officers and reformers. Book jacket.

Urban theory traditionally links modernity to the city, to the historical emergence of certain forms of subjectivity and the rise of important developments in culture, arts and architecture. This is often in response to technological, economic and societal transformations in the nineteenth- and early twentieth-centuries in select Euro-American metropolises. In contrast, non-Western cities in the modern period are often considered through the lens of Westernization and development. How do we account for urban modernity in "other" cities? This book seeks to highlight cultural creativity by examining the diverse and shifting ways Istanbulites have defined themselves while they debate, imagine, build and consume their city. It focuses on a series of exhibitionary sites, from print press/photography, cinema/films, exhibitions of architectural heritage, theme parks and museums, and explores the links between these popular depictions through shared practices of representation. In doing so it argues that understanding how the future is imagined through images and interpretations of the past can broaden current theoretical thinking about Istanbul and other cities. In line with postcolonial calls for a comparative urbanism that decouples understanding of the modern from its privileged association with Western cities, this book offers a new perspective on the lens of urban modernity. It will appeal to urban geographers and historians, cultural studies scholars, art historians and anthropologists as well as planners, architects and artists.

Otto Preminger said the history of the cinema was divided into two eras: one before and one after Rome Open City (Roma Città Aperta, 1945). The film is based on events that took place in Rome in 1944, during the Nazi occupation. This book re-examines the film and its place in Rossellini's career. David Forgacs reconstructs its production history, its relationship to the events that inspired it and the time in which it was made. He argues that the traditional critical labelling of Rome Open City as the original work of neo-realism fails to capture the film's hybrid and contradictory character. Part documentary record, part patriotic myth, Rome Open City is at once an extraordinarily powerful commemoration of wartime experience and a rhetorical reworking of that experience, using stereotypes and moral polarisations.

Roberto Rossellini's Rome Open City instantly, markedly, and permanently changed the landscape of film history. Made at the end of World War II, it has been credited with initiating a revolution in and reinvention of modern cinema, bold claims that are substantiated when its impact on how films are conceptualized, made, structured, theorized, circulated, and viewed is examined. This volume offers a fresh look at the production history of Rome Open City; some of its key images, and particularly its representation of the city and various types of women; its cinematic influences and affinities; the complexity of its political dimensions, including the film's vision of political struggle and the political uses to which the film was put; and the legacy of the film in public consciousness. It serves as a well illustrated, up to date, and accessible introduction to one of the major achievements of filmmaking.

We are used to thinking of human rights as a matter for state governments to deal with. Much less investigated is the question of what cities do with them, even though urban communities and municipalities have been discussing human rights for quite some time. In this volume, Grigolo borrows the concept of ‘the human rights city’ to invite us to think about a new urban utopia: a place where human rights strive to guide urban life. By turning the question of the meaning and use of human rights in cities into the object of critical investigation, this book tracks the genesis, institutionalisation and implementation of human rights in cities, focussing on New York, San Francisco and Barcelona. Touching also upon matters such as women’s rights, LGBT rights and migrant rights, The Human Rights City emphasises how human rights can serve urban justice but also a neoliberal practice of the city. This book is a useful resource for scholars and students interested in fields such as Sociology of Human Rights, Sociology of Law, International Law, Urban Sociology, Political Sociology and Social Policies.

Hailed as one of the best avant-garde magazines available, ALPHABET CITY is now published in annual book form. The 1998 issue, OPEN CITY, is an investigation into the city--its nature, its possible future, and its emergence as one of the most contested economic, cultural, and political sites of our time.