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R 305.00
House of Nutter
A wildly entertaining biography of the British fashion designer who set the trends for rock royalty from the Beatles to Mick Jagger to Elton John.Tommy Nutter was a visionary tailor in the bespoke tradition who dressed everybody from Lord Montagu of Beaulieu to Twiggy, who outfitteds three of the Beatles for the cover of Abbey Road (George Harrison preferred jeans), who put Mick Jagger in a white suit for his wedding to Bianca and who dressed Elton John for years, using the singer as his muse for his signature outrageous style. Nutter was alluring for his ambiguity -- a chameleon who could rub shoulders with Princess Margaret and then dance with the drag queens at Last Resort -- and his clothes were the physical expression of a sharp, audacious wit.House of Nutter charts Tommy Nutter’s dramatic career that spanned barely 23 years, ending in 1992 with his untimely death. It is a history of London during an era of economic and cultural upheaval, a celebration of the methods and traditions of Savile Row; and an elegy for what was lost during the worst days of the HIV/AIDS epidemic. With archival access to photos, letters and interviews from Tommy Nutter's sole living relative, his brother, David, Lance Richardson takes us behind the '70s glamour to explore the public face and private life of one of Britain's most respected yet rule-breaking bespoke clothiers and the celebrities he dressed.
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Curator of Silence
The title poem—about a group of schoolchildren illustrating Shelley's "Ode to a Skylark"—ends with the following assertion: "these are the only / lessons they will ever need to learn: that life / is not artifact, but aperture—a stepping into / and a falling away; that to sing is to rise / from the grave of the body. And still / say less than nothing." This idea of the aperture, the gap, the silence that exists between what we want to say and what we actually do say pervades The Curator of Silence. The paradox, of course, is that the creation of art itself makes this gap, as there is always a gulf between the impulse and the gesture, the vision and the poem. Nutter's experience of living for two months in the Antarctic, perhaps the greatest silence and solitude possible on earth, is the archetype of silence whose many dimensions she explores in this volume. She considers both literal, obvious silences—death, abandonment, loneliness, the silence into which lost things vanish—and silences of a more mysterious and paradoxical nature: the (mis)perceptions of childhood, the erasures of addiction and brain damage, the isolation of Antarctic explorers, and the seemingly distant, and often fearsome, lives of animals. In the end, this great silence we batter our hearts against—call it the grave or god or the universe or the intimate silence of the white page—is the silence these poems are singing to and with, not against.
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Curator of Silence
The title poem—about a group of schoolchildren illustrating Shelley's "Ode to a Skylark"—ends with the following assertion: "these are the only / lessons they will ever need to learn: that life / is not artifact, but aperture—a stepping into / and a falling away; that to sing is to rise / from the grave of the body. And still / say less than nothing." This idea of the aperture, the gap, the silence that exists between what we want to say and what we actually do say pervades The Curator of Silence. The paradox, of course, is that the creation of art itself makes this gap, as there is always a gulf between the impulse and the gesture, the vision and the poem. Nutter's experience of living for two months in the Antarctic, perhaps the greatest silence and solitude possible on earth, is the archetype of silence whose many dimensions she explores in this volume. She considers both literal, obvious silences—death, abandonment, loneliness, the silence into which lost things vanish—and silences of a more mysterious and paradoxical nature: the (mis)perceptions of childhood, the erasures of addiction and brain damage, the isolation of Antarctic explorers, and the seemingly distant, and often fearsome, lives of animals. In the end, this great silence we batter our hearts against—call it the grave or god or the universe or the intimate silence of the white page—is the silence these poems are singing to and with, not against.
R 661.00
R 621.00
I Wish I Had a Heart Like Yours, Walt Whitman
In "Return of the Heroes," Walt Whitman refers to the casualties of the American Civil War: "the dead to me mar not. . . . / they fit very well in the landscape under the trees and grass. . . ." In her new poetry collection, Jude Nutter challenges Whitman's statement by exploring her own responses to war and conflict and, in a voice by turns rueful, dolorous, and imagistic, reveals why she cannot agree. Nutter, who was born in England and grew up in Germany, has a visceral sense of history as a constant, violent companion. Drawing on a range of locales and historical moments—among them Rwanda, Sarajevo, Nagasaki, and both world wars—she replays the confrontation of personal history colliding with history as a social, political, and cultural force. In many of the poems, this confrontation is understood through the shift from childhood innocence and magical thinking to adult awareness and guilt. Nutter responds to Whitman from another perspective as well. It was Whitman who wrote that he could live with animals because, among other things, they are placid, self-contained, and guiltless. As counterpoint, Nutter weaves a series of animal poems—a kind of personal bestiary—throughout the collection that reveals the tragedy and violence also inherent in the lives of animals. Here, as in much of Nutter's previous work, the boundaries between the animal and human worlds are permeable; the urgent voice of the poet insists we recognize that "Even from a distance, suffering / is suffering." Here is both acknowledgment and challenge: distance may be measured in terms of time, culture, or place, or it may be caused by the gap between animals and humans, but it is our responsibility to speak against atrocity and bloodshed, however voiceless we may feel.
R 525.00
Mayor
In 2007, after serving almost fifteen years on the Philadelphia City Council, Michael A. Nutter became the ninety-eighth mayor of his hometown of Philadelphia. From the time he was sworn in until he left office in 2016, there were triumphs and challenges, from the mundane to the unexpected, from snow removal, trash collection, and drinkable water, to the Phillies' World Series win, Hurricane Irene, Occupy Philadelphia, and the Papal visit. By the end of Nutter's tenure, homicides were at an almost fifty-year low, high-school graduation and college-degree attainment rates increased significantly, and Philadelphia's population had grown every year. Nutter also recruited businesses to open in Philadelphia, motivating them through tax reforms, improved services, and international trade missions.Mayor begins with Nutter's early days in politics and ultimate run for mayor, when he formed a coalition from a base of support that set the stage for a successful term. Transitioning from campaigning to governing, Nutter shares his vast store of examples to depict the skills that enable a city politician to lead effectively and illustrates how problem-solving pragmatism is essential for success. With a proven track record of making things work, Nutter asserts that mayoring promises more satisfaction and more potential achievements—for not only the mayor but also the governed—than our fractious political system would have us believe.Detailing the important tasks that mayoral administrations do, Nutter tells the compelling story of a dedicated staff working together to affect positively the lives of the people of Philadelphia every day. His anecdotes, advice, and insights will excite and interest anyone with a desire to understand municipal government.
R 798.00
Barnbow Canaries
As the Great War gathers pace, Agnes and her sister Edith revel in their new-found independence and prosperity as Barnbow lasses. Not only does their danger money buy them a new life of confidence, men, work and politics but the thrill of a new future, full of fun, friendship and freedom. In the wake of the catastrophic 1916 explosion, the women discover the true cost of the cry for ‘More Shells!’ Alice Nutter (My Generation) brings her unique voice to this incredible story of Yorkshire grit, determination and solidarity, marking 100 years since the largest ever single loss of life in the history of Leeds.
R 548.00
I Wish I Had a Heart Like Yours, Walt Whitman
In "Return of the Heroes," Walt Whitman refers to the casualties of the American Civil War: "the dead to me mar not. . . . / they fit very well in the landscape under the trees and grass. . . ." In her new poetry collection, Jude Nutter challenges Whitman's statement by exploring her own responses to war and conflict and, in a voice by turns rueful, dolorous, and imagistic, reveals why she cannot agree. Nutter, who was born in England and grew up in Germany, has a visceral sense of history as a constant, violent companion. Drawing on a range of locales and historical moments—among them Rwanda, Sarajevo, Nagasaki, and both world wars—she replays the confrontation of personal history colliding with history as a social, political, and cultural force. In many of the poems, this confrontation is understood through the shift from childhood innocence and magical thinking to adult awareness and guilt. Nutter responds to Whitman from another perspective as well. It was Whitman who wrote that he could live with animals because, among other things, they are placid, self-contained, and guiltless. As counterpoint, Nutter weaves a series of animal poems—a kind of personal bestiary—throughout the collection that reveals the tragedy and violence also inherent in the lives of animals. Here, as in much of Nutter's previous work, the boundaries between the animal and human worlds are permeable; the urgent voice of the poet insists we recognize that "Even from a distance, suffering / is suffering." Here is both acknowledgment and challenge: distance may be measured in terms of time, culture, or place, or it may be caused by the gap between animals and humans, but it is our responsibility to speak against atrocity and bloodshed, however voiceless we may feel.
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