Fall BOOKS 2011

CHICAGO F ChiCago FA l l BOOKS 2011 A ll 2011 INTERNATIONA l EDITION IntErnatIonaL EdItIon University of Chicago Press Chicago of University Street 60th East 1427 60637 IL Chicago, Fall 2011 Guide to Subjects Contents African American Studies 24 Jewish Studies 104 African Studies 72 Law 33, 91, 101 General Interest 1 Special Interest 31 American History 7, 22, 25, 40–43, Linguistics 131–133 45, 64, 81–82, 88, 93, 98–99, 136 Paperbacks 77 Literary Criticism 16, 51–55, 57, 79, Distributed Books 105 Anthropology 37, 66, 72–73, 127, 130, 103–104, 137, 142 137, 142 Ordering Information 143 Literature 2, 14, 23, 99, 108–109, 126 Author Index 144 Archaeology 97 Mathematics 75 Title Index 145 Architecture 50, 80, 89, 120, 142 Media 56 Art 1, 15–16, 38, 51–52, 68, 74, 110, 115–116, 122–126, 139–140, 142 Media Studies 142 Asian Studies 60, 65–66, 89, 116 Medicine 41 Biography 1, 39 Memoir 106 Business 17 Music 3, 60, 82 Children’s 130 Mystery 87 Classics 14, 44, 49, 57 Nature 4–5, 8–9, 13, 88, 93, 118, 141 Criminology 75–76 Philosophy 18, 46–48, 51, 57, 71, 74, 92, 95, 98, 100, 113, 115, 123, 132–133, Current Events 56, 60, 91, 95 142 Drama 117, 142 Photography 4, 5, 8, 9, 56, 111, 118, 119, 121, 128, 142 Economics 20, 36, 66, 75–76, 86, 95, 101–102, 113, 138 Poetry 29, 30, 96, 110, 128, 141 Education 58, 59, 91, 131, 142 Political Science 21, 24, 28, 32, 34–36, 46, 71, 73, 137–138 European History 20, 44, 73–74, 78, 106–107 Psychology 36, 47, 58, 125 Fiction 90, 112, 114–115, 117, 124 Reference 19, 21, 94, 97, 129, 134–135 Film Studies 60, 83, 142 Religion 50, 57, 64–68, 78, 85, 89, 103–104, 123, 134, 137 Gardening 84 Science 6, 10–12, 17, 36, 38, 47–49, Gay and Lesbian Studies 54, 64, 67 61–63, 84, 92–93, 100–101, 127, 129, 133 Gender Studies 137 Sociology 32, 34, 45, 68–71, 94, 98 Geography 129 Travel 2, 11, 112, 120, 129 Graphic Novels 7 Urban Studies 119, 126, 138 History 12–13, 26–27, 32, 38–40, 44, 46–47, 55, 58, 61–63, 65, 70, 85–86, 93, 97, 102, 135 Cover design by Mary Shanahan Catalog design by Alice Reimann and Mary Shanahan FRanco Mormando Bernini His Life and His Rome culptor, architect, painter, playwright, and scenographer, Gian Lorenzo Bernini (1598–1680) was the last of the universal Sartistic geniuses of early modern Italy, placed by both contem- poraries and posterity in the same exalted company as Leonardo, Raphael, and Michelangelo. And his artistic vision remains palpably present today, through the countless statues, fountains, and buildings that transformed Rome into the Baroque theater that continues to enthrall tourists. It is perhaps not surprising that this artist who defined the Ba- roque should have a personal life that itself was, well, baroque. As “Franco Mormando’s fascinating book is a Franco Mormando’s dazzling biography reveals, Bernini was a man welcome addition to the Bernini litera- driven by many passions, possessed of an explosive temper and a ture. It is both a biography of the artist hearty sex drive, and he lived a life as dramatic as any of his creations. and a portrait of Roman Baroque culture. Drawing on archival sources, letters, diaries, and—with a suitable Though written for a general audience, skepticism—a hagiographic account written by Bernini’s son (who it reveals an impressive command of the portrays his father as a paragon of virtue and piety), Mormando leads specialist scholarship—in art history, us through Bernini’s feuds and love affairs, scandals and sins. He sets literature, and history. Mormando wears Bernini’s raucous life against a vivid backdrop of Baroque Rome, bus- his learning lightly, writing with anima- tling and wealthy, and peopled by churchmen and bureaucrats, popes tion, carefully pacing his anecdotes, and and politicians, schemes and secrets. making the whole as entertaining as it is The result is a seductively readable biography, stuffed with stories informative.” and teeming with life—as wild and unforgettable as Bernini’s art. No —Pamela Jones, one who has been bewitched by the Baroque should miss it. University of Massachusetts, Boston Franco Mormando is associate professor of Italian at Boston College and the NOvemBeR 416 p., 43 halftones 6 x 9 author of several books. ISBN-13: 978-0-226-53852-5 Cloth $35.00/£22.50 BIOGRAPHY ART general interest 1 Simon GoldhIll Freud’s Couch, Scott’s Buttocks, Brontë’s Grave he Victorian era was the high point of literary tourism. Writers such as Charles Dickens, George Eliot, and Sir Walter Scott Tbecame celebrities, and readers trekked far and wide for a glimpse of the places where their heroes wrote and thought, walked and talked. Even Shakespeare was roped in, as Victorian entrepreneurs transformed quiet Stratford-upon-Avon into a combination shrine and tourist trap. Praise for Love, Sex & Tragedy Stratford continues to lure tourists today, as do many other sites “Love, Sex & Tragedy is great, and great of literary pilgrimage throughout Britain. And our modern age could fun, the kind of book you find yourself have no better guide to such places than Simon Goldhill. In Freud’s reading out to your other half as you go Couch, Scott’s Buttocks, Brontë’s Grave, Goldhill makes a pilgrimage to along—a sparkling, erudite, and amusing Sir Walter Scott’s baronial mansion, Wordsworth’s cottage in the Lake remedy for our collective historical amne- District, the Brontë parsonage, Shakespeare’s birthplace, and Freud’s sia, a book that persuasively argues that office in Hampstead. Traveling, as much as possible, by methods avail- without an understanding of our classical able to Victorians—and gamely negotiating distractions ranging from roots we are stumbling in the dark, miss- broken bicycles to a flock of giggling Japanese schoolgirls—he tries ing vital information about who we really to discern what our forebears were looking for at these sites, as well as are and why we do the things we do.” what they have to say to the modern mind. What does it matter that —Zadie Smith Emily Brontë’s hidden passions burned in this specific room? What does it mean that Scott self-consciously built an extravagant castle suitable for Culture Trails: Adventures in Travel Ivanhoe—and star-struck tourists visited it while he was still living there? SeptemBeR 160 p., 12 halftones, 1 map Or that Freud’s meticulous recreation of his Vienna office is now a me- 1 1 5 /2 x 8 /2 ticulously preserved museum of itself? Or that Shakespeare’s birthplace ISBN-13: 978-0-226-30131-0 Cloth $22.50/£14.50 features student actors declaiming snippets of his plays . in the garden travel literatuRe of a house where he almost certainly never wrote a single line? Goldhill brings to these inquiries his trademark wry humor and a lifetime’s engagement with literature. The result is a travel book like no other, a reminder that even today, the writing life still has the power to inspire. Simon Goldhill is professor of Greek literature and culture and fellow and director of studies in classics at King’s College, Cambridge, as well as director of the Cambridge Victorian Studies Group. He is the author of Love, Sex, & Tragedy: How the Ancient World Shapes Our Lives. 2 general interest BEnJamin cawThRa Blue Notes in Black and White Photography and Jazz iles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, Mone hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African Ameri- can culture in a time of immense upheaval, conflict, and celebration. “Benjamin cawthra, writing with grace Charting the development of jazz photography from the swing era of and a formidable command of jazz his- the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black tory and american culture, makes us and White is the first of its kind: a fascinating account of the partner- see the sounds, the social relations, and ship between two of the twentieth century’s most innovative art forms. the myths of jazz as he ably uncovers Benjamin Cawthra introduces us to the great jazz photogra- the personal and institutional networks phers—including Gjon Mili, William Gottlieb, Herman Leonard, of musicians, writers, magazines, and Francis Wolff, Roy DeCarava, and William Claxton—and their strug- record companies in which jazz photog- gles, hustles, styles, and creative visions. We also meet their legendary raphy developed. Even as Blue Notes in subjects, such as Duke Ellington, sweating through a late-night jam Black and White casts a sharp eye on pho- session for the troops during World War II, and Dizzy Gillespie, stylish tographic aesthetics, it also works as a in beret, glasses, and goatee. Cawthra shows us the connections among groundbreaking history of jazz criticism. the photographers, art directors, editors, and record producers who at its best, this excellent book serves as a crafted a look for jazz that would sell magazines and albums. And on model for a multisensory music criticism: the other side of the lens, he explores how the musicians shaped their while reading it, I often felt I was hearing public images to further their own financial and political goals.

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