The Final Chapter of Knickerbocker's New York

1969 ◽  
Vol 66 (3) ◽  
pp. 248-255
Author(s):  
Martin Roth
Keyword(s):  
2019 ◽  
pp. 170-188
Author(s):  
Robert Markley

The final chapter considers Robinson’s two most recent novels, Aurora (2015) and New York 2140 (2017), that offer different visions of the future. Aurora drives a stake through the heart of interstellar romance by depicting the failed mission of a multigenerational starship to colonize another solar system. Narrated in large measure by the spaceship’s artificial intelligence, Aurora brilliantly experiments with the narrative structures of sf even as it explores the ecological and biogeographical limits of terrestrial life. New York 2140, in contrast, depicts the struggle for the city’s political and environmental future in a future where a sea-level rise of forty feet above today’s level has occurred and rampant financial speculation still drives a capitalist worldview. Rather than a dystopian struggle for survival, however, the novel offers a utopian comedy of political and ecological regeneration.


2021 ◽  
pp. 148-173
Author(s):  
Jason Lustig

This final chapter argues that struggles over archival ownership and the possibility of archival totality continue far beyond the years immediately following World War II. It considers three case studies to consider new forms of total archives being created through virtual collections and digitization: The Center for Jewish History in New York City (formed in 1994/1995 and opened in 2000), the efforts by the YIVO Institute for Jewish Research to digitize materials found in Lithuania and reunite them with their own files, and the Friedberg Genizah Project’s initiative to digitize and join together fragments of the Cairo Genizah found in repositories around the world. These case studies showcase enduring visions of monumentality and indicate how archival construction is not merely the province of the past. Instead, the process of gathering historical materials is a continual process of making and remaking history.


Author(s):  
Joseph R. Fitzgerald

The final chapter briefly touches on Richardson’s second divorce but focuses on her difficulties finding and keeping employment. After holding a series of jobs in various corporate and not-for-profit agencies, Richardson eventually earned a permanent civil service position with the City of New York, where she worked until the twenty-first century. In one way or another, all her jobs involved some kind of social justice. Over the last five decades, Richardson has paid close attention to social change movements, including Occupy Wall Street and Black Lives Matter, and this chapter discusses her thoughts about them, particularly her view that young people have the capability and vision to lead the nation to greater freedom, just as young people did in the 1960s. She advises them to replicate the group-centered and member-driven model student activists employed in the early 1960s and to avoid becoming ideological.


Author(s):  
Suzanne Rintoul

Han Yu’s "The Other Kind of Funnies: Comics in Technical Communication" challenges the notion that technical writing is too “rational” or “serious” to accommodate the conventions of comics-style communication. She does this by illustrating comics’ unique ability to distill and reinforce information in ways entirely appropriate not just for complementing the purposes of many technical writers, but also for fulfilling the needs of their diverse audiences. The book’s major strength lies in Yu’s capacity to locate the productive nexus between two ostensibly dissimilar modes so that by the final chapter those connections seem not only probable, but natural. This text will be especially useful to scholars of rhetoric (particularly those invested in visual culture and/or technical writing) and practitioners of technical writing eager to embrace new (or in some cases re-embrace older) ways of seeing the relationship between textual and visual elements. The clarity with which Yu distils complex theoretical concepts makes this book appropriate reading for undergraduate or graduate courses as well as for non-scholarly audiences.


2017 ◽  
Vol 64 (2) ◽  
pp. 217-220
Author(s):  
Joanna Paul

In American Arcadia, Peter Holliday offers readers a sumptuous and fascinating account of ‘California and the Classical Tradition’. Beautifully presented and illustrated, this book is not only a thought-provoking and pleasurable read but also a valuable addition to the body of scholarship that has explored classical receptions in the United States at some length in recent years. Much of that scholarship has focused on now familiar terrain, from the fixation on antiquity in Hollywood and popular culture more broadly, to the grandiose evocations of classical architecture in eastern cities such as Washington, DC, and New York. California, by contrast, for all its prominence on the world stage and in the cultural imagination, might not spring so readily to mind as a rich locus of classical receptions, but Holliday convincingly demonstrates ‘how Californians used classical antiquity as a metaphor for fashioning the Golden State and their own lives in it’ (355). Although well-known buildings such as the Getty Villa, Hearst Castle, and Caesar's Palace rightly receive lengthy discussion, there are a wealth of examples which are likely to be new to many readers, from the nineteenth-century Hungarian refugee building a Pompeian villa in a self-consciously Arcadian landscape, to the 1960s development of the CalArts campus, whose Modernist architects yet proclaimed their debt to Athens and Rome. Nor is the book solely concerned with architecture. Although the built environment is at its core, the full range of Californian identification with, and appropriation of, classical imagery and ideology is explored. The final chapter, for example, shows how pursuers of the quintessentially Californian healthy lifestyle and body beautiful knowingly looked to classical paradigms on multiple occasions. Resisting the temptation to frame all of this in a conventional ‘classical tradition’ approach, Holliday takes pains to show the full extent of the interaction and innovation that characterizes Californian classicism, and the resulting study is highly recommended.


Author(s):  
Kate Dossett

The final chapter examines the Harlem Negro Unit’s immensely popular production of Haiti. Authored by white New York journalist William Dubois, white theatre critics attempted to place Haiti within a white dramatic tradition of Black primitivism which included Emperor Jones and Orson Welles’ recent Voodoo version of Macbeth. By contrast, the Black performance community worked to transform Dubois’s racist play into a celebration of the Haitian Republic’s Black heroes. The success of Haiti helped the Black performance community push the Federal Theatre to invest in Black dramatists. On the eve of the FTP’s closure two new Black dramas were being prepared for production: Panyared, (1939) explores the origins of African slavery and was the first instalment of a historical trilogy by Hughes Allison; Theodore Browne’s Go Down Moses (1938), is a dramatization of Harriet Tubman’s life which examines Black agency in ending slavery. While neither drama made it to the stage, centering Black theatre manuscripts, and the performance communities who developed them, allows us to see how African Americans imagined radical paths to the future.


2021 ◽  
pp. 221-232
Author(s):  
Sue Miller

In this final chapter research findings are summarized, defining a variety of distinctive New York performance aesthetics and sounds that go beyond the usual description of New York-based Latin music as being simply loud, gritty, and aggressive. Conclusions are drawn here which have implications for future studies on the history of clave-based Latin dance music, performance aesthetics, and improvisational creativity.


Author(s):  
Simon Willmetts

This final chapter examines the figuration of the CIA in the wave of paranoid conspiracy films that were made in the 1970s. Still suffering from the reverberations of Watergate and the Vietnam War, in 1975 America faced another season of scandal after the investigative journalist Seymour Hersh published a series of damning revelations of nefarious CIA and FBI activities in the New York Times. This compounded a culture of suspicion that had already set in, especially in Hollywood, by the beginning of the 1970s. The conspiracy thrillers of the 1970s, films like Three Days of the Condor and The Parallax View, were the polar opposite of the semi-documentary films that represented American espionage in the aftermath of the Second World War. Whilst the latter lauded the United States government as the arbiter of historical authenticity, the former perceived state secrecy and deception as nefarious obstacles that prevented citizens from knowing the truth of their history. Secrecy figures as history’s aporia, and few types of film express this better than the paranoid conspiracy thriller.


Author(s):  
Mario Polèse

Much has been written about cities as engines of growth and prosperity. Cities have been centers of civilization since the beginning of history. A rich nation without cities is an impossibility. Yet, as this book explains, the central foundations of wealth and economic well-being are rooted in the attributes of nations and actions of national governments. If the nation does not work, nor will its cities. This book looks at the economy of cities through the lens of “The Ten Pillars of Urban Success,” covering a full range of policy concerns from top (i.e., sound macroeconomic management) to bottom (i.e., safe neighborhoods). Cities rich and poor around the world that are as different as New York, Vienna, Buenos Aires, and Port au Prince are examined. Urban success or failure almost always takes us back to the wise or unwise decisions of national and/or state governments. Urban success is about more than economics. Cities that have managed to produce livable urban environments for the majority of their citizens mirror the societies that spawned them. Similarly, cities that have failed are almost always signs of more deep-rooted failures. A socially cohesive city in a divided nation is an oxymoron. In the final chapter, the book proposes a critical look at America’s urban failures, its declining Rustbelt cities, and inner-city ghettos. Such failures should not have happened in the world’s richest nation. That they did is not only the sign of a deeper malaise, but also a warning to the wealthy urbanizing societies of tomorrow.


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