Fiction. "The facts are simple enough: In September, 1909, a relatively unknown Freud spent a week in New York City, en route to a lecture series upstate at Clark University. The air ranged from muggy to stifling. The museum exhibition on antiquities, the one he had high hopes for, proved substandard. The crowds on the street smelled of industrial fluids and sweat. Even friendly faces made him squirm. The conductor on a tram tried to be empathetic: he ordered the crowd to make room for 'the old man.' But Freud did not see himself as old, not yet." Thus begins this off-the-wall collection from the author of The History of Forgetting. Pitched somewhere between fiction and essay, between short story and novella, FREUD IN CONEY ISLAND AND OTHER TALES uses what are possibly actual facts from the eminent psychoanalyst's life to produce beautifully meandering engagements with topics ranging from the work of Lissitzky to laserographic confocal search methods to the ideas of Freud himself.

This literary anthology celebrates the history and romance of Coney Island with works by some of the 19th and 20th centuries’ greatest authors and poets. Featuring a stunning gallery of portraits by the world's finest poets, essayists, and fiction writers--including Walt Whitman, Stephen Crane, José Martí, Maxim Gorky, Federico García Lorca, Isaac Bashevis Singer, E. E. Cummings, Djuna Barnes, Colson Whitehead, Robert Olen Butler, and Katie Roiphe—this anthology illuminates the unique history and transporting experience of New York City’s quintessential beach destination. Moody, mystical, and enchanting, Coney Island has thrilled newcomers and soothed native New Yorkers for decades. Its fantasy entertainments, renowned beach foods, world-class boardwalk, and expansive beach offer a kaleidoscopic panorama of people, places, and events that have inspired writers of all types and nationalities. It becomes, as Lawrence Ferlinghetti once wrote, "a Coney Island of the mind."

In this, his second published book set in Coney Island through the latter half of the 20th century, the author focuses primarily on an aging professor who has found sympathetic conditions of environment in which to ruminate on his experiences and destiny. He lives in a rundown hotel located in the heart of the amusement area, with ready access to secret places and intermittent encounters. A variety of Island transients and dreamers also appear in these dark tales.

Through six meditations on the ideology of architecture, Grant Vetter is able to give us an entirely new set of coordinates for understanding social control in the twenty-first century. Moving between historical precedents in the east and the west, Vetter's work reveals a hybrid order of architectural power that acts on subjectivity from within rather than without. Whether characterized as a process of indo-colonization, social ionization or a sub-atomizing social physics, Vetter's account of architectural subjectivation requires a complete rethinking of power/knowledge as invested in producing perfected subjects rather than normative ones. This new paradigm can be described as a sovereign power in as much as it acts directly on the body through enterrogatory discipline, inferrogatory infomatics, modulated (in)dividualism, auto-affective attunement and incentivizing injunctions. As a critical rejoinder to the discourse of Panopticism, The Architecture of Control is essential reading for everyone who is interested in new modes of resistance to the designs of biopower and imperial democracy. ,

Cudahy begins with a history of the Circle Line and its forerunners and erstwhile competitors in the around-Manhattan sightseeing business. Next, he gives us the fascinating story of the fastest ocean linear of all time: the S.S. United States. The noble history of the New York Fire Department's fire boats is next, followed by the story of the Iron Steamboat Company's sidewheelers, which ferried passengers to the magical Coney Island from 1881 to 1932. Then there is the tragic 1932 explosion of the steamboat Observation, with its parallels to an earlier and even more devastating tragedy at nearly the same spot. Finally, Cudahy tells, in fascinating detail, of the New York-to-Bermuda cruises - as they were in yesteryear, and as they are today.

In 2003, Norman M. Klein's docufable »Bleeding Through« raised questions of urban aesthetics and memory as part of the multimedia documentary »Bleeding Through: Layers of Los Angeles, 1920-1986.« Now, 20 years later, this important text is reissued along with several essays addressing its central themes, such as the aesthetics and politics of urban memory, the development of Los Angeles since the 20th century, the role of urban imaginaries in US politics, or media evolution in the 21st century. The volume also features a long interview with Klein and two docufables from Klein's celebrated study »The History of Forgetting: Los Angeles and the Erasure of Memory«, one being the kernel of the novella, the other imagining Walter Benjamin in L.A. Finally, the book contains links to two films featuring much of the multimedia material contained in the first edition.

andererseits provides a forum for research, commentary, and creative work on topics related to the German-speaking world and the field of German Studies. Works presented in the publication come from a wide variety of genres including book reviews, poetry, essays, editorials, forum discussions, academic notes, lectures, and traditional peer-reviewed academic articles. In addition, we welcome contributions by journalists, librarians, archivists, and other commentators interested in German Studies broadly conceived. By publishing such a diverse array of material, we hope to demonstrate the extraordinary value of the humanities in general, and German Studies in particular, on a variety of intellectual and cultural levels. This issue features contributions by Leo A. Lensing, Norman M. Klein, Jens M. Gurr, and Julia Faisst.