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Over the last forty years, the mythology of Princess Diana has turned the woman who was born Diana Spencer into a symbol for almost anything. From a harbinger of Brexit populism, an all-American consumer capitalist, and the savior of the British aristocracy, to a catalyst for #MeToo and--in the words of one superfan--the biggest punk that's come out of England, Diana connects with a wider array of people than any member of the royal family ever has. We feel so familiar with Diana that it seems crushingly formal to use anything but her first name.
In Dianaworld, Edward White guides us through this strange precinct of a global cultural obsession. It's a place of mass delusions, outsized fantasies and quixotic dreams; of druids, psychics, Hollywood stars, obsessive stalkers, radical feminists, and Middle Eastern generals. In a signature, innovative exploded biography, White offers both a portrait of the princess, and group portraits of those who knew her intimately; those who worked with and for her; and the many ordinary people whose connection to Diana reveals her unique and enduring legacy. White draws on a kaleidoscopic array of sources and perspectives never before used in books about Diana or the royal family--from interviews with sex workers and professional lookalikes, to the Mass Observation social research project and the Great Diary Project in Britain, and the peculiar work of outsider artists.
Diana would have approved of her posthumous title, the People's Princess the image of a royal with a pauper's soul was exactly how she marketed herself. In Dianaworld, White explores Diana Spencer--the person and the cultural figure--by re-creating the world Diana lived in and illuminating her lasting impact on the world she left behind.
In The Twelve Lives of Alfred Hitchcock, Edward White explores the Hitchcock phenomenon--what defines it, how it was invented, what it reveals about the man at its core, and how its legacy continues to shape our cultural world.
The book's twelve chapters illuminate different aspects of Hitchcock's life and work: The Boy Who Couldn't Grow Up; The Murderer; The Auteur; The Womanizer; The Fat Man; The Dandy; The Family Man; The Voyeur; The Entertainer; The Pioneer; The Londoner; The Man of God. Each of these angles reveals something fundamental about the man he was and the mythological creature he has become, presenting not just the life Hitchcock lived but also the various versions of himself that he projected, and those projected on his behalf.
From Hitchcock's early work in England to his most celebrated films, White astutely analyzes Hitchcock's oeuvre and provides new interpretations. He also delves into Hitchcock's ideas about gender; his complicated relationships with his women--not only Grace Kelly and Tippi Hedren but also his female audiences--as well as leading men such as Cary Grant, and writes movingly of Hitchcock's devotion to his wife and lifelong companion, Alma, who made vital contributions to numerous classic Hitchcock films, and burnished his mythology. And White is trenchant in his assessment of the Hitchcock persona, so carefully created that Hitchcock became not only a figurehead for his own industry but nothing less than a cultural icon.
Ultimately, White's portrayal illuminates a vital truth: Hitchcock was more than a Hollywood titan; he was the definitive modern artist, and his significance reaches far beyond the confines of cinema.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
A revealing biography of the influential and controversial cultural titan who embodied an era
The Tastemaker explores the many lives of Carl Van Vechten, the most influential cultural impresario of the early twentieth century: a patron and dealmaker of the Harlem Renaissance, a photographer who captured the era's icons, and a novelist who created some of the Jazz Age's most salacious stories. A close confidant of Langston Hughes, Gertrude Stein, George Gershwin, F. Scott Fitzgerald, and the Knopfs, Van Vechten frolicked in the 1920s Manhattan demimonde, finding himself in Harlem's jazz clubs, Hell's Kitchen's speakeasies, and Greenwich Village's underground gay scene. New York City was a hotbed of vice as well as creativity, and Van Vechten was at the center of it all.Edward White's biography--the first comprehensive biography of Carl Van Vechten in nearly half a century, and the first to fully explore Van Vechten's tangled relationship to race and sexuality--depicts a controversial figure who defined an age. Embodying many of the contradictions of modern America, Van Vechten was a devoted husband with a coterie of boys by his side, a supporter of difficult art who also loved lowbrow entertainment, and a promoter of the Harlem Renaissance whose bestselling novel--and especially its title--infuriated many of the same African-American artists he championed. Van Vechten's defense of what many Americans considered bad taste--modernist literature, African-American culture, and sexual self-expression--created a popular appetite for these quintessential elements of American art. The Tastemaker encompasses its subject's private fears and longings, as well as Manhattan's raucous, taboo-busting social scene of which he was such a central part. It is a remarkable portrait of a man whose brave journeys across boundaries of race, sexuality, and taste helped make America fully modern.
Core of Darkness: Book 1. A rogue sorcerer and his demon slave are plundering castles and laying waste across the mythical Western Kingdom. But it's more than gold and jewels Yara's searching for - it's enchanted relics. Using a stolen forbidden ancient spell, Yara can absorb a relic's magic to his own core, making himself a little more powerful. Bit by bit he is becoming the most powerful sorcerer in the world, crushing all those who stand in his way.
Although magic has been outlawed, it may take another sorcerer to find and defeat Yara and his demon from Hell.
In a mythical world where magic is outlawed and bounty is placed on the heads of the gifted, an evil bloodthirsty sorcerer named Yara holds the key to making himself the most powerful mage the world has ever seen. More than that, he and his demon slave are on the threshold of making him a god. Woe unto those that do not bow down to him. A small band of six race against time and impossible odds to save the world before Yara utterly destroys it.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
