Luc Sante Reihenfolge der Bücher (Chronologisch)

The narrative offers a personal exploration of the author's life through the lens of her recent transition, blending autobiographical elements with a critical analysis of the trans experience within Western culture. It delves into the complexities and challenges faced, while also addressing broader societal themes related to identity and transformation. This unique perspective provides insight into both personal and cultural dimensions of the trans journey.

Bevor Stanley Kubrick mit Kultfilmen wie Lolita, 2001 – Odyssee im Weltraum und Shining berühmt wurde, begann er seine Karriere als Fotograf bei der Zeitschrift Look. Mit 17 Jahren dokumentierte er von 1945 bis 1950 das Leben in New York, indem er Geschichten mit einem menschlichen Blickwinkel festhielt. Kubrick fotografierte eine Vielzahl von Szenen: Menschen in Waschsalons, das Treiben an der Columbia University, Sportler, Showgirls, Artisten, Schauspielerinnen, Taxifahrer, Pärchen auf Bahnsteigen, Schuhputzjungen, Boxer, Patienten im Wartezimmer, prominente Geschäftsleute, Politiker, Kinder im Vergnügungspark und Pendler in der U-Bahn. Diese frühen Fotografien zeigen sein bemerkenswertes Gespür für Komposition, Spannung und Atmosphäre und wirken wie Filmstills aus nie gedrehten Noir-Dramen. Die Sammlung umfasst rund 300 Bilder und zahlreiche reproduzierte Seiten aus dem Look-Magazin und präsentiert eine wenig bekannte Seite des Regisseurs. Die Einleitung stammt von der renommierten Fotokritikerin Lucy Sante.

This revised edition of Lucy Sante's classic explores the fascinating history of real-photo postcards, featuring 130 images that enhance the narrative. The book delves into the cultural significance and artistic value of these postcards, offering insights into their impact on communication and memory. Additionally, a new afterword provides updated reflections, making it a comprehensive resource for both enthusiasts and scholars interested in the intersection of photography and social history.

In his second collection (after Kill All Your Darlings, 2007), Luc Sante pays homage to Patti Smith, Rene Ricard, and Georges Simenon; traces the history of tabloids; surveys the landscape that gave birth to the Beastie Boys; explores the back alleys of vernacular photography; sounds a threnody for the forgotten dead of New York City. The glue holding the collection together is autobiography. Every item carries deep personal significance, and most are rooted in lived experience, in particular Sante's youth on the Lower East Side of New York in the fertile 1970s and '80s. He traces his deep engagement with music, his experience of the city, his progression as an artist and observer, his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences, in which one piece leads into the next. Memoir flows into essay, fiction into critical writing, humor into poetry, the pieces answering and echoing one another, examining subjects from multiple vantages. The collection shows Sante at his most lyrical, impassioned, and imaginative, a writer for whom every assignment brings the challenge of inventing a new form.

"A vivid investigation into the seamy underside of nineteenth and twentieth century Paris"--

In her books and in a string of wide-ranging and inventive essays, Luc Sante has shown herself to be not only one of our pre-eminent stylists, but also a critic of uncommon power and range. She is “one of the handful of living masters of the American language, as well as a singular historian and philosopher of American experience,” says the New Yorker’s Peter Schjeldahl. Kill All Your Darlings is the first collection of Sante’s articles—many of which first appeared in the New York Review of Books and the Village Voice—and offers ample justification for such high praise. Sante is best known for her groundbreaking work in urban history (Low Life), and for a particularly penetrating form of autobiography (The Factory of Facts). These subjects are also reflected in several essays here, but it is the author’s intense and scrupulous writing about music, painting, photography, and poetry that takes center stage. Alongside meditations on cigarettes, factory work, and hipness, and her critical tour de force, “The Invention of the Blues,” Sante offers her incomparable take on icons from Arthur Rimbaud to Bob Dylan, René Magritte to Tintin, Buddy Bolden to Walker Evans, Allen Ginsberg to Robert Mapplethorpe.

Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, Let Us Now Praise Famous Men (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled Many Are Called. This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, Many Are Called is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans.Many Are Called came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat—the lens peeking through a buttonhole—he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s subway portraits.This beautiful new edition—published in the centenary year of the NYC subway—is an essential book for all admirers of Evans’s unparalleled photographs, Agee’s elegant prose, and the great City of New York.

New York is not only a world capital of finance, fashion, and media, but also of every imaginable variety of criminal activity from the most brutal to the most creative. From rampaging draft rioters to Prohibition-era beer barons, from brilliant art thieves to Wall Street insiders, from the Boss Tweed to Dapper Don, New York's criminals personify the dark side of the most vibrant and diverse city on earth. Crimes of New York takes us from the tortured, violent life of David Berkowitz, aka Son of Sam, who terrorized the city in the process of killing six young women to the story of the Manhattan yuppie millionaire whose marriage dissolved in drug abuse and ended in murder; from the life of a woman struggling to stay straight in the South Bronx to the violent childhood of teen killer Cape Man Salvatore Agron. Their crimes reflect our common failings—greed, anger, lust for power—intensified by the brutality and sophistication of the unique pressure cooker that is New York.