"In an environment where a public Jewish presence was routinely delegitimized, reading uniquely provided for many Soviet Jews an entry to communal memory and identity. This project decodes the complex reading strategies and the specifically Jewish uses to which the books on the Soviet Jewish bookshelf were put"--

Over fifty years after the Situationist International appeared, its legacy continues to inspire activists, artists and theorists around the world. Such a legend has accrued to this movement that the story of the SI now demands to be told in a contemporary voice capable of putting it into the context of twenty-first-century struggles. McKenzie Wark delves into the Situationists' unacknowledged diversity, revealing a world as rich in practice as it is in theory. Tracing the group's development from the bohemian Paris of the '50s to the explosive days of May '68, Wark's take on the Situationists is biographically and historically rich, presenting the group as an ensemble creation, rather than the brainchild and dominion of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement-including Constant, Asger Jorn, Michle Bernstein, Alex Trocchi and Jacqueline De Jong-Wark uncovers an international movement riven with conflicting passions. Accessible to those who have only just discovered the Situationists and filled with new insights, The Beach Beneath the Street rereads the group's history in the light of our contemporary experience of communications, architecture, and everyday life. The Situationists tried to escape the world of twentieth-century spectacle and failed in the attempt. Wark argues that they may still help us to escape the twenty-first century, while we still can.

A profoundly moving and historical record—letters sent by sixteen fathers imprisoned in the Gulag camps to their children during the 1930s–1950s. “They will live as human beings and die as human beings; and in this alone lies man’s eternal and bitter victory over all the grandiose and inhuman forces that ever have been or will be.” —Vasily Grossman, Life and Fate Between the 1930s and 1950s, millions of people were sent to the Gulag in the Soviet Union. My Father’s Letters tells the stories of sixteen men—mostly members of the intelligentsia, and loyal Soviet subjects—who were imprisoned in the Gulag camps, through the letters they sent back to their wives and children. Here are letters illustrated by fathers keen to educate their children in science and natural history; the tragic missives of a former military man convinced that the terrible mistake of his arrest will be rectified; the “letter” stitched on a bedsheet with a fishbone and smuggled out of a maximum security camp. My Father’s Letters is an immediate source of life in prison during Stalin’s Great Terror. Almost none of the men writing these letters survived. “My Father’s Letters is well presented and deeply moving. The translation is fluent and all the necessary background information is clearly provided. Some passages conjure up the life of an individual family—and of an entire culture—with heart-breaking vividness.” —Robert Chandler “Astoundingly, these stories are not miserable. Yes, the men mention their inadequate shelter, clothing and food, but the overwhelming impact is the expression of their love for their families . . . My Father’s Letters is beautifully produced.” —Vin Arthey, Scotsman

The Situationist International, who came to the fore during the Paris tumults of 1968, were revolutionary thinkers who continue to influence movements and philosophy into the twenty-first century. Mostly know for Guy Debord's The Society of the Spectacle as well as other key texts, the group was in fact hugely diverse and radical. In XXX McKenzie Wark explores the full range of the movement. At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets Wark traces the group's development from the bohemian Paris of the '50s to the explosive days of May '68, Wark's take on the Situationists is biographically and historically rich, presenting the group as an ensemble creation, rather than the brainchild and dominion of its most famous member, Guy Debord. Roaming through Europe and the lives of those who made up the movement-including Constant, Asger Jorn, Michle Bernstein, Alex Trocchi and Jacqueline De Jong-Wark uncovers an international movement riven with conflicting passions. She also follows the narrative beyond 1968 to show what happened after the movement disintegration exploring the lives and ideas of T.J. Clark, the Fourierist utopia of Raoul Vaneigem, Ren Vienet's earthy situationist cinema, Gianfranco Sangunetti's pranking of the Italian ruling class, Alice-Becker Ho's account of the anonymous language of the Romany, Guy Debord's late films and his surprising work as a game designer.

Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.

The powerful voice of David Shrayer-Petrov’s immigrant fiction blends Russian, Jewish, and American traditions. Collecting an autobiographical novel and three short stories, Autumn in Yalta brings together the achievements of the great Russian masters Chekhov and Nabokov and the magisterial Jewish and American storytellers Bashevis Singer and Malamud. Shrayer-Petrov’s fiction examines the forces and contradictions of love through different ethnic, religious, and social lenses. Set in Stalinist Russia, the novel Strange Danya Rayev revolves around the wartime experiences of a Jewish Russian boy evacuated from his besieged native Leningrad to a remote village in the Ural Mountains. In the title story Autumn in Yalta, the idealistic protagonist, Dr. Samoylovich, is sent to a Siberian prison camp because of his ill-fated love for Polechka, a tuberculosis patient. In The Love of Akira Watanabe once again unrequited love is the focus of the central character, a displaced Japanese professor at a New England university. A fishing expedition and an old Jewish recipe make for a surprise ending in Carp for the Gefilte Fish, a tale of a childless couple from Belarus and their American employers. In the tradition of other physician-writers, such as Anton Chekhov and William Carlos Williams, Shrayer-Petrov’s prose is marked by analytical exactitude and passionate humanism. Love and memory, dual identity, and the experience of exile are the chief components.