Shelf Documents

The Self on the Shelf examines the cultural and philosophical determinants of popular “recovery” books. Greenberg argues that this literature can be read as documents of the prevailing understanding of the self in American society. The construction of the self promoted by recovery literature is seen as a nihilistic one insofar as it denies the significance of what continental philosophy calls the Other. In this sense the self-help books are correct in their assertion that we have lost sight of how to love, but their proposed solution shows up as a recapitulation and strengthening of the conditions that gave rise to this situation in the first place. Greenberg’s critique provides a commentary on the difficulties that face our culture in achieving any sense of meaningful community, and on the way that this problem surfaces in a highly popular discourse.

Sue Polanka brings together a variety of professionals to share their expertise about e-books with librarians and publishers. Providing forward-thinking ideas while remaining grounded in practical information that can be implemented in all kinds of libraries, the topics explored include an introduction to e-books and their different types, an overview of their history and development, e-book technology, why e-books are good for learning, and how librarians can market them to a wide range of users.--[back cover]

On the work of three contemporary artist's-book publishers who have developed fresh ways of broaching politics in publishing This book documents Publishing as Practice, a residency at Ulises--a curatorial platform based in Philadelphia--that explores publishing as an incubator for new forms of editorial, curatorial and artistic practice. Over the course of two years, three publishers activated Ulises as an exhibition space and public programming hub, engaging the public through workshops, discussions and projects. Residents included Hardworking Goodlooking, the publishing arm of Philippines-based, social-practice platform The Office of Culture and Design; Dominica, an imprint run by Martine Syms dedicated to exploring Blackness as a topic, reference, marker and audience in visual culture; and Bidoun, a non-profit organization focused on art and culture from the Middle East and its diasporas. The book features a preface by David Senior, an essay by Gee Wesley and Ulises Carrión's 1975 publishing manifesto "The New Art of Making Books," alongside documentation of the works produced.