The genius of Thomas Edison is widely acknowledged, and Edison himself has become an almost mythical figure. But how much do we really know about the man who considered deriving rubber from a goldenrod plant as opposed to the genius who gave us electric light? In this text, Neil Baldwin gives a complex portrait of the inventor - both myth and man - and an account of the intellectual climate of the country he worked in and irrevocably changed.
American art museums flourished in the late twentieth century, and the impresario leading much of this growth was J. Carter Brown, director of the National Gallery of Art in Washington, DC, from 1969 to 1992. Along with S. Dillon Ripley, who served as Smithsonian secretary for much of that time, Brown reinvented the museum experience in ways that had important consequences for the cultural life of Washington and its visitors as well as for American museums in general. In Capital Culture, distinguished historian Neil Harris provides a wide-ranging look at Brown's achievement and the growth of museum culture during this crucial period. Harris combines his in-depth knowledge of American history and culture with extensive archival research, interviewing dozens of key players to reveal how Brown's showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes Brown's major role in the birth of blockbuster exhibitions, such as the King Tut show of the late 1970s and the National Gallery's immensely successful Treasure Houses of Britain, which helped inspire similarly popular exhibitions around the country. He recounts Brown's role in the creation of the award-winning East Building by architect I. M. Pei and the subsequent renovation of the West Building. Harris also explores the politics of exhibition planning, describing Brown's courtship of corporate leaders, politicians, and international dignitaries. In this monumental book, Harris brings to life a dynamic era and exposes the creation of Brown's impressive but costly legacy, one that changed the face of American museums forever.
In 1952 the New Yorker published a three-part essay by A. J. Liebling in which he dubbed Chicago the "Second City." From garbage collection to the skyline, nothing escaped Liebling's withering gaze. Among the outraged responses from Chicago residents was one that Liebling described as the apotheosis of such criticism: a postcard that read, simply, "You were never in Chicago." Neil Steinberg has lived in and around Chicago for more than three decades-ever since he left his hometown of Berea, Ohio, to attend Northwestern - yet he remains fascinated by the dynamics captured in Liebling's anecdote. In You Were Never in Chicago, Steinberg weaves the story of his own coming-of-age as a young outsider who made his way into the inner circles and upper levels of Chicago journalism with a nuanced portrait of the city that would surprise even lifelong residents. Throughout, Steinberg never loses the curiosity and close observation of an outsider, while thoughtfully considering how this perspective has shaped the city, and what it really means to belong. Intimate and layered, You Were Never in Chicago will be a welcome addition to the bookshelves of all Chicagoans - be they born in the city or forever transplanted.
Latin epics such as Virgil's "Aeneid", Lucan's "Civil War", and Statius' "Thebaid" addressed Roman aristocrats whose dealings in gifts, favors, and payments defined their conceptions of social order. In "The Commerce of War", Neil Coffee argues that these exchanges play a central yet overlooked role in epic depictions of Roman society. Tracing the collapse of an aristocratic worldview across all three poems, Coffee highlights the distinction they draw between reciprocal gift giving among elites and the more problematic behaviors of buying and selling. In the "Aeneid", customary gift and favor exchanges are undermined by characters who view human interaction as short-term and commodity-driven. "Civil War" takes the next logical step, illuminating how Romans cope once commercial greed has supplanted traditional values. Concluding with the "Thebaid", which focuses on the problems of excessive consumption rather than exchange, Coffee closes his powerful case that these poems constitute far-reaching critiques of Roman society during its transition from republic to empire.
What is the opposite of freedom? In Freedom as Marronage, Neil Roberts answers this question with definitive force: slavery. From there he unveils powerful new insights on the human condition as it has been understood between these poles. Crucial to his investigation is the concept of marronage - a form of slave escape that was an important aspect of Caribbean and Latin American slave systems. Examining this overlooked phenomenon - one of action from slavery and toward freedom - he deepens our understanding of freedom itself and the origin of our political ideals. Roberts examines the liminal and transitional space of slave escape in order to develop a theory of freedom as marronage, which contends that freedom is fundamentally located within this space-that it is a form of perpetual flight. He engages a stunning variety of writers, including Hannah Arendt, W. E. B. Du Bois, Angela Davis, Frederick Douglass, Samuel Taylor Coleridge, and the Rastafari, among others, to develop a compelling lens through which to interpret the quandaries of slavery, freedom, and politics that still confront us today. The result is a sophisticated, interdisciplinary work that unsettles the ways we think about freedom by always casting it in the light of its critical opposite.
"There's still time to change things."--Siri Hustvedt, The Blazing World Addiction is easy to fall into and hard to escape. It destroys the lives of individuals, and has a devastating cost to society. The National Institute of Health estimates seventeen million adults in the United States are alcoholics or have a serious problem with alcohol. At the same time, the country is seeing entire communities brought to their knees because of opioid additions. These scourges affect not only those who drink or use drugs but also their families and friends, who witness the horror of addiction. With Out of the Wreck I Rise, Neil Steinberg and Sara Bader have created a resource like no other--one that harnesses the power of literature, poetry, and creativity to illuminate what alcoholism and addiction are all about, while forging change, deepening understanding, and even saving lives. Structured to follow the arduous steps to sobriety, the book marshals the wisdom of centuries and explores essential topics, including the importance of time, navigating family and friends, relapse, and what Raymond Carver calls "gravy," the reward that is recovery. Each chapter begins with advice and commentary followed by a wealth of quotes to inspire and heal. The result is a mosaic of observations and encouragement that draws on writers and artists spanning thousands of years--from Seneca to David Foster Wallace, William Shakespeare to Patti Smith. The ruminations of notorious drinkers like John Cheever, Charles Bukowski, and Ernest Hemingway shed light on the difficult process of becoming sober and remind the reader that while the literary alcoholic is often romanticized, recovery is the true path of the hero. Along with traditional routes to recovery--Alcoholics Anonymous, out-patient therapy, and intensive rehabilitation programs--this literary companion offers valuable support and inspiration to anyone seeking to fight their addiction or to a struggling loved one. Featuring Charles Bukowski, John Cheever, Dante, Ricky Gervais, Ernest Hemingway, Billie Holiday, Anne Lamott, John Lennon, Haruki Murakami, Ana s Nin, Mary Oliver, Samuel Pepys, Rainer Maria Rilke, J. K. Rowling, Patti Smith, Kurt Vonnegut, and many more.
What is the opposite of freedom? In Freedom as Marronage, Neil Roberts answers this question with definitive force: slavery. From there he unveils powerful new insights on the human condition as it has been understood between these poles. Crucial to his investigation is the concept of marronage - a form of slave escape that was an important aspect of Caribbean and Latin American slave systems. Examining this overlooked phenomenon - one of action from slavery and toward freedom-he deepens our understanding of freedom itself and the origin of our political ideals. Roberts examines the liminal and transitional space of slave escape in order to develop a theory of freedom as marronage, which contends that freedom is fundamentally located within this space - that it is a form of perpetual flight. He engages a stunning variety of writers, including Hannah Arendt, W. E. B. Du Bois, Angela Davis, Frederick Douglass, Samuel Taylor Coleridge, and the Rastafari, among others, to develop a compelling lens through which to interpret the quandaries of slavery, freedom, and politics that still confront us today. The result is a sophisticated, interdisciplinary work that unsettles the ways we think about freedom by always casting it in the light of its critical opposite.
What was the place of the artist in a new society? How would he thrive where monarchy, aristocracy, and an established church—those traditional patrons of painting, sculpture, and architecture—were repudiated so vigorously? Neil Harris examines the relationships between American cultural values and American society during the formative years of American art and explores how conceptions of the artist's social role changed during those years.
Neil Harris's scholarship of the past twenty-five years has helped to open up the study of American cultural history. This long-awaited collection gathers some of his rich and varied writings. Harris takes us from John Philip Sousa to Superman, with stops along the way to explore art museums and world fairs, shopping malls and hotel lobbies, urban design and utopian novels, among other artifacts of American cultures. The essays fall into three general sections: the first treats the history of cultural institutions, highlighting the role of museums; the second section focuses on some literary, artistic, and entrepreneurial responses to the new mass culture; and the final group of essays explores the social history of art and architecture. Throughout Harris's diverse writings certain themes recur—the redefining of boundaries between high art and popular culture, the relationship between public taste and technological change, and the very notion of what constitutes a shared social experience. Harris's pioneering work has broadened the field of cultural history and encouraged whole new areas of inquiry. Cultural Excursions will be useful for those in American and culture studies, as well as for the general reader trying to make sense of the culture in which we live.
While browsing the stacks of the Regenstein Library at the University of Chicago some years ago, noted historian Neil Harris made a surprising discovery: a group of nine plainly bound volumes whose unassuming spines bore the name "The Chicagoan". Pulling one down and leafing through its pages, Harris was startled to find it brimming with striking covers, fanciful art, witty cartoons, profiles of local personalities, and a whole range of incisive articles. He quickly realized that he had stumbled upon a Chicago counterpart to the New Yorker that mysteriously had slipped through the cracks of history and memory.Here Harris brings this lost magazine of the Jazz Age back to life. In its own words, the "Chicagoan" claimed to represent 'a cultural, civilized, and vibrant' city 'which needs make no obeisance to Park Avenue, Mayfair, or the Champs-Elysees.' Urbane in aspiration and first published just sixteen months after the 1925 appearance of the "New Yorker", it sought passionately to redeem the Windy City's unhappy reputation for organized crime, political mayhem, and industrial squalor by demonstrating the presence of style and sophistication in the Midwest. Harris' substantial introductory essay here sets the stage, exploring the ambitions, tastes, and prejudices of Chicagoans during the 1920s and '30s. The author then lets the "Chicagoan" speak for itself in lavish full-color segments that reproduce its many elements: from covers, cartoons, and editorials to reviews, features, and even one issue reprinted in its entirety.Recalling a vivid moment in the life of the Second City, the "Chicagoan" is a forgotten treasure, offered here for a whole new age to enjoy.
American art museums flourished in the late twentieth century, and the impresario leading much of this growth was J. Carter Brown, director of the National Gallery of Art in Washington, DC, from 1969 to 1992. Along with S. Dillon Ripley, who served as Smithsonian secretary for much of this time, Brown reinvented the museum experience in ways that had important consequences for the cultural life of Washington and its visitors as well as for American museums in general. In Capital Culture, distinguished historian Neil Harris provides a wide-ranging look at Brown's achievement and the growth of museum culture during this crucial period. Harris combines his in-depth knowledge of American history and culture with extensive archival research, and he has interviewed dozens of key players to reveal how Brown's showmanship transformed the National Gallery. At the time of the Cold War, Washington itself was growing into a global destination, with Brown as its devoted booster. Harris describes Brown's major role in the birth of blockbuster exhibitions, such as the King Tut show of the late 1970s and the National Gallery's immensely successful Treasure Houses of Britain, which helped inspire similarly popular exhibitions around the country. He recounts Brown's role in creating the award-winning East Building by architect I. M. Pei and the subsequent renovation of the West building. Harris also explores the politics of exhibition planning, describing Brown's courtship of corporate leaders, politicians, and international dignitaries. In this monumental book Harris brings to life this dynamic era and exposes the creation of Brown's impressive but costly legacy, one that changed the face of American museums forever.
In this text Neil Komesar argues that the emphasis on goal choice in public policy and law ignores an essential element - institutional choice. Indeed, as important as determining our social goals is deciding which institution is best equipped to implement them - the market, the political process, or the adjucative process. Pointing out that all three institutions are massive, complex, and imperfect, Komesar develops a strategy for comparative institutional analysis that assesses variations in institutional ability. He then demonstrates the value of this analytical framework by using it to examine important contemporary issues ranging from tort reform to constitution-making.
"There's still time to change things."--Siri Hustvedt, The Blazing World Addiction is easy to fall into and hard to escape. It destroys the lives of individuals, and has a devastating cost to society. The National Institute of Health estimates seventeen million adults in the United States are alcoholics or have a serious problem with alcohol. At the same time, the country is seeing entire communities brought to their knees because of opioid additions. These scourges affect not only those who drink or use drugs but also their families and friends, who witness the horror of addiction. With Out of the Wreck I Rise, Neil Steinberg and Sara Bader have created a resource like no other--one that harnesses the power of literature, poetry, and creativity to illuminate what alcoholism and addiction are all about, while forging change, deepening understanding, and even saving lives. Structured to follow the arduous steps to sobriety, the book marshals the wisdom of centuries and explores essential topics, including the importance of time, navigating family and friends, relapse, and what Raymond Carver calls "gravy," the reward that is recovery. Each chapter begins with advice and commentary followed by a wealth of quotes to inspire and heal. The result is a mosaic of observations and encouragement that draws on writers and artists spanning thousands of years--from Seneca to David Foster Wallace, William Shakespeare to Patti Smith. The ruminations of notorious drinkers like John Cheever, Charles Bukowski, and Ernest Hemingway shed light on the difficult process of becoming sober and remind the reader that while the literary alcoholic is often romanticized, recovery is the true path of the hero. Along with traditional routes to recovery--Alcoholics Anonymous, out-patient therapy, and intensive rehabilitation programs--this literary companion offers valuable support and inspiration to anyone seeking to fight their addiction or to a struggling loved one. Featuring Charles Bukowski, John Cheever, Dante, Ricky Gervais, Ernest Hemingway, Billie Holiday, Anne Lamott, John Lennon, Haruki Murakami, Ana s Nin, Mary Oliver, Samuel Pepys, Rainer Maria Rilke, J. K. Rowling, Patti Smith, Kurt Vonnegut, and many more.
Sociologist Neil Gong explains why mental health treatment in Los Angeles rarely succeeds, for the rich, the poor, and everyone in between. In 2022, Los Angeles became the US county with the largest population of unhoused people, drawing a stark contrast with the wealth on display in its opulent neighborhoods. In Sons, Daughters, and Sidewalk Psychotics, sociologist Neil Gong traces the divide between the haves and have-nots in the psychiatric treatment systems that shape the life trajectories of people living with serious mental illness. In the decades since the United States closed its mental hospitals in favor of non-institutional treatment, two drastically different forms of community psychiatric services have developed: public safety-net clinics focused on keeping patients housed and out of jail, and elite private care trying to push clients toward respectable futures. In Downtown Los Angeles, many people in psychiatric crisis only receive help after experiencing homelessness or arrests. Public providers engage in guerrilla social work to secure them housing and safety, but these programs are rarely able to deliver true rehabilitation for psychological distress and addiction. Patients are free to refuse treatment or use illegal drugs—so long as they do so away from public view. Across town in West LA or Malibu, wealthy people diagnosed with serious mental illness attend luxurious treatment centers. Programs may offer yoga and organic meals alongside personalized therapeutic treatments, but patients can feel trapped, as their families pay exorbitantly to surveil and “fix” them. Meanwhile, middle-class families—stymied by private insurers, unable to afford elite providers, and yet not poor enough to qualify for social services—struggle to find care at all. Gong’s findings raise uncomfortable questions about urban policy, family dynamics, and what it means to respect individual freedom. His comparative approach reminds us that every “sidewalk psychotic” is also a beloved relative and that the kinds of policies we support likely depend on whether we see those with mental illness as a public social problem or as somebody’s kin. At a time when many voters merely want streets cleared of “problem people,” Gong’s book helps us imagine a fundamentally different psychiatric system—one that will meet the needs of patients, families, and society at large.
The Chicago lakefront is one of America's urban wonders. The ribbon of high rise luxury apartment buildings along the Lake Michigan shore has few, if any, rivals nationwide for sustained architectural significance. This historic confluence of site, money, style, and development lies at the heart of the updated edition of Neil Harris's Chicago Apartments: A Century and Beyond of Lakefront Luxury. The book features more than 100 buildings, stretching from south to north and across more than a century, each with its own special combination of design choice, floor plans, and background story. Harris, with the assistance of Teri J. Edelstein, proves to be an affable and knowledgeable tour guide, guiding us through dozens of buildings, detailing a host of inimitable development histories, design choices, floor plans, and more along the way. Of particular note are recent structures on the Chicago River and south of the Loop that are proposing new definitions of comfort and extravagance. Featuring nearly 350 stunning images and a foreword by renowned Chicago author Sara Paretsky, this new edition of Chicago Apartments offers a wide-ranging look inside some of the Windy City's most magnificent abodes.
During the 1920s and '30s, Franz Taibosh - whose stage name was Clicko - performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. Prior to his fame in the United States, Taibosh toured the world as the 'Wild Dancing Bushman', showing off his frenzied dance moves in freak shows, sideshows, and music halls from Australia to Cuba. When he died in 1940, the "New York Times" called him 'the only African bushman ever exhibited in this country'. In "Clicko", Neil Parsons unearths the untold story of Taibosh's journey from boyhood on a small farm in South Africa to top billing as one of the travelling World's Fair Freaks. Through Taibosh's tale, Parsons brings to life the bizarre golden age of entertainment as well as the role that the dubious new science of race played in it. Beginning with Taibosh's early life, Clicko untangles the real story of his ancestry from the web of myths spun around him on his rise to international stardom. Parsons then chronicles the unhappy middle period of Taibosh's career, when he suffered under the heel of a vicious manager. Left to freeze and nearly starve in an unheated apartment, Taibosh was rescued by Frank Cook, Barnum & Bailey's lawyer. The Cooks adopted Taibosh as a member of their family of circus managers and performers, and his happy - if far from average - years with them make up the final chapter of this remarkable story. Equal parts entertaining and disturbing, "Clicko" vividly evokes a forgotten era when vaudeville drew massive crowds and circus freaks were featured in Billboard and Variety. Parsons introduces us to colorful characters such as George Auger the giant and the original Zip the Pinhead, but above all, he gives us an unforgettable portrait of Franz Taibosh, rescued at last from the racists and the romantics and revealed here as an ordinary man with an extraordinary life.
During the 1920s and '30s, Franz Taibosh - whose stage name was Clicko - performed in front of millions as one of the stars of the Ringling Brothers and Barnum & Bailey Circus. Prior to his fame in the United States, Taibosh toured the world as the 'Wild Dancing Bushman', showing off his frenzied dance moves in freak shows, sideshows, and music halls from Australia to Cuba. When he died in 1940, the "New York Times" called him 'the only African bushman ever exhibited in this country'. In "Clicko", Neil Parsons unearths the untold story of Taibosh's journey from boyhood on a small farm in South Africa to top billing as one of the travelling World's Fair Freaks. Through Taibosh's tale, Parsons brings to life the bizarre golden age of entertainment as well as the role that the dubious new science of race played in it. Beginning with Taibosh's early life, Clicko untangles the real story of his ancestry from the web of myths spun around him on his rise to international stardom. Parsons then chronicles the unhappy middle period of Taibosh's career, when he suffered under the heel of a vicious manager. Left to freeze and nearly starve in an unheated apartment, Taibosh was rescued by Frank Cook, Barnum & Bailey's lawyer. The Cooks adopted Taibosh as a member of their family of circus managers and performers, and his happy - if far from average - years with them make up the final chapter of this remarkable story. Equal parts entertaining and disturbing, "Clicko" vividly evokes a forgotten era when vaudeville drew massive crowds and circus freaks were featured in Billboard and Variety. Parsons introduces us to colorful characters such as George Auger the giant and the original Zip the Pinhead, but above all, he gives us an unforgettable portrait of Franz Taibosh, rescued at last from the racists and the romantics and revealed here as an ordinary man with an extraordinary life.
On his death in 2007, Richard Rorty was heralded by the New York Times as "one of the world's most influential contemporary thinkers." Controversial on the left and the right for his critiques of objectivity and political radicalism, Rorty experienced a renown denied to all but a handful of living philosophers. In this masterly biography, Neil Gross explores the path of Rorty's thought over the decades in order to trace the intellectual and professional journey that led him to that prominence. The child of a pair of leftist writers who worried that their precocious son "wasn't rebellious enough," Rorty enrolled at the University of Chicago at the age of fifteen. There he came under the tutelage of polymath Richard McKeon, whose catholic approach to philosophical systems would profoundly influence Rorty's own thought. Doctoral work at Yale led to Rorty's landing a job at Princeton, where his colleagues were primarily analytic philosophers. With a series of publications in the 1960s, Rorty quickly established himself as a strong thinker in that tradition--but by the late 1970s Rorty had eschewed the idea of objective truth altogether, urging philosophers to take a "relaxed attitude" toward the question of logical rigor. Drawing on the pragmatism of John Dewey, he argued that philosophers should instead open themselves up to multiple methods of thought and sources of knowledge--an approach that would culminate in the publication of Philosophy and the Mirror of Nature, one of the most seminal and controversial philosophical works of our time. In clear and compelling fashion, Gross sets that surprising shift in Rorty's thought in the context of his life and social experiences, revealing the many disparate influences that contribute to the making of knowledge. As much a book about the growth of ideas as it is a biography of a philosopher, Richard Rorty will provide readers with a fresh understanding of both the man and the course of twentieth-century thought.
Prior to 1735, South America was largely terra incognita to many Europeans. But that year, the Paris Academy of Sciences sent a joint French and Spanish mission to the Spanish American province of Quito (in present-day Ecuador) to study the curvature of the Earth at the Equator - an expedition that would put South America on the map and in the minds of Europeans for centuries to come. Equipped with quadrants and telescopes, the mission's participants referred to the transfer of scientific knowledge from Europe to the Andes as a "sacred fire" passing mysteriously through European astronomical instruments to curious observers in South America.By looking at the social and material traces of this expedition, "Measuring the New World" examines the transatlantic flow of knowledge in reverse - from West to East. Through ephemeral monuments and geographical maps, from the Andes to the Amazon River, the book explores how the social and cultural worlds of South America contributed to the production of European scientific knowledge during the Enlightenment. Neil Safier uses the notebooks of traveling philosophers, including Charles-Marie de La Condamine and others, as well as maps and specimens from the expedition, to place this particular scientific endeavor in the larger context of early modern print culture and the emerging intellectual category of scientist as author.
