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This sharp, witty study of a book never written, a sequel to Walter Benjamin's Arcades Project, is dedicated to New York City, capital of the twentieth century. A sui generis work of experimental scholarship or fictional philosophy, it analyzes an imaginary manuscript composed by a ghost. Part sprawling literary montage, part fragmentary theory of modernity, part implosive manifesto on the urban revolution, The Manhattan Project offers readers New York as a landscape built of sheer life. It initiates them into a world of secret affinities between photography and graffiti, pragmatism and minimalism, Andy Warhol and Robert Moses, Hannah Arendt and Jane Jacobs, the flâneur and the homeless person, the collector and the hoarder, the glass-covered arcade and the bare, concrete street. These and many other threads can all be spooled back into one realization: for far too long, we have busied ourselves with thinking about ways to change the city; it is about time we let the city change the way we think.

Focusing on the contributions of civic reformers and political architects who arrived in New York in the early decades of the 20th century, this book explores the wide array of sweeping social reforms and radical racial demands first conceived of and planned in Harlem that transformed Negroes into self-aware Americans for the first time in history. It documents the Harlem Renaissance period's important role in one of the greatest transformations of American citizens in the history of the United States-from slavery to a migration of millions to parity of achievement in all fields, extends the definition of one of the most progressive periods in African American history for students, academics, and general readers and provides an intriguing reexamination of the Harlem Renaissance period that posits that it began earlier than most general histories of the period suggest and lasted well into the 1960s.

Situating post-WWII New York literature within the material context of American urban history, this work analyzes how literary movements such as the Beat Generation, the New York poets and Black Arts Moment criticized the spatial restructuring of post-WWII New York City.

\"Rosenblatt finds himself again patrolling the territory of his youth ... A grown man now, he investigates his own life and the life of the city as he walks, exploring the New York of the 1950s; the lives of the writers who walked these streets before him, such as Poe and Melville; the great detectives of fiction and the essence of detective work; and the monuments of his childhood, such as the New York Public Library, once the site of an immense reservoir that nourished the city with water before it nourished it with books, and the Empire State Building\"--Dust jacket flap.

This volume takes readers on a thought-provoking tour of the 20th century, through the medium of the printed word. Here readers will find over 150 pivotal works organized into topical categories, reflecting themes that have informed the century.

\"Published to accompany an exhibition at the Fondation Louis Vuitton in Paris -the first major presentation in France of works from The Museum of Modern Art- 'Being Modern: Building the Collection of the Museum of Modern Art' presents more than one hundred paintings, sculptures, architecture drawings, design objects, photographs, films, video games, and more, telling the story of how these items came to be part of one of the world's greatest collections of modern and contemporary art. A short essay by a MoMA curator introduces each entry, providing fascinating insights into the artworks themselves as well as the circumstances of their acquisition by the Museum. Organized chronologically according to the year each item entered MoMA's collection, the book offers a rare glimpse of the Museum's inner workings\"-- Publishers' description, page [4] of dust jacket.

01 02 This book sits at the intersection of two historical categories—empire and citizenship—that scholars usually study separately. It does so with a focus on race and racialization in the lives of four outstanding women whose careers crossed national borders between 1880 and 1965. Author Patricia Schechter offers rich and fascinating portraits of Liberian missionary Amanda Berry Smith, author Gertrude Stein, feminist arts impresario and publisher Josefina Silva de Cintrón, and labor activist Maida Springer. These portraits put an individual, intellectual, and female face on transnational topics—from missions to migration, world's fairs to unionism—that are too often recounted as male or mass phenomena. 19 02 1) FASCINATING FIGURES: The book offers a compelling and lively look at the varied lives of four genuinely distinctive women, all of them historically significant. 2) CUTTING-EDGE: Schechter is part of a relatively new movement in US history that uses transnational history to understand individual experience both within and outside the context of the nation. 3) NUANCED APPROACH: The book features truly remarkable life studies, but it avoids the celebratory tone that is easy to slip into discussing women's movements and maneuvering around national borders. 31 02 Explores two categories, empire and citizenship. It does so with a unifying focus on racialization in the lives of outstanding women whose careers crossed national borders between 1880-1965 04 02 What Comes Transnationally  A Kind of Privileged Character: Amanda Berry Smith and Race in Liberian Missions Unmaking Race: Gertrude Stein, the New Woman, and Susan B. Anthony ¡Adelante Hermanas de La Raza!: Josefina Silva de Cintrón and Puerto Rican Women's Feminismo  Becoming Mama Maida: Maida Springer in New York City and Africa  Failed Escapes and Impossible Homecomings 08 02 'Exploring the Decolonial Imaginary is intellectually daring, deeply researched, and well executed. Schechter moves transnational history to a new level.'-Thomas Bender, professor of History, New York University 'Schechter has deftly rendered the historical spaces that these four women occupied and more importantly, demonstrated why they mattered. Due to this conscientious and artful construction of contexts, her work makes it indefensible for women such as these to be left out of future studies of diaspora, citizenship, and immigration across the Atlantic world.'-Claude Clegg, professor of History, Indiana University 13 02 Patricia Schechteris a professor of History at Portland State University. 02 02 This study explores two categories—empire and citizenship—that historians usually study separately. It does so with a unifying focus on racialization in the lives of outstanding women whose careers crossed national borders between 1880 and 1965. It puts an individual, intellectual, and female face on transnational phenomena.

The Making of the New Negro examines black masculinity in the period of the New Negro/Harlem Renaissance, which for many decades did not attract a lot of scholarly attention, until, in the 1990s, many scholars discovered how complex, significant, and fascinating it was. Using African American published texts, American archives and unpublished writings, and contemporaneous European discourses, this book focuses both on the canonical figures of the New Negro Movement and African American culture, such as W.E.B. Du Bois, Booker T. Washington, Alain Locke, and Richard Wright, and on writers who have not received as much scholarly attention despite their significance for the movement, such as Wallace Thurman. Its perspective combines gender, sexuality, and race studies with a thorough literary analysis and historicist investigation, an approach that has not been extensively applied to analyze the New Negro Renaissance.