Unreal City contains five highly charged stories about relationships: “Echoes into Eternity,” “Evelyn Dalton-Hoyt,” “Emordana,” “The Yellowknife Retrospective,” and “Objet d’Art.” The stories address gender, narcissism, marriage, subjectivity, objectification, and the thin line that divides love from hate. Bryant’s characters sometimes feel like they are navigating their way through the darkness in an attempt to make sense of love, sex, art, and life. Existential and elliptical, the stories play beautifully against Bryant’s precise and fully-realized artwork, which echoes such masters as Jaime Hernandez and Daniel Clowes. In Unreal City, characters cannot walk into a room without their world turning inside out. Readers will be similarly upended by the discovery of this major new talent.
Strolling through this wide sweep, gazing across the fleet of trains bound for Paris or Brussels, the powder blue steel vaulting soaring above them, the inside of a giant whale's ribcage, a hymn to the infrastructure of our hyper-connected age; like Jonah swallowed up by it all, by the hum of the giant extractor fans, the deep hum at the heart of it all - back here, home again, lost in London... With a property portfolio consisting of a beach hut in Essex, and a career as evanescent as it is unprofitable, the narrator of Lost in London is a flaneur fallen on hard times, a creative bewildered by the slick speed of the digital age, watching as the sculptors and painters and bon viveurs begin to slip away and the advertising hipsters take over old stomping grounds. From the nights in old Soho, where an anonymous green door was the gateway to a decadently dingy paradise, to the days amid the shabby post-industrial elegance of Hackney's canalside warehouses, this is a nostalgic love song to the drifters, the artists, the glamorous misfits, the degenerate waifs and the barmaid-enchantresses of the capital's backstreets and shadowy corners. 'A masterpiece of gutter romanticism.' Tatler on The Giro Playboy
An epic struggle over land, water, and power is erupting in the American West and the halls of Washington, DC. It began when a 4,000-square-mile area of Arizona desert called Black Mesa was divided between the Hopi and Navajo tribes. To the outside world, it was a land struggle between two fractious Indian tribes; to political insiders and energy corporations, it was a divide-and-conquer play for the 21 billion tons of coal beneath Black Mesa. Today, that coal powers cheap electricity for Los Angeles, a new water aqueduct into Phoenix, and the neon dazzle of Las Vegas. Journalist and historian Judith Nies has been tracking this story for nearly four decades. She follows the money and tells us the true story of wealth and water, mendacity, and corruption at the highest levels of business and government. Amid the backdrop of the breathtaking desert landscape, Unreal City shows five cultures colliding—Hopi, Navajo, global energy corporations, Mormons, and US government agencies—resulting in a battle over resources and the future of the West. Las Vegas may attract 39 million visitors a year, but the tourists mesmerized by the dancing water fountains at the Bellagio don't ask where the water comes from. They don't see a city with the nation's highest rates of foreclosure, unemployment, and suicide. They don't see the astonishing drop in the water level of Lake Mead—where Sin City gets 90 percent of its water supply. Nies shows how the struggle over Black Mesa lands is an example of a global phenomenon in which giant transnational corporations have the power to separate indigenous people from their energy-rich lands with the help of host governments. Unreal City explores how and why resources have been taken from native lands, what it means in an era of climate change, and why, in this city divorced from nature, the only thing more powerful than money is water.
Searching for Spiritual Significance in Nineteenth-Century London
Author: K. Smith
Dickens's London often acts as a complex symbol, composed of numerous sub-symbols, such as crowd, river, railway networks and police systems. This book is particularly interested in how Dickens's treatment of the city allows him to re-examine traditional Christian discourses on the issues of revelation, renunciation and regeneration.
The essays and poetry of renowned Chinese poet Yang Lian are published in English for the first time in this scholarly collection. A selection of Lian's poems, written during his first four years in New Zealand, are offered, as are essays which provide a startlingly fresh perspective on the experience of living in Auckland. These fascinating and moving texts are accompanied by comments that further elucidate the context of Lian's works in New Zealand, Chinese, and world literature.
Robert Liddell produced during his lifetime a distinguished list of novels and critical works. With the recent reissue of his Oxford novel, The Last Enchantments, and the autobiographical Stepsons and The Aunts, Liddell's reputation has risen to place him in the front rank of twentieth-century English writers. Unreal City sits easily amongst Liddell's best novels. It describes the Alexandrian poet Cavafy at the end of his life. The story is told through the eyes of Charles, a timid and withdrawn Englishman who finds himself in Caesarea (Alexandria) during the last year of the Second World War, and whose friendships with two remarkable people open his eyes to the mysteries of the Unreal City.
Modernism as a global phenomenon is the focus of the essays gathered in this book. The term "geomodernisms" indicates their subjects' continuity with and divergence from commonly understood notions of modernism. The contributors consider modernism as it was expressed in the non-Western world; the contradictions at the heart of modernization (in revolutionary and nationalist settings, and with respect to race and nativism); and modernism's imagined geographies, "pyschogeographies" of distance and desire as viewed by the subaltern, the caste-bound, the racially mixed, the gender-determined.