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Archive for the 'Book of the Week' Category

Wednesday, April 1st, 2015

Watch Sheila Smith discuss Intimate Rivals

Intimate Rivals

This week our featured book is Intimate Rivals: Japanese Domestic Politics and a Rising China, by Sheila A. Smith. We are happy to present an excellent discussion of Intimate Rivals hosted by the Council on Foreign Relations with Sheila A. Smith and CFR President Richard N. Haass.

Don’t forget to enter our book giveaway for a chance to win a free copy!

Tuesday, March 31st, 2015

Contending with China

Intimate Rivals

“Diplomacy alone has been insufficient to bridge the growing number of differences between Tokyo and Beijing. The failure to solve problems has led to growing frustration among the Japanese public. While China cannot be held accountable for all the difficulties in the relationship, adjusting to its growing influence is a new challenge for both governments.” — Sheila Smith

This week our featured book is Intimate Rivals: Japanese Domestic Politics and a Rising China, by Sheila A. Smith. Today, we are happy to present an excerpt from Smith’s first chapter, “Contending with China.”

Don’t forget to enter our book giveaway for a chance to win a free copy!

Monday, March 30th, 2015

Book Giveaway! Intimate Rivals, by Sheila A. Smith

Intimate Rivals

“This book by one of America’s leading analysts of Japan’s foreign relations is essential reading for anyone interested in Sino-Japanese relations and the impact of domestic political forces on foreign policy.” — Thomas J. Christensen

This week our featured book is Intimate Rivals: Japanese Domestic Politics and a Rising China, by Sheila A. Smith. Throughout the week, we will be featuring content about the book and its author on our blog as well as on our Twitter feed and our Facebook page.

We are also offering a FREE copy of Intimate Rivals. To enter our book giveaway, simply fill out the form below with your name and preferred mailing address. We will randomly select our winners on Friday, April 3rd at 1:00 pm. Good luck, and spread the word!

Thursday, March 26th, 2015

Two Early Chicago Films Heading to Blu-Ray

The following post is by Michael Smith, co-author with Adam Selzer of Flickering Empire: How Chicago Invented the U.S. Film Industry

In the introduction to Flickering Empire, Adam Selzer and I quote film scholar Susan Doll who said that it is Chicago’s “best kept secret” that it served as the nation’s filmmaking capital prior to the rise of Hollywood. That the vast majority of the films made in Chicago prior to 1920 have been either lost, destroyed or are otherwise difficult to see partly accounts for Chicago’s neglected status in the official film histories. Fortunately, the two most important Chicago-made silent films discussed in our book have both been recently restored and will receive re-releases on home video in HD in the next year. These releases will hopefully go some way towards giving Chicago the credit it deserves for the important role it played in our nation’s film history. The two films in question are:

His New Job—The one and only film Charlie Chaplin made in Chicago is this delightful 20-minute comedy short, the first he made for Essanay Studios (before fulfilling the rest of his contract at the company’s California branch). The plot sees Chaplin’s familiar “Little Tramp” character showing up to audition for a part in a movie at “Lodestone Studios.” The interior stages at Essanay in Chicago’s Uptown neighborhood essentially play themselves as Lodestone and the movie thus becomes a fascinating peak into the process of silent moviemaking, at times achieving a near-documentary quality. The Tramp gets a job first as Production Assistant, then as a carpenter and finally as an extra in what appears to be a prestigious “period” film set in 19th century Russia. Of course, he wreaks havoc on the set and the entire production soon devolves into a state of slapstick anarchy. His New Job will be released on Blu-ray by Flicker Alley in Summer 2015. In the meantime, you can watch an unrestored version of the film here:

Within Our Gates—The earliest surviving feature film directed by an African American is this incendiary drama by the legendary Oscar Micheaux. Evelyn Preer plays Sylvia Landry, a young black woman from Chicago who tries to raise money to save a school for black children in the rural south. Micheaux’s story alternates between scenes taking place in the north and south as well as the past and the present in order to generate a suspenseful climax — a lengthy flashback to the events that led to Sylvia’s adoptive parents being lynched by an angry mob. This lynching scene is intercut with an equally horrifying scene where a villainous middle-aged white man attempts to rape the young Sylvia before recognizing a scar on her chest that identifies her as his own illegitimate daughter. The clever intercutting of this climax intentionally unpacks the racist ideology of the climax of D.W. Griffith’s similarly constructed The Birth of a Nation. Within Our Gates will be released on Blu-ray by Kino/Lorber in February 2016. In the meantime, you can watch an unrestored version of the film here:

Wednesday, March 25th, 2015

Interview with Michael Glover Smith, Co-Author of “Flickering Empire (Part 2)

Flickering Empire, Michael Glover Smith and Adam Selzer

The following is the second part of our interview with Michael Glover Smith, co-author of Flickering Empire: How Chicago Invented the U.S. Film Industry. (You can read part 1 here.)

Question: Oscar Micheaux also was part of Chicago’s film history. In what ways was Chicago important for the development of African-American or “race” movies?

Michael Glover Smith: A lot of the early films dealing with race offer “comical” racial stereotypes that are offensive. Even the first Essanay film, An Awful Skate, features a white actor in blackface makeup. William Foster, an enterprising African-American theater manager, founded the first black-owned film production company in 1910. Foster has been quoted as saying, “Nothing has been done so much to awaken race consciousness of the colored man in the nation as the motion picture. It has made him hungry to see himself.” In addition to the earliest shorts by the Foster Photoplay Company, Chicago was home to many other early “race films,” including Peter P. Jones’s The Slacker in 1917 and Oscar Micheaux’s Within Our Gates in 1919. The latter, which we discuss at length in our book’s post-script, is the earliest surviving feature film directed by an African American. It’s not only a great film, it’s a rare and invaluable document of black American culture from that era.

Q: As you mention in the book, Chicago played a role in the censorship of films. What was the legacy of Major M.L.C. Funkhouser in determining what Americans saw at the movies?

MGS: Learning about the role of Chicago’s censorship board in doing research for the book was really eye-opening. The local censorship board, under the auspices of Funkhouser, was actually stricter than the national censorship board. There are a lot of fascinating and funny stories about the board and so that ended up becoming an entire chapter in our book. Funkhouser was reactionary in harshly censoring sex, violence and political content deemed inflammatory but he was also a politically corrupt hypocrite who would throw parties and screen the naughty bits that he had ordered cut from the films. He also allowed the Chicago Tribune to print descriptions of scenes that had been censored, which resulted in him getting favorable publicity from that particular paper. He was quite a character.

Q: So, what happened? What explains the decline of the Chicago film industry?

MGS: There were a complex combination of factors that resulted in the decline of Chicago’s film empire. But, basically, it can be reduced to: 1) the two major Chicago studios were part of the Motion Picture Patents Corporation (or MPPC), a trust that Edison had established in an attempt to monopolize the industry; this trust was sued and forced to disband by the U.S. Justice Department in 1913, 2) most of the independent (i.e., non-MPPC) filmmakers had fled to southern California in order to make movies as far away from Edison and his patent-enforcing “Goon Squad” as possible and 3) the weather and geography of southern California were ultimately deemed more conducive to year-round shooting than Chicago.

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Tuesday, March 24th, 2015

Interview with Michael Smith, co-author of “Flickering Empire”

Interview with Michael Smith, co-author of

“A lot of innovations came out of Chicago. There were a lot of ‘famous firsts’ for the American film industry and for movies as an art form—including the first pseudo-documentaries, the first two-reeler, the first slapstick comedy to feature a ‘pie-in-the-face-gag….’”—Michael Glover Smith

The following is part 1 of our interview with Michael Glover Smith, co-author of Flickering Empire: How Chicago Invented the U.S. Film Industry:

Question: Why does Chicago get left out of the history of early cinema in America?

Michael Glover Smith: The story of American film production begins in New York and New Jersey (where Thomas Edison was headquartered) in the late 19th century. Hollywood didn’t really become the nation’s film-producing capital until about 1915. All official histories are somewhat reductive and I think it’s been convenient for scholars and historians to just skip over the story of Chicago’s contributions to film history, which mainly occurred in in the late 1900s and early 1910s. Even though the contributions of Chicago filmmakers were enormous by any objective standard, it was a fairly narrow window of time when the film industry in Chicago was at its peak and, also, the vast majority of Chicago-made films of that era no longer exist. They’ve been destroyed or lost and it’s never been fashionable to write about films that people can’t see.

Q: How does Chicago’s role in the development change the way we think about the history of movies in America?

MGS: I think a lot of innovations came out of Chicago. There were a lot of “famous firsts” for the American film industry and for movies as an art form—including the first pseudo-documentaries, the first two-reeler, the first slapstick comedy to feature a “pie-in-the-face-gag,” the first films made by African-American directors, etc. We give a rundown in the introduction to the book. It’s entirely possible that movies as we now know them would look very different if not for the contributions of studios like Essanay and Selig-Polyscope and also the independent filmmakers (especially the aforementioned black directors).

Q: What was the role of the 1893 Columbia Exhibit in popularizing film in Chicago and the rest of the country?

MGS: The World’s Fair of 1893 had an enormous influence on the developing film industry. There were several important prototypical movie-exhibition devices that premiered there—including Eadweard Muybridge’s Zoopraxiscope and Otto Anschutz’s Tachyscope. A lot of the early Chicago filmmakers went to the Fair and were inspired to start making films based on what they saw.

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Monday, March 23rd, 2015

Book Giveaway! “Flickering Empire”

This week our featured book is Flickering Empire: How Chicago Invented the U.S. Film Industry by Michael Glover Smith and Adam Selzer.

In addition to featuring the book and the author on the blog, we will also be posting about the book on twitter, and facebook.

We are also offering a FREE copy of Flickering Empire to one winner. To enter the contest please e-mail pl2164@columbia.edu and include your name and address. The winner will be selected Friday, March 27th at 1:00 pm.

Flickering Empire tells the fascinating yet little-known story of how Chicago served as the unlikely capital of American film production in the years before the rise of Hollywood (1907-1913). Flickering Empire illustrates the rise and fall of the major Chicago movie studios in the mid-silent era (principally Essanay and Selig Polyscope). Colorful, larger-than-life historical figures, including Thomas Edison, Charlie Chaplin, Oscar Micheaux, and Orson Welles, are major players in the narrative—in addition to important though forgotten industry titans, such as “Colonel” William Selig, George Spoor, and Gilbert “Broncho Billy” Anderson.

Friday, March 20th, 2015

A Genealogy of Morgan Stanley

Genealogy of American Finance

This week our featured book is Genealogy of American Finance, by Robert E. Wright and Richard Sylla, with a foreword from Charles M. Royce. Today, for the final day of the feature, we’ve excerpted a sample chapter focused on one of the Big 50: Morgan Stanley.

Don’t forget to enter our book giveaway for a chance to win a free copy!

Thursday, March 19th, 2015

Charles Royce’s Foreword to Genealogy of American Finance

Genealogy of American Finance

This week our featured book is Genealogy of American Finance, by Robert E. Wright and Richard Sylla. Today, we are happy to present Charles M. Royce’s foreword to Wright and Sylla’s book, in which Royce focuses on the importance of the Museum of American Finance both in the process of creating the Genealogy and in a broader cultural context.

Don’t forget to enter our book giveaway for a chance to win a free copy!

Foreword
By Charles M. Royce, CEO, The Royce Funds

I was introduced to the leadership of the Museum of American Finance through my friend and television personality, Consuelo Mack, who serves on the Museum’s Board of Trustees. During the course of my initial conversation with President David Cowen, I brought up an idea I have had for years, which is to trace the genealogies — or family trees — of the major American financial firms. I have been working in finance for more than 50 years and have witnessed first-hand many dramatic changes in the industry. So many firms that existed when I first began investing are no longer around.

Given that my firm looks for “value” in companies when we invest, I asked David if there was value in this idea. His response was that, indeed, this would be an invaluable research tool. This book is the first output of that discussion.

As the only independent finance museum in the nation, the Museum often fields calls from researchers inquiring about what happened to certain firms or banks — now defunct or acquired. Many times those questions have been difficult to answer. Moreover, the two main regulatory bodies, The Federal Reserve and the FDIC, do not have complete information and are, therefore, also unable to also answer those questions. According to the Museum’s exhibit team, an area of the “Banking in America” exhibit featuring an abridged genealogy of the Bank of America was the single largest piece of research that went into any section of the Museum’s permanent exhibits. This is largely because more than one hundred years’ worth of merger and acquisition data is so difficult to come by.

My conversations with David and the Museum team resulted in my commitment to underwrite a massive research project to compile these family trees and house them in a central location. It has taken well over a year of research — which included hundreds of hours of archival legwork — to compile these genealogies and make them publicly available.

I applaud Professors Wright and Sylla for their research and writing efforts, which have made this project a reality. As a Columbia University MBA, I am pleased to note that my alma mater has enthusiastically embraced this idea as well, and that this beautiful book has been produced by Columbia Business School Publishing.

Now, if the Museum receives a research inquiry about past financial firms, the staff is able to answer where that firm’s history fits into the modern financial landscape. Or, better yet, people can access the information themselves via this book or the Museum’s website.

This project sheds tremendous light into the dynamic nature of our nation’s financial history. One can never completely understand the future without a comprehension of the past. In an easy-to-read and understandable manner, this book gives a narrative history that is accessible to all — from the newcomer working at a bank to the finance professional, from the student to the scholar, from the practitioner to the regulator.

Please enjoy the book, as each chapter will transport you back in time to see the birth and growth of these 50 financial institutions.

Wednesday, March 18th, 2015

An Overview of the Big 50 Banks

Genealogy of American Finance

This week our featured book is Genealogy of American Finance, by Robert E. Wright and Richard Sylla, with a foreword from Charles M. Royce. Today, we’ve excerpted “Overview of the Big 50,” a set of infographics provided by Wright and Sylla that give context for their discussion of the Big 50 Banks.

Don’t forget to enter our book giveaway for a chance to win a free copy!

Tuesday, March 17th, 2015

A Brief History of Banking in the United States

Genealogy of American Finance

“To fully comprehend the history or genealogy of any bank or BHC, a general knowledge of US banking and business organizational history is required.” — Robert E. Wright and Richard Sylla

This week our featured book is Genealogy of American Finance, by Robert E. Wright and Richard Sylla, with a foreword from Charles M. Royce. Today, we are happy to present an excerpt from the book’s introduction, “A Brief History of Banking in the United States.”

Don’t forget to enter our book giveaway for a chance to win a free copy!

Monday, March 16th, 2015

Book Giveaway! Genealogy of American Finance, by Robert E. Wright and Richard Sylla

Genealogy of American Finance

Genealogy of American Finance is a treasure trove of information on American banking and its history, in an unusual — and unusually useful — format.” — John Steele Gordon

This week our featured book is Genealogy of American Finance, by Robert E. Wright and Richard Sylla, with a foreword from Charles M. Royce. Throughout the week, we will be featuring content about the book and its author on our blog as well as on our Twitter feed and our Facebook page.

We are also offering a FREE copy of Genealogy of American Finance. To enter our book giveaway, simply fill out the form below with your name and preferred mailing address. We will randomly select our winners on Friday, March 20th at 1:00 pm. Good luck, and spread the word!

Friday, March 13th, 2015

The Legacy of Eric Walrond: The Caribbean, Harlem, and Europe

Eric Walrond and Shirley Graham DuBois
(Shirley Graham Du Bois and Eric Walrond, Paris, 1930)

In the following excerpt from the postscript to Eric Walrond: A Life in the Harlem Renaissance and the Transatlantic Caribbean, James Davis explores some of the ways in which Walrond, and, specifically, his life spent moving from the Caribbean to the United States and then to Europe reflect questions of blackness and identity in today’s world:

One can see the ways in which Walrond’s world—the struggles and communities in which he participated—was a precursor to our own; it is more difficult to grasp its difference, its inscrutability, the possibilities that sprang into being but have since been foreclosed…. Even as we recognize in Eric Walrond incipient forms of familiar contemporary identities and communities, we should also consider the “historical mutilation” of the anticolonial struggles, transnational periodical formations, aesthetic movements, and political solidarities that animated Walrond’s work. We are ourselves the victims of their truncation. It may defy comprehension that a celebrated Harlem author would leave the United States, sabotaging his career at the height of the New Negro movement. It may seem unintelligible for a cosmopolitan Caribbean intellectual to spend twelve years as the only “Negro” in an English village….

Walrond forged a precarious career by crossing borders, none of which he crossed completely. From the “West Indian Circles” column of Pana­ma’s Star & Herald, to his work on Garvey’s journals in New York and London, to his Caribbean efforts at Opportunity and his Wiltshire essays about colonialism and the “colour bar,” his journalism was, like his fic­tion, an exercise in cultural translation. But borders are rarely neutral. They often presuppose or enforce privilege, and Walrond’s translations challenged the privileges attending the borders he crossed. Even within New York, the unofficial border he straddled between white and black Manhattan occasioned a Caribbean challenge to monolithic notions of Harlem’s blackness and a “Cabaret School” challenge to the prevailing discourse of respectability and “Negro” uplift. He benefited from his mobility and suffered for it, too.

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Wednesday, March 11th, 2015

Interview with James Davis, author of “Eric Walrond,” Part 2

James Davis, Eric Walrond

The following is the second half of our article with James Davis, author of Eric Walrond: A Life in the Harlem Renaissance and the Transatlantic Caribbean. You can read part 1 here.

Question: One of the more fascinating aspects of your biography are your descriptions of Walrond’s youth in Panama during the building of the canal. How did this episode shape Walrond and how does the Panama of this period fit in with the larger story of the Transatlantic Caribbean in the first half of the twentieth-century?

James Davis: Walrond described himself as “spiritually a native of Panama,” despite having spent his childhood in Guyana and Barbados. Panama during the construction of the Canal (1904-1914) was at once a new frontier for a United States eager to consolidate power in the hemisphere and an extraordinarily diverse contact zone in which laborers and their families from the entire Caribbean region converged. Panama attracted people from other parts of the world, to be sure, but economic precariousness in the Caribbean led to emigration in large numbers.

The U.S. occupation imported to the Canal Zone a Jim Crow form of racial segregation, which introduced an acute form of race consciousness many West Indians had not felt previously, despite living in European colonies with perceptible hierarchies of color. Walrond was among those for whom life in Panama compelled a new self-understanding as a West Indian (rather than, more parochially, a Barbadian, Jamaican, Trinidadian, etc.) and as a Negro. Recall that outside of the United States, the most successful branches of Marcus Garvey’s Universal Negro Improvement Association emerged in Panama, where the imprint of white command was stark, and in neighboring Costa Rica, where the United Fruit Corporation, a North American concern, effectively ran things. Despite segregation in the Canal Zone, however, Walrond was inspired by Panama’s tremendous ethnic diversity; it provoked the cultural tensions, collaborations, and hybridity that always intrigued him.

Q: Jumping ahead to later in Walrond’s life, is it fair to characterize his time in England as a letdown from the promise he showed as a writer during his time in Harlem?

JD: I struggled with this exact question while writing the biography. The record is clearly stacked against Walrond’s later career; he published much less after leaving the U.S. and didn’t publish another book, despite having composed several. It’s also hard to tell the story of someone who committed himself to a mental hospital for five years late in life as anything other than a tragedy. So from a certain empirical standpoint there’s no question that Walrond’s post-Harlem career was a letdown; he felt it acutely himself.

Nevertheless, the one-hit wonder label that affixed itself to Walrond distorts the real story. Very little of Walrond’s post-Harlem writing was available to readers until recently, with Louis Parascandola’s two collections, so any assessment of promise fulfilled or unfulfilled must attend to this work. Examining it closely, placing it in context, one realizes some things that complicate the idea that his career simply declined. First, although Tropic Death contains much of Walrond’s best fiction, some of the stories he wrote in England equal or surpass its quality, and some of his non-fiction prose in England definitely rivals his work for Negro World, Opportunity, and the mainstream publications for which he wrote in the mid-1920s. It just crackles with anti-colonial militancy and acerbic wit.

Second, we should recognize that while writing by non-white Americans was published in book form with increasing frequency after World War I, it would not be until the 1950s that writing by non-white Britons – or by colonial subjects in England – appeared in book form with any regularity. Exceptions occurred but they were few and far between. The real cultural action in black letters in England was in periodicals, and here Walrond was, if not prolific, then quite present. So I don’t dispute the idea that Walrond disappointed expectations, nor do I explain away his shortcomings, but I definitely revisit the criteria by which we judge matters of success and failure and offer a sustained analysis of what his later work represents when considered on its own terms.

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Tuesday, March 10th, 2015

An Interview with James Davis, Author of “Eric Walrond”

James Davis, author of Eric Walrond

The following is part 1 of our interview with James Davis, author of Eric Walrond: A Life in the Harlem Renaissance and the Transatlantic Caribbean

Question: As you describe in your book, Walrond was very much at the center of the Harlem Renaissance at the time but history has largely forgotten him at least until recently. What explains his disappearance?

James Davis: Walrond’s departure from the United States partly explains his disappearance. After 1929, he lived the rest of his life in France and England, and he did not make a great effort to maintain ties with the Harlem community. Several people who sought to contact him had trouble locating him, so there is a sense in which Walrond was responsible for his own obscurity.

He was also estranged from his family, so no one was taking care that papers and manuscripts were preserved. But there are other important factors. Remember, many writers we think of as prominent New Negroes were actually “rediscovered” after protracted neglect. The poet Countée Cullen was for much of the twentieth century not well known or admired, the novelist Nella Larsen sank into obscurity, the work of Claude McKay and Jean Toomer was neglected, as were the careers of several black women poets, and perhaps most famously, the extraordinary talent of Zora Neale Hurston was only recuperated through the efforts of Alice Walker and others. It was only a matter of time before someone reassessed Walrond’s career and writing, and in fact, that process really began in the 1980’s with Robert Bone, a scholar of African American literature. His efforts to collect Walrond’s essays, articles, and stories and to reconstruct his career led in turn to Louis Parascandola’s publication of two anthologies of Walrond’s writings.

Q: Likewise, why do you think there’s been a resurgence of interest evident not only by your book but by the recent reissue of Tropic Death?

JD: I think two overlapping developments contributed to the resurgence of interest. One is the so-called transnational turn in American studies, an effort to revise the way we talk about literary and cultural history by situating the U.S. in the context of the plural Americas. The effect of this shift has been pronounced with respect to accounts of the Harlem Renaissance, which by now everyone knows was never strictly a New York phenomenon anyway. U.S. scholars have written brilliantly in recent years on the Caribbean dimensions of the Harlem Renaissance, including Michelle Ann Stephens, Brent Edwards, Winston James, and Lara Putnam. As well, Caribbean literary studies has enjoyed a kind of renaissance of its own, not only in the U.S. but also and especially in the U.K. and the Caribbean itself. Because Walrond’s best-known work, Tropic Death, is set entirely in the Caribbean, where he was born and raised, an argument can be made for his place in the region’s rich literary history.

Q: How does Walrond’s life and writing change the way we think about the history and character of the Harlem Renaissance?

JD: Some of our conventional wisdom about the Harlem Renaissance is reinforced by Walrond’s life and writing, including the emphasis placed on racial pride and expressions of militancy and the faith in the arts as a vehicle for social change. But Walrond also challenges some received ideas about the era. His work reminds us, first of all, that nearly one-fourth of the population of black New York in the 1920s was foreign-born. This is a striking fact, since we tend to think of the Harlem Renaissance involving African American migration from the rural South to pursue economic opportunities up North, bringing their cultural practices to new urban contexts and transforming the race in the process.

Accurate as far as it goes, this is nevertheless an incomplete account of the people and forces that created black Harlem and shaped the “New Negro” movement. Even W.E.B. Du Bois, among the most astute chroniclers of black history, suppressed the Caribbean dimensions of the movement, not because he despised the foreign-born (in fact, he praised what he saw as the thrift and industry of West Indians), but because the political commitments of certain Caribbean newcomers were antithetical to the vision of race progress he formulated with the NAACP. These included Marcus Garvey, most famously, but also lesser-known Caribbean immigrants such as Hubert Harrison, W.A. Domingo, and Cyril Briggs, whose radical activism and writing departed from the ideals that Du Bois and others advocated. Both migrants and immigrants alike contributed to the “New Negro” movement, Walrond’s career reminds us, sometimes struggling over its principles and direction, but also yielding an extraordinary diversity of voices and political perspectives, some of which has been lost in the “domestication” of Harlem Renaissance history.

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Monday, March 9th, 2015

Book Giveaway! Eric Walrond, A New Biography of a Major Harlem Renaissance Figure

This week our featured book is Eric Walrond: A Life in the Harlem Renaissance and the Transatlantic Caribbean by James Davis.

In addition to featuring the book and the author on the blog, we will also be posting about the book on twitter, and facebook.

We are also offering a FREE copy of Eric Walrond to one winner. To enter the contest please e-mail pl2164@columbia.edu and include your name and address. The winner will be selected Friday, March 13th at 1:00 pm.

“Eric Walrond, handsome, cosmopolitan, and beguilingly enigmatic, may have been the most promising literary talent of the Harlem Renaissance…. James Davis’s finely written, beautifully paced Eric Walrond is a major biography of a fascinating figure, a triumph of archival sleuthing that reintroduces readers to almost everybody known to his peripatetic protagonist.”—David Levering Lewis, New York University

For more on the book, you can read an excerpt from the introduction:

Friday, March 6th, 2015

Jeffrey Sachs Discusses Sustainable Development at Columbia University

In the University Lecture (see below) delivered at Columbia University, Jeffrey Sachs, author of The Age of Sustainable Development, discusses sustainable development as an emerging scholarly discipline and as an urgent policy imperative, and describes the evolving role of universities and other social institutions in addressing these complex challenges:

Thursday, March 5th, 2015

Sustainable Development and the Future of the Planet — Jeffrey Sachs

Jeffrey Sachs, The Age of Sustainable Development

“Achieving sustainable development on our crowded, unequal, and degraded planet is the most important challenge facing our generation.”—Jeffrey Sachs

In the following excerpt from the introduction to The Age of Sustainable Development, Jeffrey Sachs outlines some of the core concepts of sustainable development and the role of governments and multinational corporations:

Thus we arrive at sustainable development. As an intellectual pursuit, sus­tainable development tries to make sense of the interactions of three complex systems: the world economy, the global society, and the Earth’s physical environ­ment. How does an economy of 7.2 billion people and $90 trillion gross world output change over time? What causes economic growth? Why does poverty per­sist? What happens when billions of people are suddenly interconnected through markets, technology, finance, and social networks? How does a global society of such inequality of income, wealth, and power function? Can the poor escape their fate? Can human trust and sympathy surmount the divisions of class and power? And what happens when the world economy is on a collision course with the physical environment? Is there a way to change course, a way to combine eco­nomic development with environmental sustainability?

Sustainable development is also a normative outlook on the world, meaning that it recommends a set of goals to which the world should aspire. The world’s nations will adopt Sustainable Development Goals (SDGs) precisely to help guide the future course of economic and social development on the planet. In this normative (or ethical) sense, sustainable development calls for a world in which economic progress is widespread; extreme poverty is eliminated; social trust is encouraged through policies that strengthen the community; and the environment is protected from human-induced degrada­tion. Notice that sustainable development recommends a holistic framework, in which society aims for economic, social, and environmental goals. Sometimes the following shorthand is used: SDGs call for socially inclusive and environmentally sustainable economic growth.

To achieve the economic, social, and environmental objectives of the SDGs, a fourth objective must also be achieved: good governance. Governments must carry out many core functions to enable societies to prosper. Among these core functions of government are the provision of social services such as health care and education; the provision of infrastructure such as roads, ports, and power; the protection of individuals from crime and violence; the promotion of basic sci­ence and new technologies; and the implementation of regulations to protect the environment. Of course, this list is just a brief subset of what people around the world hope for from their governments. In fact, all too often they get the reverse: corruption, war, and an absence of public services.

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Wednesday, March 4th, 2015

The Nation Interviews Jeffrey Sachs

Jeffrey Sachs, The Age of Sustainable Development

“I believe that a large majority of Americans know the score right now…. They know that we should move to renewables, but the Koch brothers have more power than all of them in the way that money moves our political system right now.”—Jeffrey Sachs

Below are excerpts from a recent interview with Jeffrey Sachs published in The Nation. In the interview, Sachs discusses many of the issues from his new book The Age of Sustainable Development, including the technical and and political challenges that must be addressed to ensure the success of capping carbon emissions and paving the way for sustainable development. He also focuses on the importance of the forthcoming summit in Paris of world leaders to negotiate a binding agreement to reduce global carbon emissions.

On the importance of China and the United States working together:

“It’s a real watershed in that the two big emitting countries said we’re going to sign an agreement next year in Paris. That’s very important. The substance of it is mixed. China, for example, said it will peak by 2030. It didn’t say peak at what level, and 2030 is, after all, sixteen years from now. That offer can and should be improved considerably. The US said that it will reduce emissions by around a quarter by 2025, also not a breakthrough. And the administration said that’s what can be done using EPA regulations, rather than trying to get something through this obstructionist Senate.

So is this sufficient? No. Is it an opening gambit? I hope so. If it’s the final story before Paris, it’s not good enough. But I don’t think it will be the final story.”

On the challenges for poorer, developing countries to be green:

“Poor countries need the incremental help to develop in a clean, green and resilient way. Those who can and should pay—because they’re so rich or because they’re emitting a lot of pollutants— should put up some of the resources that are absolutely vital for poor countries. Poor countries need to be able to manage both the ongoing changes of climate and to enable the mobilization of large-scale renewable energy. Climate finance, and the broader issue of development finance, is going to be on the table in Addis Ababa in July, and there are no shared concepts yet on this. It’s one of the most difficult and still unformed parts of the whole agenda.”

On the role of oil companies:

“I think at the end of the day, the world is going to want to save itself. And this kind of traditional behavior, which after all has been the way the oil industry has worked for the hundred forty years or so of the sector, has to change. And it will change, but how fast? Tobacco use is coming down, but so gradually that there’s huge loss of life and suffering that continues decades after the dangers were discovered. With fossil fuels, it is so slow it’s threatening the planet in fundamental ways, and the whole point is we’ve got to dramatically speed up.”

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Tuesday, March 3rd, 2015

Jeffrey Sachs Discusses “The Age of Sustainable Development” on “Morning Joe”

In the following video form Morning Joe, Jeffrey Sachs discusses a wide range of subjects, including his new book The Age of Sustainable Development, the threat of climate change, the dangers of over-population, the growing importance of infrastructure for our cities, what individuals can do regarding sustainability, and what the killing of Boris Nemtsov means for Russia: