The twentieth-century American experience with the automobile has much to tell us about the relationship between consumer capitalism and the environment, Tom McCarthy contends. In Auto Mania he presents the first environmental history of the automobile that shows how consumer desire (and manufacturer decisions) created impacts across the product lifecycle--from raw material extraction to manufacturing to consumer use to disposal. From the provocative public antics of young millionaires who owned the first cars early in the twentieth century to the SUV craze of the 1990s, Auto Mania explores developments that touched the environment. Along the way McCarthy examines how Henry Ford’s fetish for waste reduction tempered the environmental impacts of Model T mass production; how Elvis Presley’s widely shared postwar desire for Cadillacs made matters worse; how the 1970s energy crisis hurt small cars; and why baby boomers ignored worries about global warming. McCarthy shows that problems were recognized early. The difficulty was addressing them, a matter less of doing scientific research and educating the public than implementing solutions through America’s market economy and democratic government. Consumer and producer interests have rarely aligned in helpful ways, and automakers and consumers have made powerful opponents of regulation. The result has been a mixed record of environmental reform with troubling prospects for the future.

Automaniaexplores the ways in which motor vehicles reshaped how people lived, worked, and enjoyed themselves over the course of the 20th century, and the continuing positive and negative imprint on the design and organization of today's built environment. Published to accompany an exhibition at The Museum of Modern Art, the catalogue showcases ten cars in MoMA's collection: a Jeep (designed 1952), a Citroën DS23 (1973), a Volkswagen Beetle (designed 1938), a Fiat Cinquecento City Car (launched 1957), a Pininfarina Cisitalia 202 GT Car (designed 1946), a Formula 1 Racing Car, (1990), a Porsche 911 coupé (1965), an Airstream Bambi Traveler (1960), E-type Roadster (1966), and a Smart Car (1998). Presented alongside the vehicles are car parts, architectural models, films, photographs, posters, paintings, and sculptures, including Henri de Toulouse-Lautrec's 1898 print L'Automobiliste, Lily Reich's 1930s designs for a tubular-steel car seat, photographs of American car factories (c. 1930-32) by Margaret Bourke-White, Orange Car Crash Fourteen Times (1963) by Andy Warhol, and Jorge Rigamonti's 1966-70 photocollage illustrating a dystopic view of environmental destruction in Venezuela.Organized into six thematic chapters, Automania includes an introductory essay by curator Juliet Kinchin and examines the car as a modern industrial product, transportation innovator, and style icon, as well as the generator of fatalities, traffic-choked environments, and ecological disaster in the oil age. "Cars have reimagined mobility, connecting us across great distances at ever greater speed, but this increased freedom and economic empowerment have come at the expense of tremendous human suffering and environmental damage," says Kinchin.

A look at the world of muscle cars.

Introduces earlier built automobiles, who built them, and how we view them today.

Hit the road with some of the world's fastest cars in Auto-Mania. Learn about the incredible McLaren F[subscript 1] and the superfast Porsche 911 GT[subscript 2]. Find out the best way to back up a Lamborghini Murcielago and how the Pagani Zonda got its name. Featuring thirteen of the world's hottest automobiles, this book is a must for all young car lovers! Book jacket.

Bobbing alongside Margery Kempe—an illiterate medieval mystic who dictated the first autobiography in English—the ragged voice of Cry Baby Mystic finds itself drawn into strange predicaments that are not its own and ferried into abandoned spaces by the gearing of stardom and shame. The revolving sentences overheard by the reader--a muffled chorus of Brechtian aftershocks--survive only as traces of sorrow now craved by all who have known it: sound gossiping the unsound, the excess of the pilgrim. A person climbs out and never comes home.