Curtice Mang lambasts the political left with the publication of his tremendously funny second book, The Smell of Politics: The Good, the Bad, and the Odorous. The book examines what the author considers good, bad and downright stinky political systems. He also analyzes how even good political systems can get smelly if the execution is poor - all done with a heavy dose of satire.

This book claims a political value for olfactory artworks by situating them squarely in the contemporary moment of various forms of political resistance. Each chapter presents the current research and art practices of an international group of artists and writers from the United States, Canada, France, Germany, Switzerland, Thailand, Sweden, and the Netherlands. The book brings together new thinking on the potential for olfactory art to critique and produce modes of engagement that challenge the still-powerful hegemonic realities of the twenty-first century, particularly the dominance of vision as opposed to other sensory modalities. The book will be of interest to scholars working in contemporary art, art history, visual culture, olfactory studies, performance studies, and politics of activism.

Can a drop of perfume tell the story of the twentieth century? Can a smell bear the traces of history? What can we learn about the history of the twentieth century by examining the fate of perfumes? In this remarkable book, Karl Schlögel unravels the interconnected histories of two of the world’s most celebrated perfumes. In tsarist Russia, two French perfumers – Ernest Beaux and Auguste Michel – developed related fragrances honouring Catherine the Great for the 300th anniversary of the Romanov dynasty. During the Russian Revolution and Civil War, Beaux fled Russia and took the formula for his perfume with him to France, where he sought to adapt it to his new French circumstances. He presented Coco Chanel with a series of ten fragrance samples in his laboratory and, after smelling each, she chose number five – the scent that would later go by the name Chanel No. 5. Meanwhile, as the perfume industry was being revived in Soviet Russia, Auguste Michel used his original fragrance to create Red Moscow for the tenth anniversary of the Revolution. Piecing together the intertwined histories of these two famous perfumes, which shared a common origin, Schlögel tells a surprising story of power, intrigue and betrayal that offers an altogether unique perspective on the turbulent events and high politics of the twentieth century. This brilliant account of perfume and politics in twentieth-century Europe will be of interest to a wide general readership.

Cause for jubilation: One of America’s wisest and most necessary voices has distilled what he knows about politics, broadly speaking, into one magnificent volume. Here at last are Henrik Hertzberg’s most significant, hilarious, and devastating dispatches from the American scene he has chronicled for four decades with an uncanny blend of moral seriousness, high spirits, and perfect rhetorical pitch. Politics is at once the story of American life from LBJ to GWB and a testament to the power of the written word in the right hands. In those hands, politics encompasses everyone from Jerry Garcia to Rush Limbaugh, every place from New Hampshire to Nicaragua, and everything from Playboy vs. Penthouse to Bush vs. Gore. Hendrik Hertzberg breaks down American politics into its component parts—campaigns, debates, rhetoric, the media, wars (cultural, countercultural, and real), high crimes and misdemeanors, the right, and more. Each section begins with a new piece of writing framing the subject at hand and contains the choicest, most illuminating pieces from his body of work. Politics is a tour of the defining moments of American life from the mid-’60s till the mid-’00s, a ride though recent American history with one of the most insightful and engaging guides imaginable, a writer who consistently makes us see more clearly and feel more deeply. “Politics is invaluable for all sorts of reasons—chief among them being decades of elegant writing in the service of surgical intelligence.”—Toni Morrison

In England from the 1670s to the 1820s a transformation took place in how smell and the senses were viewed. The role of smell in developing medical and scientific knowledge came under intense scrutiny, and the equation of smell with disease was actively questioned. Yet a new interest in smell's emotive and idiosyncratic dimensions offered odour a new power in the sociable spaces of eighteenth-century England. Using a wide range of sources from diaries, letters, and sanitary records to satirical prints, consumer objects, and magazines, William Tullett traces how individuals and communities perceived the smells around them, from paint and perfume to onions and farts. In doing so, the study challenges a popular, influential, and often cited narrative. Smell in Eighteenth-Century England is not a tale of the medicalization and deodorization of English olfactory culture. Instead, Tullett demonstrates that it was a new recognition of smell's asocial-sociability, and its capacity to create atmospheres of uncomfortable intimacy, that transformed the relationship between the senses and society.

The Smell of Wet Bricks is a pioneering short novel in English by a Kurdish author. ”The smell of wet bricks” is a fresh voice from a region marked by violence and wars over a century. An author from Kurdistan in Iran, Parvizpur “craves to become the voice of a rich repository of powerful stories.” Excerpt: “His life was not empty of excitement; never did he have a monotonous life, and, even now that his body is lying in a corner thereunder a tree, never will he be immune from menace. Wanderer, nomad, homeless, or whatever you may call him will not make a change in his path, since he is an emperor. Nothing else matters to him except for his mission. He is in thorough possession of freedom and, equally, emancipated from any kind of blameworthiness.” … “The girl closes the notebook. She thinks about the day that she can go to Resho’s room to be exposed to his inspirations. She would smell the bricks of his room’s wall from which Resho detached its plasters to pour water on them. He loved the smell of wet bricks.”

Publisher Description