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• Sales Rank: #6289695 in Books
• Published on: 1973-07-26
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 202 pages

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To those of us who look at Los Angeles and see no sense at all, Landscapes of Desire offers a vivid and rewarding account of the particular visions that drove the period of Anglo dominance in the Los Angeles region, from about 1850 to about 1985. William McClung's fascinating essay, supported at every point by wonderful illustrations, shows that Anglo settlers and developers wanted nothing more than to make sense of their surroundings, but that their two dominant paradigms were at war with each other. Anglophone Los Angeles, McClung says, has tried strenuously to reconcile two competing mythologies of place and space: one of an acquired Arcadia--a found natural paradise--and the other of an invented Utopia—an empty space inviting development. The collision between these two underlying ideals is still present in the ambivalence at the heart of the city's and region's understanding of themselves.

The Arcadian dream of nurturing inherited beauty entailed idealizing the region’s Hispanic past. Yet that past was simultaneously belittled by the utopian vision of arid landscapes watered into Anglo plantations and ranchos reshaped into cities.

From Helen Hunt Jackson's 1884 novel Ramona to the work of artists David Hockney, Edward Ruscha, and Terry Schoonhoven in the 1960s and after, Los Angeles has been an arena of competing and often incompatible constructions of ideal place and space. Looking at architecture, landscaping, literature, historiography, painting, conceptual art, and such ancillary activities and crafts as booster pamphlets, real estate promotions, and citrus box labels, McClung presents a new and refreshingly revisionist view of the city’s growth. Examining designed spaces, including buildings, parks, freeways, and whole neighborhoods and communities, he gives readers a strong sense of the contradictions, failures, and triumphs that continue to govern L.A.'s image of itself.

Los Angeles Times Best Nonfiction Book of 2000

• Sales Rank: #1892067 in Books
• Published on: 2002-05-31
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .63" w x 6.00" l, 1.10 pounds
• Binding: Paperback
• 297 pages

From Kirkus Reviews
An extended argument that popular Anglo mythologies of Los Angeles, from roughly 1850 to 1985, have contributed to the citys persistent urban dysfunction is supplemented by a generally persuasive analysis of Los Angeles aesthetics, or lack thereof. McClung (English/Mississippi State; The Architecture of Paradise, not reviewed, etc.) locates the citys failure as an urban and suburban environment in a longstanding and unresolved conflict between its two predominating visions of itself: Arcadia and Utopia. The first implies a found paradisefertile, hospitable, beautifulto be preserved, the second a tabula rasabarren, dangerous, uglyto be improved by means of technology. McClung attributes many of Los Angeless defining characteristics (infamous sprawl, architectural ambivalence, common apocalyptic fears) to the citys misconceived self-perceptions. Part of the problem, he suggests, is that Los Angeles is so unclear about its heritageHispanic or Mediterranean?and confused in its desiresurban convenience or pastoral repose?that it has evolved in an erratic, rootless manner. McClung develops this premise in five chapters covering the citys architecture, painting, literature, urban planning, and early propaganda. His argument is strongest when he looks at the citys architecture and design and weakest with literature. But even his most astute interpretations leave the citys irreconcilable central irony mostly untouched: the dependence of modern Los Angeles on a supply of water first imported in 1913 from 250 miles away, in a monumental feat of the technological imagination whose purposeto improve this paradise to the point of habitabilityblurred arcadian and utopian ideals once and for all. McClung brings fresh illumination to a stubbornly incomprehensible place in this provocative, if intermittently narrow, addition to Los Angeles literature. (150 b/w illustrations) -- Copyright ©2000, Kirkus Associates, LP. All rights reserved.

Review
"An important cultural study."--M. Catherine Miller, "Journal of the West"

From the Inside Flap
"An imaginative and provocative interpretation of the meaning of Los Angeles, carefully thought out and beautifully written."—Robert Winter, editor of Toward a Simpler Way of Life: The Arts and Crafts Architects of California

"McClung's sharp eye, and his ability to be both critic and analyst, combine to make this a book of real timeliness. It is unusual, and it is smart."—William Deverell, author of Railroad Crossing: Californians and the Railroad, 1850-1910

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14 of 15 people found the following review helpful.
I Love LA
By Geoffrey Fitzgerald
If you care anything about Los Angeles or are interested in how that unique American city got that way, you should read this book. Don't be put off by the fact that it is published by a Unversity Press. McClung has written an eminently readable examination of L.A., a city that bears analysis. For scholars he provides 40 pages of notes and credits at the end of the book, a courtesy that neither interrupts nor intimidates the average reader. Entertaining as well as insightful, the author clearly has had a love affair with Los Angeles, but has been able to objectively and eloquently analyze the object of his desire. McClung manages to reveal and explain a city that can confuse the novice. Like the city itself, McClung covers a lot of territory: art; architecture (the Getty to Disneyland, and Hollywood palaces to the Hollywood sign); city planning, or lack of it; literature (my favorite section which includes everyone from Chandler to Twain to Waugh to Didion and Isherwood, et. al). McClung has an impressive ability to "read" and explain architecture, especially useful for the reader like myself who otherwise would have underappreciated this measure of the city. McClung avoids cliche, explodes myths, and reveals obvious and discrete disappointments and enchantments of a complex city. This is a text for those who think they know Los Angeles, as well as for the rest of us. One gripe, and University of California Press please note: The book has some 150 illustrations - photographs, maps, fruit box labels, Disney cartoons and more. It should be coffee table size, and the illustrations reproduced in color where available. One hardly sees L.A. in black and white. We'll look for the improved format when the paperback edition is published.

2 of 3 people found the following review helpful.
Attacks Los Angeles Mythology
By Randall L. Wilson
Mr. McClung starts his book with a terrific insight about LA, California and even a strain of American mythology. Los Angeles is viewed as both arcadian, a paradise found, and utopian, a paradise created. For example, the natural beauty of the Los Angeles basin: the beaches, ocean, valleys with rich soil backed up against soaring snow capped peaks gleaming in the winter sunlight support the arcadian view. Hollywood, beginning with the famous sign that advertised a subdivision and later movies and the manufactured utopian landscapes convey an Los Angeles ideal of perpetual sunlight, swaying palms and expansive beaches.

While the two visions stand in conflict as to their creation, they unite in their attractiveness, in their unreal quality. A quality that was extended through architecture and particularly through literature. McClung has interesting things to say about architecture but the radicalness of his critique comes with his assault on the "Day of the Locust" view of LA as a shallow, fake, gleaming sheen that covers a brutish, violent primal core. McClung argues that these mythologies had little to do with the real LA and what made it a durable metropolis, attracting families for generations to make it their own.

His attacks on "Day of the Loust" and the literary cliche of LA is new to me and thought-provoking but also awfully defensive. Sure, a city isn't the couple of sentence used to describe it. Cities are much more than that and so is LA but does that mean there isn't truth to the myth? Or that the myth isn't helpful to understand a place? I think they are. I also think the LA myth and the California myth help us make sense of American mythology which contains the seeds of the others.

McClung's prose is readable and evocative as are the graphics he uses to explore his ideas. My biggest knock on "Landscapes of Desire" is that it doesn't take its initial idea about utopian and arcadian ideals far enough. He simply lays them out and then uses them to organize his illustrations but I think he could have done more. He could have shown the power of these myths and their inter-relationships as well as their implications for understanding American life and culture.

6 of 7 people found the following review helpful.
simply one of the best books about L.A. architecture
By George R
This is a vastly undervalued novel treatment of LA architecture and urbanism. It is critical to understand the Anglo roots of LA through literature and art. He "gets" exactly how one after another attempt to find a canonic LA style was attempted without success. This is psycho-analytic cultural history of the highest order, with probing analysis of key visual artifacts, from early photos and revealing orange crate art panels to investigations of LA psychology through works by Ed Ruscha and David Hockney. You can not be disappointed by this fine book.

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Long before Edith Piaf sang "La vie en rose," her predecessors took to the stage of the belle epoque music hall, singing of female desire, the treachery of men, the harshness of working-class life, and the rough neighborhoods of Paris. Icon of working-class femininity and the underworld, the realist singer signaled the emergence of new cultural roles for women as well as shifts in the nature of popular entertainment. Chanteuse in the City provides a genealogy of realist performance through analysis of the music hall careers and film roles of Mistinguett, Josephine Baker, Fréhel, and Damia. Above all, Conway offers a fresh interpretation of 1930s French cinema, emphasizing its love affair with popular song and its close connections to the music hall and the café-concert.

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• Sales Rank: #9731554 in Books
• Published on: 2004-09-08
• Original language: English
• Number of items: 1
• Dimensions: .90" h x 6.28" w x 9.30" l,
• Binding: Hardcover
• 273 pages

Review
"Conway's entirely original research is well structured and clearly written, imparts expert readings, and is strengthened by historical groundedness. This is an extremely important book." - Christopher Faulkner, author of The Social Cinema of Jean Renoir; "Conway's study offers fresh, challenging perspectives on French film history, on women in French cinema, and on the relationship between film of the 1930s and the city of Paris." - Judith Mayne, author of Cinema and Spectatorship"

From the Inside Flap
"This book represents a significant contribution to scholarship, and will fill a serious gap. Conway's entirely original research is well structured and clearly written, imparts expert readings, and is strengthened by historical groundedness. This is an extremely important book."—Christopher Faulkner, Carleton University, author of The Social Cinema of Jean Renoir

"Offers fresh, challenging perspectives on French film history, on women in French cinema, and on the relationship between film of the 1930s and the city of Paris."—Judith Mayne, Ohio State University, author of Cinema and Spectatorship

From the Back Cover
"This book represents a significant contribution to scholarship, and will fill a serious gap. Conway's entirely original research is well structured and clearly written, imparts expert readings, and is strengthened by historical groundedness. This is an extremely important book."-Christopher Faulkner, Carleton University, author of The Social Cinema of Jean Renoir "Offers fresh, challenging perspectives on French film history, on women in French cinema, and on the relationship between film of the 1930s and the city of Paris."-Judith Mayne, Ohio State University, author of Cinema and Spectatorship

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• Sales Rank: #2494172 in Books
• Published on: 1987-10-21
• Original language: English
• Number of items: 1
• Dimensions: .92" h x 5.33" w x 8.48" l,
• Binding: Paperback
• 309 pages

Language Notes
Text: English, German (translation)

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Susan Markens takes on one of the hottest issues on the fertility front—surrogate motherhood—in a book that illuminates the culture wars that have erupted over new reproductive technologies in the United States. In an innovative analysis of legislative responses to surrogacy in the bellwether states of New York and California, Markens explores how discourses about gender, family, race, genetics, rights, and choice have shaped policies aimed at this issue. She examines the views of key players, including legislators, women's organizations, religious groups, the media, and others. In a study that finds surprising ideological agreement among those with opposing views of surrogate motherhood, Markens challenges common assumptions about our responses to reproductive technologies and at the same time offers a fascinating picture of how reproductive politics shape social policy.

• Sales Rank: #1450034 in Books
• Published on: 2007-09-04
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .80" w x 6.00" l, .88 pounds
• Binding: Paperback
• 277 pages

From the Inside Flap
"Susan Markens has written an original, insightful book about reproductive politics in the United States, sure to be of wide intellectual and public interest. Focusing on the history of statewide surrogacy regulation and the corresponding 'culture wars' spawned by fertility issues, she offers a fresh look at a vexing and timely social issue. Surrogate Motherhood and the Politics of Reproduction is feminist political sociology at its finest."—Monica J. Casper, author of The Making of the Unborn Patient

"Policy and law on surrogacy and related issues remain in flux, as do society's views as to the directions in which we should move. Markens' analysis is rich, original, and sound, and she writes with clarity and conviction. Her comparative approach offers a more penetrating analysis than would a study of a single setting. Surrogate Motherhood is certain to make an impact: the work is timely, convincing, and intellectually sound."—Carole Browner, UCLA School of Medicine, Center for Culture and Health

"Susan Markens has written a thorough and fascinating account of the dilemmas and policy debates brought forward by surrogate parenting. This book is a splendid addition to the growing field of the sociology of reproduction."—Carole Joffe, author of Doctors of Conscience: The Struggle to Provide Abortion Before and After Roe v. Wade

"Surrogate motherhood burst into the public eye in 1986 with the spectacular custody trial over 'Baby M.' Susan Markens deftly and judiciously moves beyond the feminist polemics, to brilliantly clarify the ostensibly opposed legal responses to this Brave New World of reproductive 'choice.' Whether surrogacy is banned as baby-selling or regulated as a service to the infertile, neither policy questions the myth that in the U.S. we have a private right to procreate. Surrogate Motherhood and the Politics of Reproduction stands with the path-breaking work of Kristin Luker, Dorothy Roberts, and Rickie Solinger, illuminating the public character of reproductive politics, privilege, and motherhood itself."—Linda M. Blum, author of At the Breast: Ideologies of Motherhood and Breastfeeding in the Contemporary United States

"Surrogate Motherhood and the Politics of Reproduction is the definitive account of how and why surrogacy emerged as a political issue in the late 20th century and the alarming lag in US social policy in the face of rapidly advancing technologies that challenge our basic understandings of motherhood and kinship. Markens' provocative new book provides an intriguing solution to a puzzle: Why did a political consensus emerge in New York to ban surrogacy as 'baby selling' while California's response was to permit surrogacy, framed as a hardship of childlessness? More intriguingly, Markens shows how the public debates in both contexts relied on similar feminist arguments of 'choice' and 'the best interests of the child.' With her evenhanded and nuanced account, Markens delivers an exemplary and nuanced application of the comparative case method, primary textual analysis, print media and strategic interviews that gives voice, intrigue, and verve to her story. The book will appeal widely to students of reproductive politics and new genetic and reproductive technologies as they influence our conceptions of health, motherhood and paternity rights, as well as ideologies of gender and kinship."—Sherri Grasmuck, author of Protecting Home: Class, Race and Masculinity

About the Author
Susan Markens is Assistant Professor in the Department of Sociology at City University of New York, Lehman College.

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## Free Ebook The Los Angeles House: Decoration and Design in America's 20th-Century City, by Tim Street-Porter

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An authoritative and stylish survey of residential architecture and decoration in Los Angeles, by the premier chronicler of the subject. Street-Porter's beautifully composed photographs bring us into the most beautiful spaces in L.A., and his refreshingly lucid text provides an intelligent explanation of the houses presented. Full-color photographs.

• Sales Rank: #1595746 in Books
• Published on: 1995-04-11
• Released on: 1995-04-11
• Original language: English
• Number of items: 1
• Dimensions: .96" h x 10.33" w x 11.34" l, 1.10 pounds
• Binding: Hardcover
• 252 pages

From the Inside Flap
An authoritative and stylish survey of residential architecture and decoration in Los Angeles, by the premier chronicler of the subject. Street-Porter's beautifully composed photographs bring us into the most beautiful spaces in L.A., and his refreshingly lucid text provides an intelligent explanation of the houses presented. Full-color photographs.

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0 of 0 people found the following review helpful.
A very good buy!
By Jennie
The book provides me with a look back opportunity into my childhood. Photos are clear and representative of an era no longer in existence. A walk back into the past is well appreciated. Thanks for a job well done.

2 of 2 people found the following review helpful.
Somewhat disappointing and dated book with moments of greatness
By Ryan A. Ward
I'm a huge fan of Hennessey + Ingalls and Los Angeles architecture. However, this book left me wanting more. The layout and photos, despite being updated in 2005, seem extremely dated. The book focuses on the most famous LA houses and I wish it had a few more unique and less known homes. The photos are well constructed, but nothing special -- nothing compared to photos Shulman took of the same buildings. There's a fair amount of interior design in this book, which I wasn't expecting. For some, that is probably a huge sell. I'm more a fan of the structures, locations, and views, so I skipped past the interior pages without much examination.

2 of 2 people found the following review helpful.
Great Real Estate Read
By mrs. cam
The pictures in this book are fantastic! Unbelievable what these architects were able to accomplish. I was a little disappointed that more movie star history was not part of the book. The author did indicate if there were movie props in the homes-lots from Marie Antionette. Delores del Rio's house and Madonna's were both portrayed. The book is an easy read, however, the beautifully photographed landscapes as well as interiors are worth checking this book out.

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^^ Ebook Free Dreaming with His Eyes Open: A Life of Diego Rivera (Discovery Series), by Patrick Marnham

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This engrossing biography of Diego Rivera, the brilliant Mexican artist and revolutionary, captures the explosively passionate nature that made Rivera one of the twentieth-century's most gifted and controversial painters.

• Sales Rank: #1488389 in Books
• Published on: 2000-05-03
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .88" w x 6.00" l, 1.35 pounds
• Binding: Paperback
• 350 pages

Amazon.com Review
What confidence and ambition it requires to approach a biography of Diego Rivera, the larger-than-life Mexican muralist who in recent years has been reduced, in some circles, to being known as Frida Kahlo's evil husband. The myths and mysteries begin at his birth, in 1884. His mother seemed to die just after Diego, a firstborn twin, emerged, and her body was laid out for burial, until an old servant insisted she was still breathing. She recovered fully (Diego's twin died at age 2). This macabre event was but the first in a fabulously eventful life.

Under the brutal regime of the dictator Porfirio Díaz, whose legacy included human slavery on an unprecedented scale, Mexico City became "The Paris of the Americas," with imperial palaces, European music, and decorations by artists who had studied under Ingres. "It was in this exuberant, chaotic, and occasionally dangerous world that Diego Rivera grew up," writes Patrick Marnham, who casts a spell of such strangeness, beauty, and black humor that the reader is utterly hooked by the end of the first few pages. Marnham repeats and analyses all the fables Rivera spun about himself and his family; he describes Rivera's enchantment with Italian fresco cycles and his friendship and rivalry with Picasso in Montmartre in the 1920s; he reports Rivera's countless amorous conquests; and he presents the supposedly feminist view of Rivera as a monster of appetite, arrogance, and authority. Marnham also does an excellent job of picking apart the personal, political, and artistic threads of the disastrous brouhaha over Rivera's Rockefeller Center murals. In prose that is poetically rich and frequently tinged with not-so-gentle irony, he has written a thoroughly believable book about an all but unbelievable life. --Peggy Moorman

From Publishers Weekly
From the salons of Europe before the Great War to the walls of post-revolutionary Mexico, Mexican muralist Diego Rivera (1886-1957) left behind a legacy that was larger than life in every way. Everything about the "bebe monstrueux," as Rivera was nicknamed by his mentor, the art critic Elie Faure, was huge: his size, his artistic output, the number of his mistresses and, as Marnham (The Man Who Wasn't Maigret: A Portrait of Georges Simenon) demonstrates, his capacity for self-invention. Retracing the steps of writers who've tackled Rivera's life and times before him, Marnham attempts to separate the facts from the fables surrounding the man. Throughout, he provides just enough context so that the backdrop against which Rivera lived his peripatetic, even swashbuckling life?the Spain of Alfonso XIII and the "free republic of Montparnasse," where, surrounded by such artists as Picasso and Modigliani, Rivera flirted with cubism before turning to large-scale, figurative tributes to socialism and Mexican history?assumes its proper proportion. Marnham's considerable research also permits him to demonstrate just how Rivera kept his political and commercial interests alive, at least until he matched wits with the developers of Manhattan's Rockefeller Center, who destroyed a mural they had commissioned because it included a portrait of Lenin. Especially helpful is his synopsis of the work of Faure, whose conviction that the future of art lay in a rebirth of the Italian fresco tradition of public art changed the painter's life. In recent years, Rivera has been somewhat overshadowed by the attention paid to one of his wives, artist Frida Kahlo. This thoroughly engrossing biography, which is the first on Rivera since Bertram Wolfe revised his seminal study in 1963, begins to redress the imbalance. Sixteen color and 32 b&w illustrations not seen by PW.
Copyright 1998 Reed Business Information, Inc.

From Library Journal
For the browsing public as well as specialists in European, Latin American, and American modern art, this book is not to be overlooked. Marnham (The Man Who Wasn't Maigret, LJ 5/1/93) masters a tumultuous life lived to the fullest by genius Mexican nationalist/Communist muralist Diego Rivera (1886-1957). A highly successful artist and unrestrained womanizer, Rivera constantly mythologized his life when the bald truth was astonishing enough. Producing a biographical essay on him has apparently been difficult; Marnham's is the first in 40 years. Comprehensive, quotable, and controversial in its treatment of the artists whose lives Rivera crossed, this work is quite detailed, especially through 1929, when he married his equal, Frida Kahlo. (She reconfirmed his fame by painting him as her subject.) Unfortunately, there are no footnotes, and Marnham ends by cautioning, "Rivera's autobiography has to be decoded and submitted to chronological investigation." Nevertheless, this work is highly recommended.AMary Hamel-Schwulst, Towson Univ., MD
Copyright 1998 Reed Business Information, Inc.

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8 of 10 people found the following review helpful.
Marnham on Rivera
By A Customer
No footnotes, inadequate bibliography, and surprisingly, almost no mistakes. He reports on time and place in a constructive way and dispels Rivera's own myths about himself humorously. Very good read.

14 of 14 people found the following review helpful.
excellent, thorough work on a complex and difficult subject.
By A Customer
I am finding this an excellent complement to the recent (and also highly readable) biography of photgrapher Tina Modotti, who documented his murals. I've read other Marnham work and find his felicitous style eminently readable. His digressions always provide a useful context for the subject, and his research has been thorough.

30 of 30 people found the following review helpful.
The many loves of Rivera
By Enrique Torres
With various books written on the life of Diego Rivera this one is a must have. Anytime a subject is studied, it this case the life of arguably the greatest Mexican muralist, it is worthwhile to have various perspectives before coming to one's own conclusion. In that regard this book is invaluable as the author doesn't give you a softball and is quick to point out the inconsistencies in other versions of the larger than life Diego Rivera's exploits, including his own autobiography. The book itself is a fascinating portrait into the life of the celebrated Mexican muralist's life, beginning with the unusual circumstnances of his youth, his sojourn to Europe and studying art in France, his mingling in the bohemian lfestyle with various artists and intellectuals of his era, including his at times not so friendly rivalry with Spanish artist Pablo Picasso, his return to Mexico, his politics(communist) and the troubles he had since he usually mixed art and politics, his many, many love affairs, his multiple marriages including several to soul mate Frida Kahlo, his association with Trotsky(and his wife), his work in the United States and his later years in Mexico where he remained productive in spite of failing health. It is all here, both the believable and the unbelieveable, meshing together for a fascinating look at a man that could literally charm the pants off of the most beautiful women of the world. Included are two seperate groups of pictures that include rarely seen vintage photographs and color prints of his most famous works. Every now and then I read a book that I want to savor and take my time. Like a special meal or an intimate moment, this book was one that I wanted to savor once I began. I wanted to make it last because it was so enjoyable, knowing that the inevitable consequence of my reading would make it end I almost regretted finishing the book. I took days to read the final chapters in the hope that somehow the experience would not end. I would highly recommend this book to those that are interested in Diego Rivera, Frida Kahlo, and Mexican art or history. It is a book that paints more than a picture, it is more like a grand mural that captures the fantastic life of Diego Rivera. This is a highly enjoyable book and an indispensable aid in understanding the complex makeup of one of the true giants of art in the twentieth century.

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