Arts & Humanities

Diaries have long been valuable sources of information about people and their lives. Combining excerpts from the diary of Countess Sophia Tolstoy, wife of Lev Tolstoy, with 120 photographs the countess took of her world between 1885 and 1910, this work documents the couple's lives during a time of great change in Russia. It also presents a look into the psyche of a woman who devoted herself to a man whose values and beliefs were different from her own. Following a foreword by their great-great-grandson, Vladimir I. Tolstoy, Sophia's black-and-white photographs not only document the couple's life together but also illustrate a talent that in other circumstances and times might have earned Sophia success in her own right. The essays by Bendavid-Val (director of photography publishing, National Geographic Bks; Changing Reality: Recent Soviet Photography) complement and elaborate on the diary excerpts and photographs. Recommended for public, academic, and special libraries. [Photographs from the book are showing through December 2007 at the Katzen Arts Center of American University in Washington, DC.—Ed.]—Karen MacMurray, South Piedmont Community Coll. Lib., Polkton, NC

Lavishly illustrated with more than 100 strikingly original color photographs, this large-format monograph commissioned by the George Eastman House offers fascinating glimpses into the everyday lives of the people of Wilkes-Barre, PA, a coalmining community north of Philadelphia and photographer Cohen's (Grim Street) hometown. Cohen presents informal portraits of individuals and small groups, an occasional still life of a shop window, and other details of the local street scene. Individually, most of his images are powerful, often gritty character studies of people young and old; taken as a whole, they provide an engaging study of a single community in transition. This wryly titled book's softly focused, often slightly blurred images offer an intriguing view of a community in a style usually achieved with black-and-white film. Photo critic Vince Aletti writes a brief yet lively introduction. Highly recommended for photography and art collections in public and academic libraries.—Raymond Bial, First Light Photography, Urbana, IL

Ancient Greek art from the north coast of the Black Sea isn't well known because much of it is in Russian collections and is rarely exhibited outside that country. This catalog should help remedy the problem, as it documents 175 objects from the State Hermitage Museum in St. Petersburg that were recently on display at the J. Paul Getty Museum in Los Angeles. Edited and written by Trofimova (head, Hermitage department of classical antiquities) with contributions from 14 curators from the State Hermitage Museum, it comprises ten essays and a catalog describing and documenting each object. Nearly 300 mostly color photos illustrate a sumptuous array of pottery, sculpture, gold, and jewelry; there are also maps of Greece and the Black Sea region, a glossary, a bibliography, and a list of contributors to the exhibition. Although this catalog will be of greatest interest to scholars of ancient civilizations, its essays are readable, and the objects it features will appeal to anyone who appreciates beautifully crafted work. Recommended for academic libraries.—Martha Smith, Elmira Coll. Lib., NY

Dean Charles W. Moore started the Yale Building Project of the Yale University School of Architecture in 1966 to give architecture students experience in real building construction. Forty years later, the project is still going strong, having succeeded many times over in its initial goal of leaving behind a legacy of community-based buildings—among them, a passel of low-cost housing in New Haven, CT; numerous public-park buildings throughout the state; and some low-cost structures in rural Appalachia in the 1960s. Hayes (Yale Sch. of Architecture) pays tribute to this egalitarian and eleemosynary undertaking of the Sixties that was widely imitated but never surpassed at many other architecture schools around the nation. Each building project is summarized in four to five pages of descriptive prose and color photographs; there are also interviews with key figures and a lengthy historical account of this unique experiment in the annals of elite higher education. A Who's Who of American architecture over the past half century; recommended.—Peter S. Kaufman, Boston Architectural Coll.

Best known for their comprehensive renovation of Berlin's central railway station and far less celebrated than their peers Rem Koolhaas, Jean Nouvel, and Christian de Portzamparc, Meinhard von Gerkan and Volkwin Marg have been practicing in Hamburg since the mid-1960s. Their relative obscurity stems perhaps from their focus on buildings for transportation and their insistent stylistic stance in European modernism. Here, Hamburg-based writer and architect Kähler catalogs more than 200 of their projects in irregular groupings of years over the span of their firm's 40-year existence. Each entry identifies the design partner (rarely disclosed in this country), the client, the construction period, and the dimensions or square footage. One-paragraph descriptions—dryly but correctly translated into English—are accompanied by several high-quality black-and-white photographs (superior to the less prevalent color shots) and all-too infrequent plans and sections. The firm displays a remarkable ability to sustain a chaste, northern European modernism that is free of ornament, lucid in its structural expression, and precise in its taut details while referring in form to iconic designs by Le Corbusier, Alvar Aalto, Aldo Rossi, and Walter Gropius. Recommended for larger architecture collections.—Paul Glassman, Pratt Inst. Libs., Brooklyn, NY

In 2005, one of the greatest private collections of traditional African art, assembled by Paul and Ruth Tishman and purchased by the Disney Corporation, was donated to the Smithsonian Institution's National Museum of African Art in Washington, DC. This is the catalog for the collection's first public presentation in 20 years. As curator Kreamer emphasizes, the 90 pieces herein, which date from the 15th to the 20th centuries and represent the work of 75 people from 20 countries, have become "icons" to those who study and appreciate African sculpture, as they have been featured in many of the most important exhibitions and publications on the subject. Each object is showcased in an exquisite full-page color photograph and includes an extensive descriptive entry. Kreamer's text on the history of the collection, its role in the study of African art, and her overview of African art history are written in a clear style, with a minimum of academic jargon. Bryna Freyer and Andrea Nicolls, also curators at the museum, and Martin Sklar (vice chairman & principal creative executive, Walt Disney Imagineering) contribute. Highly recommended for any library with an interest in art.—Eugene C. Burt, Seattle

Roger Hilton is today considered one of Britain's pioneer abstract artists, though he was thought a controversial figure in the art world in his day. In Part 1, Lambirth (art critic, the Spectator; Maggi Hambling: The Works) traces Hilton's life in London from 1911 to 1955: his early family life, his student years in Paris, and his time in military service. In Part 2, he discusses Hilton's life and work in Cornwall through his death in 1975. Early on, Hilton developed a defined style, which by the 1950s had become what he called "semi-figurative expressionism." By the 1960s, his work was more widely known, and he was recognized as a major artistic figure. Lambirth examines Hilton's odd personal life and his growing dependence on alcohol. The volume is rich in illustrations (230, most in color) of Hilton's quality work from all stages of his career that clearly demonstrate the evolution of his style. Though carefully researched and easy to read, the work would have benefited from citations indicating the sources of Lambirth's quotations and other information; also, the index is much too short to be of any real use. Nevertheless, this is an important study of a leading British artist that belongs in every art library.—Martin Chasin, Adult Inst., Bridgeport, CT

Alan Lapidus is the son of Morris Lapidus, the mid-20th-century architect of Miami's famed Fontainebleau Hotel and New York City's ill-famed Palais Royale nightclub. Upon graduating from Columbia Architecture School in 1963, the author largely followed in his father's footsteps, working for such clients as Donald Trump (Trump Plaza Hotel & Casino, Atlantic City), Michael Eisner (Disney World, Orlando), and Jimmy Hill (Caesar's Palace, Las Vegas). This earnest, entertaining, even-handed, and eventful memoir about a fairly successful career in commercial architecture, which can't really be compared to any other book on the market, should appeal to student architects and designers who want to learn the lowdown on their careers. Lapidus worked first for his father, then on his own in New York City, and like Frank Sinatra, he did it his way. This account, and Lapidus's life, complement our commercial culture.—Peter S. Kaufman, Boston Architectural Coll.

The Victoria and Albert Museum (V&A) in London has been historically positioned to acquire a broad collection of the best works of art from many epochs, but their holdings in medieval and Renaissance art are especially exquisite. In this catalog accompanying a traveling exhibition (through May 2009; the collection will also be installed in new galleries opening at the V&A in September 2009), editors Williamson and Motture, both with V&A, provide a small but mighty overview of the time period and discuss how status, piety, devotion, and the secular world have affected the creation and dissemination of the art objects themselves. They also explore history's shaping of art collection/acquisition as well as specific happenings relating to medieval and Renaissance art, e.g., how and why two panels of a diptych might have been separated. After the essays, each page presents an exemplary art object and a short discussion speaking to the piece's importance and significance to the study of the art of the Middle Ages. A delightful and brief overview of the era's art, with a sumptuous dust jacket and 70 full-color illustrations, this catalog is well suited as a gift; recommended for purchase only to libraries having an interest.—Nadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, OH

Hopi and Pueblo tiles are flat clay plaques that are shaped, painted, and fired by these Arizonan and New Mexican tribes' members for sale to tourists and collectors. The art originated in the 1880s at the urging of non-American Indian Thomas Keam, who ran a trading post in northern Arizona. This slim paperback by mother-and-daughter collectors recounts the history of these tiles in somewhat clunky prose. It also provides basic information about the technical aspects of tile production, notes prominent tilemakers, and offers advice on buying tiles. More than 80 tiles are reproduced, as are historical and contemporary photographs of tilemakers and display sites. As the first book to focus exclusively on Hopi and Pueblo tiles, this can fill a niche for library collections in the Southwest and for those focusing on decorative arts or Native American culture.—Kathryn Wekselman, MLn, Cincinnati

In his foreword to this catalog of an exhibition showing at Washington State's Tacoma Art Museum (through 1/6/08) and the Pennsylvania Academy of the Fine Arts (through 4/13/08), Michael E. Shapiro (director, High Museum of Art, Atlanta) observes that since her death in 1942, Beaux's reputation has been eclipsed by more 'modern' women artists, such as her fellow Pennsylvania Academy of the Fine Arts alumna Mary Cassatt and Georgia O'Keeffe." In her lifetime, Beaux's work was often compared to that of John Singer Sargent, and the 87 color plates and many other black-and-white and color illustrations here will bear out the comparison: both artists painted memorable and virtuosic portraits of the social elite. Yount (curator, High Museum), Kevin Sharp (visual arts, Cedarhurst Ctr. for the Arts, IL), Nina Auerbach (history & literature, Univ. of Pennsylvania), and Mark Bockrath (paintings conservator, Barbara A. Buckley & Associates, West Chester, PA) examine Beaux's most acclaimed works in the context of her public profile and social sphere, the rise of American portraiture in the 1900s, and the distinctive frames Beaux used to present her art to her public. A beautiful and intriguing study; highly recommended for public and academic libraries.—Marcia Welsh, Dartmouth Coll. Libs., Hanover, NH

A digressive series of hysterical letters to Oprah Winfrey sets the familiar yet frenzied tone of this essay collection. Through autobiographical anecdotes, New York Times best-selling author Almond takes us on a coast-to-coast tour of American pop culture. His talent for writing short stories (e.g., "My Life in Heavy Metal"; "The Evil B.B. Chow") is fueled by an obsessive-compulsive passion for truth (e.g., Candyfreak: A Journey Through the Chocolate Underbelly of America). Whether describing the backlash of a politically motivated open letter of resignation from Boston College (published in the Boston Globe) or analyzing the life of an Internet blogger in a somewhat Freudian fashion (an essay first published on Salon.com), he exposes the absurd realities of modern society. High levels of uncensored wit and wisdom—e.g., an in-depth comparison of Republican politics to Dante's Inferno—will incite riotous laughter in some while tempting to incite real riots among the politically conservative. Almond is leading a life as interesting and entertaining to read about as are the lives of fellow pop-lit contemporaries Dave Eggers and David Sedaris. Highly recommended for public and academic libraries. [See Prepub Alert, LJ 5/1/07.]—David L. Reynolds, Cleveland P.L.

The Atlantic Monthly observes its 150th birthday in November, which makes it one of the oldest continuously published magazines in the United States. In his introduction to this anniversary collection, editor-at-large Vare suggests that the magazine's enduring success and position in American letters can be traced to its founding writers (e.g., Ralph Waldo Emerson, Henry Wadsworth Longfellow) and, particularly, to its first editor, James Russell Lowell. These 75 articles, essays, stories, and poems amount to a Who's Who of the last 150 years of writers, thinkers, and artists: e.g., Nathaniel Hawthorne, Edith Wharton, Wallace Stevens, and Sylvia Plath. They well reflect the Atlantic's emphasis on covering large-scale, long-lasting, and sometimes controversial issues of American culture. "Firsts" collects breakthrough pieces that have changed popular perceptions; "States of War" addresses armed conflicts in American history; and "Controversies" features articles that have taken a stand on issues of the day. Other sections deal with the issues of race and the environment, collect memorable humor writing and narrative nonfiction, and speak to our national identity and role in the world. Vare has culled pieces of such profound literary merit or strong, long-term impact as to make this an outstanding purchase for any academic or public library. [See Prepub Alert, LJ 6/1/07.]—Paul D'Alessandro, Portland P.L., ME

Positive responses to Golley's (English, critical theory & women's studies, American Univ. of Sharjah) first anthology, Reading Arab Women's Autobiographies: Shahrazad Tells Her Story (2003), led to the creation of the current work. Golley and contributing artists, scholars, and educators dispel the myth of the sequestered Arab woman veiled in seclusion and lacking autonomy. In several essays, they examine the autobiographical writing of contemporary Muslim women from Egypt, Algeria, Morocco, Afghanistan, Palestine, and Jordan, many of whom now live as immigrants in the United States. Four main themes are found to dominate the writing: cultural dichotomy, transnationalism, communal identity, and personal vs. political expression. In two of the most compelling chapters, Mireille Astore explains the sources for her intensely physical photography, while Mohja Kahf and Suheir Hammad astutely describe through their poetry conflicts between Muslim and white American cultures. Other featured notable writers include Nawal el-Saadawi, Assia Djebar, and Ahdaf Soueif. With an inexhaustible list of references; recommended for academic libraries.—Nedra Crowe-Evers, Sonoma Cty. Lib., CA

Serious readers of Marcel Proust are aware of how close the writer was to his mother. Now, through Bloch-Dano's (Marcel Proust: A Life) touching biography of Jeanne Weil Proust, translated by National Book Award nominee Kaplan (The Collaborator: The Trial and Execution of Robert Brasillach), his many fans can better understand that closeness. Born to a prominent German Jewish family, Jeanne Clémence Weil married Adrien Proust, the physician son of a Catholic grocer, in 1870. Like other French Jewish intellectuals of the time, she was determined to blend into French society and break her ties to religious Judaism; she raised her two sons, Marcel and Robert, as Catholics. Jeanne knew that sickly Marcel's salvation lay in his writing regularly, so she nurtured her son's self-discipline, which compelled him to complete years later his multivolume masterpiece, In Search of Lost Time, even as he lay dying. Proust's father died in 1903, and Jeanne never recovered, herself dying two years later. Marcel's own descent into hell, from pneumonia, also lasted two years. Bloch-Dano's splendid book offers great insight into this loving pair and illustrates Jeanne's influence on her son as a writer. Highly recommended to those interested in Proust and 20th-century French literature.—Bob Ivey, Univ. of Memphis

For more than 50 years, Charlie Brown, Snoopy, and the Peanuts gang have entertained readers in the United States and throughout the world, appearing in newspapers, books, and films. Even following the death in 2000 of their creator, Charles M. Schulz, many newspapers continue to run the 17,897 comic strips he produced. But few people know anything about the creative genius himself, a man who lived through the Great Depression, World War II, and the postwar period. An intensely private man, Schulz told people that to read his comic strips was to know him; in fact, that would only tell them part of the story. In this painstakingly and thoroughly researched biography, Michaelis (N.C. Wyeth: A Biography) brings to light and allows readers to reimagine the life of one of the most celebrated artists of the 20th century. Strategically interspersing 240 of Schulz's comic strips throughout the text, he demonstrates how much of Schulz's art reflected his life and develops a clearer picture of this extraordinary American. Recommended for all public and academic libraries. [On Oct. 29, in its first American Masters tribute to a comic book artist, PBS will air a feature-length documentary about Schulz.—Ed.].—Mark Alan Williams, Library of Congress

This workmanlike volume on prominent contemporary Irish poet Micheal O'Siadhail contains essays by leading Irish, English, and American scholars. It is, as one might expect, largely a work of literary criticism, but it also includes a few novelties, e.g., an essay on the painting of O'Siadhail's portrait (reproduced on the dust jacket) and the musical setting for one of his poems. There is also a biographical essay and a bibliography of works by and about O'Siadhail, whose major themes—married love, the Holocaust, jazz—the text examines in depth. The contributors pay particular attention to O'Siadhail's The Gossamer Wall (2002), which deals with the Holocaust. The question is unresolved as to whether a gentile writer from a country uninvolved in the Shoah can rightfully speak to this topic, but generally, the essayists find in O'Siadhail's favor. While none of the essays is revelatory in and of themselves, they cumulatively create an understanding of this poet's work and life. Recommended for contemporary poetry collections and certainly for any library having O'Siadhail's poetic works.—Amy K. Weiss, Univ. of California, Santa Barbara

Journalist Patton (African American & U.S. history, Montclair State Univ.) serves up a riveting tale of anguish and ultimate triumph in this victim's account of a torturous childhood that is a testimony to the power of perseverance. In painstaking detail, she describes her fate and the brutality of those who perpetrated unspeakable cruelty against her. Her powerful story is, however, persistently haunted by an imposed analysis it could have done without. True, the sad tale of an abused child helpless before her adoptive parents and a system that failed her is a compelling one. But Patton evokes a parallel narrative in her explication of her experience: that of African American slavery and its legacy. It is an unfortunate parallel, constantly present, explaining away every incomprehensible deed and human frailty. The story is nonetheless touching and instructive; the style, penetrating and effective enough to warrant adult readers' time and attention. The language is shocking at times, though the shock is always intended. Recommended for large public libraries.—Edward K. Owusu-Ansah, Kingsborough Community Coll. Lib., CUNY

Pollitt (Virginity or Death!) is unconcerned with making friends: some of her comments, particularly on the subjects of abortion and religion, will anger members of the conservative right. But a close reading of these 11 nonfiction pieces executed with fiercely poetic language and brilliantly placed sarcasm reveals a highly inquisitive and independent voice. Pollitt divvies out clever observations of American culture along with honest moments of self-examination. In "Webstalker," she frankly and humorously describes her voyeuristic obsession with her former partner. Another comical yet endearing essay, "In the Study Group," portrays various members of a Marxist study group. Pollitt writes movingly of her father in "Good-bye, Lenin" and of her mother in "Mrs. Razzmatazz." In the final entry, "I Let Myself Go," she questions how some feminists equate plastic surgery with women's freedom. In one of the collection's most poignant moments, Pollitt describes a black-and-white photograph of writer Iris Murdoch's wonderfully wrinkled and asymmetrical face. Highly recommended for academic and public libraries. [The New Yorker will feature the first serial.—Ed.]—Stacy Russo, Chapman Univ. Libs., Orange, CA

This compilation of essays by nine prominent Shakespeare scholars includes a catalog of a recent exhibition at the Folger Shakespeare Library in Washington, DC, celebrating the library's 75th anniversary. Text and illustrations highlight the richness of the Folger collection, which informed most of the essays. Each essay examines an aspect of America's interest in Shakespeare from the Colonial era and illustrates Shakespeare's continuing influence on American popular culture. Topics include American Shakespeare films, black Shakespeare productions, and Shakespeare's influence on the American musical; a special piece focuses on Shakespeare-dedicated scrapbooks. The catalog includes 88 color illustrations as well as brief descriptions of each item in the exhibit. Several other texts cover Shakespeare's influence on American life—e.g., Kim C. Sturgess's Shakespeare in the American Nation—but none is as closely tied to the physical evidence of his influence. Recommended for public and academic libraries. [The Folger Shakespeare Library has also produced a three-hour NPR documentary and a web site (www.shakespeareinamericanlife.org/) in conjunction with the exhibit and book.—Ed.]—Shana C. Fair, Ohio Univ. Lib., Zanesville

This stunning little book by Williamson, best known as a novelist (East Bay Grease; Two-Up), is part memoir, part literary criticism, and part social critique. The author uncannily shares a number of biographical facts in common with writer Jack London (1876–1916)—he grew up in Oakland, CA, blocks away from London's own neighborhood, worked similarly menial jobs, and also became a writer as a means of escaping the poverty and deprivation of his early life. Because of their parallel backgrounds, Williamson reads London differently than do other literary critics. While most critics see London's work and philosophy as full of irreconcilable contradictions, Williamson explains them as both a product of his background and a hallmark of his genius. In his process of explicating London, Williamson also manages to critique the elitism of higher education, literary circles, and the established canon, all in exceedingly clear and accessible writing. Highly recommended for academic and public libraries.—Alison M. Lewis, Drexel Univ. Lib., Philadelphia

In Hollywood's heyday, studio bosses were on an endless quest to spot, groom, and pamper actors who could be molded into profitable commodities. Basinger (film studies, Wesleyan Univ.; Silent Stars), a well-known film historian and commentator, describes how the old dream factories of the 1930s–50s worked, what was needed to separate stars from character actors and contract players, and the steep price some paid for their fame. The bulk of the book consists of appreciations of stars as widely varied as Eleanor Powell, Deanna Durbin, Loretta Young, and Norma Shearer. Star making was an evolutionary process, and Basinger shows how actors were shaped for changing public tastes, including the girl next door image of June Allyson and such curiosities as the Latina Carmen Miranda. Most of the profiles offer insight about the individuals, but there is little new material on familiar figures like Tyrone Power, Lana Turner, or Errol Flynn. Basinger ends with an appraisal of how today's crop of film celebrities differ from the creations of Hollywood's golden age. Overlong at points, this is still a good choice for public library browsing collections.—Stephen Rees, Levittown Lib., PA

Fans of the legendary Broadway star Ethel Merman will be delighted with these two biographies. Merman's own autobiographies (Merman and Who Could Ask for Anything More?) are fun to read and offer plenty of Broadway dish, but serious biographies have been past due. Flinn (women's studies, Univ. of Arizona; The New German Cinema) and Kellow (The Bennetts: An Acting Family) bring her to life and tellingly reveal her enormous achievements and talent. While it's clear that Merman had her share of human frailties, each author finds her to be sympathetic as a woman, mother, wife, and performer, and each clearly holds her in the highest regard for her place in theatrical and film history. Flinn's academic training and scholarly approach are illustrated in the amount of information and detail she includes. For example, comparing the indexes, Kellow lists, as does Flinn, all of Merman's performances and the musical numbers she sang; however, Flinn includes all the musical numbers sung by all the other performers in her shows and a six-page discography. Flinn's notes, which include archival resources and interviews, take up 52 pages; Kellow's run 22 pages and are not as broad in scope. Flinn's access to the multivolume scrapbook collection created by Merman's father over his lifetime, which Kellow does not mention, surely gave her an enormous amount of detailed information. Public libraries will find Kellow's book an excellent and enjoyable resource; all academic libraries and public libraries with theater collections will want both of these titles. (Photographs and indexes not available at the time of review.)—Susan L. Peters, Univ. of Texas, Galveston

This eclectic collection brought together by Weisbard (ed., This Is Pop) from several years of presentations at the Experience Music Project Pop Conference treats a wide variety of topics relating to popular music, including vaudeville, Jewish assimilation, African and Latin contributions to rhythms, Delta blues, punk rock, rap, and electronics. The contributors display subject expertise, and the writing is generally accessible and full of felicitous turns of phrase that belie the rather abstruse introduction. Evocative juxtapositions include philosopher Hannah Arendt with the Marx brothers and singer-songwriter Bobbie Gentry with cultural critic Camille Paglia. The explorations of specific, well-known figures such as Roberta Flack and of iconic songs resonate more strongly than discussions of more obscure subjects like the little-remembered collegiate rebel Buddy Holocaust or Cleveland television personality Ghoulardi. A consistent theme and integrated whole as well as smooth transitions are missing, but this reinforces popular music's many guises. Recommended for academic and music collections that include studies of popular musics of the 20th century and beyond.—Barry Zaslow, Miami Univ. Libs., Oxford, OH

American theater historian McArthur (history, Southern Adventist Baptist Univ.; Actors and American Culture, 1880–1920) has compiled a superb biography of a nearly forgotten icon. Joseph Jefferson, born of thespian parents in 1829, was destined to become the popular comedic performer whose career spanned eight decades and whose only serious competition was dramatic actor Edwin Booth. Driven by a passion for humanistic expression, he brought life and sensitivity to one of Washington Irving's most beloved literary characters, Rip Van Winkle, in his signature role. Far more than just an entertainer, the physically unexceptional Jefferson worked hard at his craft to reach out to audiences everywhere. His profession prompted travel from New York City to California (prior to the cross-continental railroad) and across the ocean to Europe and Australia, where he won the hearts of a whole new audience. McArthur captures the many trials and triumphs of a celebrated 19th-century performer with narrative ease and an eye for detail, placing Jefferson in context with the society of the time. Strongly recommended for both public and research libraries.—Richard A. Dickey, Washington, DC

Which came first, the screenplay or the film? While the question itself may be impractical, it is sensible to suggest that the history of screenwriting coincides with the history of motion pictures. Even the landmark Kinetoscope featurette The Sneeze (1894) was a structurally devised narrative of sorts, and although it may lack in story line, Norman, an Academy Award-winning screenwriter, excuses that by establishing wryly observed context. Taking us through the 100-plus years of film history with great wit and candor, Norman shows that the story of filmmaking often proves more entertaining than the projected output. It's so compelling and interesting, the book's importance as a comprehensive history on the subject might just surprise you in the third act. With American cinema as the backdrop, Norman relates a deft commentary on the correlation of art, culture, and society that is highly readable yet no less academic or well researched. Highly recommended for all film collections. Of particular value to cineastes and film students.—Ben Malczewski, Ypsilanti Dist. Lib., MI

This insightful, scholarly history of sex in American film reaches back into the early days of the art form, when such works as The Voice of Satan (1915) and The Vixen (1916) hit the marquees, and moves on to such latter-day hits as The Graduate, American Beauty, and Fatal Attraction. Pennington (media & culture studies, University of Aarhus, Denmark) traces the development of visual and thematic sexual content, the ensuing conservative vs. liberal controversies, and the impact of resulting censorship codes and legal rulings with their shifting guidelines. Using numerous in-depth examples of films, citing specific plotlines, and offering pertinent descriptions of relevant scenes, Pennington thoughtfully analyzes the interrelationship of film and American society in terms of sexual attitudes and psychology, examining changing values, prejudices, boundaries, and norms within historical and cultural contexts. He explores mainstream cinema and various genres and openly confronts such topics as pornography, gay sex, adultery, and perversion. Throughout, he reveals the close but complex alliance between film and life. For academic and large film collections.—Carol J. Binkowski, Bloomfield, NJ

While there are numerous books on the subject of 20th-century music, this is the first to take a comprehensive, post-2000 view of the tumultuous and untidy but fascinating history of music and culture from 1900 to 2000. Ross, an award-winning music critic for The New Yorker, details—in 15 chapters organized into three large chronological sections (i.e., 1900–33, 1933–45, and 1945–2000)—the personalities, the ideological battles, and, of course, the musical works that helped to define their era. Among the large themes that Ross tackles are the widening gulf between classical and popular music and the inability of contemporary music to command the attention and respect afforded other modern artistic endeavors, such as art, architecture, and literature. Though the narrative is lively and at times dramatic, the text is supported by serious research; copious endnotes draw on both popular and scholarly writing. There are no examples in musical notation, and the language is comprehensible to the layperson. Despite a surprisingly short list of suggested listening that omits some major composers (e.g., Paul Hindemith, Ralph Vaughan Williams, and Philip Glass), this rich and engrossing history is highly recommended for all collections.—Larry Lipkis, Moravian Coll., Bethlehem, PA

Best-selling author Marinoff (philosophy, CUNY; Plato, Not Prozac) thinks the world is in a bad hole, that extremists dug it, and that attention to the philosophers of moderation—principally, Aristotle, Gautama Buddha, and Confucius—will help. Aristotle sought a life of sturdy citizenship governed by reason and scientific inquiry, the Buddha found his truth in the inner light and a gradual overcoming of desire, and Confucius taught a balanced obedience to family and state. Marinoff concedes "a conflict if not a clash" between Aristotelian and Confucian virtues, and certainly, there are extremes: Buddha took a revolutionary position against the Indian caste system, Aristotle believed in the notion of "natural slaves," and Confucius was an unwavering defender of the Chinese imperial system. Marinoff has many insights when he applies his ideas, though he downplays the idea of a "rational Islam," and his alarm at the increasing Muslim population in Europe is troubling. His well-formed arguments against, e.g., the maldistribution of wealth, rogue corporations, and neocolonialists, suggest a Rawlsian social equilibrium. Marinoff's book will attract readers in any library; Derek Heater's World Citizenship and Government: Cosmopolitan Ideas in the History of Western Political Thought would be a good supplement.—Leslie Armour, Dominican Univ. Coll., Ottawa

Half of the enjoyment of a trip is traveling to the destination. In her debut collection, Brown weaves poetic phrases to take her readers on a journey that satisfies from the initiation to the conclusion, as she enlightens about the dysfunctional yet beautiful intimacies of a sisterly relationship. The wonder begins with "Footling," when the mother gives birth to the narrator during a tornado. What may have otherwise been a detestable exaggeration is eloquently and honesty stated: "Sweet/sixteen and barely healed/when God smacked half the trees/flat and she curled down/under a mattress." From the overwhelming awareness of a bond that cannot be broken even in tragedy ("Tell Me") to the exploration of family history that inadvertently reveals racial disparities ("Wasp, Bear, Abacus"), Brown masterfully captures the essence of poetry by meshing equal parts emotion, storytelling, and style. Brown builds upon the rich tradition of Nikki Giovanni and Bob Hicok to craft her unique abilities in a manner that shows and rightfully deserves respect. Recommended for academic and all public libraries.—Ashanti L. White, Gwinnett Cty. P.L., Atlanta

Unlike many of his French contemporaries, Goffette's leanings are neither conceptual nor abstract; rather, translator Hacker describes him as "unabashedly lyrical." Delectable, fresh, and centered on expressions of earthly desire, longing, and despair, Goffette's poems point to a love "laced with lust." In the series "Letter to the Unknown Woman Across the Street," evening falls fast as a male narrator voyeuristically watches his neighbor, imagining himself enveloped by her thighs and her joining him in play ("Open up your shadows, your lap, your lips"). In "The Raising of Icarus," there are traces of "uninterrupted joy," blight and memories of "bottomless sky." Contemplating mortality, the poet parenthetically suggests "(In the end,/despair's not so bad, it's even/a kind of consolation, the evening's/pill which drops without a splash/into the elixir of old lovers") in "Construction-Site of the Elegy." Goffette acknowledges a wide range of writers—Borges, Rimbaud, Auden—while pastoral ("field cows drink/the sky's milk") and nautical ("minuscule waves—dreams, memories") imagery is sprinkled throughout his work. Hacker's superb translation will undoubtedly build a broad new following of readers. Recommended for academic and public libraries.—Miriam Tuliao, NYPL

In her debut collection, Killough offers an ambitious book-length meditative poem centered on the idea of nationhood as personified by our "lady with a torch," the eternally feminine gatekeeper for which Emma Lazarus wrote "The New Colossus" more than a century ago. Killough takes this idea of safe harbor apart linguistically, sentence by sentence, metaphor by metaphor, word by word, with full irony, a surprising element of humor, and a broad cultural frame of reference: "Think in terms of what the aliens might have in mind./Would they care that she was hollow and full of stairs?/Would they care that she was too big to be happy?" Killough is a poet who is not afraid to be "too big." Her world cannot be contained within narrow margins; her sentences sprawl across the lines and pages like our own messy beloved geographies, the country we call home. Recommended for university libraries and special collections.—Sue Russell, Bryn Mawr, PA

Part of the inspiration for Kinzie's seventh collection comes from poets like Howard Nemerov, Wallace Stevens, and Randall Jarrell, who are quoted or echoed here. The likes of e.e. cummings, William Carlos Williams, and A.R. Ammons can be seen in the shapes of about half of these poems, too—with the other half owing their form to the signature blocky paragraph style of prose poetry. With that as an overview, one can notice Kinzie's fondness for found poems, as she presents an object that—like Williams's red wheelbarrow—seems to resonate. A long poetry sequence ends, for example, with the image "a small ochre-yellow bulldozer with the brand VERMEER in black block letters shining in significance against the dirt." Kinzie also creates poems from dictionary definitions, calling the dictionary "a book that like a drug releases again the half-heard and the half understood." So that what had been dense is charged with a loosening light." At their best, these poems, basking in that light, provide a similar charge. Recommended for larger collections.—Diane Scharper, Towson Univ., MD

In her 16th book of poems, Pulitzer Prize winner Kumin (Up Country: Poems of New England) continues her celebration of nature, her love of the world, but the realities of these uncomfortable times intrude. There can be no ignoring the trauma of difficult days, the disease and war, the ugly, sad breaches of social and human respect: "When the pixie soldier says cheese/for the camera who says please pay attention?/The ethics have changed." Kumin has consistently turned the world around her, the beautiful and the terrifying, into a clean, personal poetry with universal resonance. In skilled but impassioned lines, both delicate and powerful, she confronts loss, regret, and hope. From her 81st year, she looks back: "Instead of marrying the day after graduation,/in spite of freezing on my father's arm/as here comes the bride struck up,/saying, I'm not sure I want to do this,/I should have taken that fellowship." But her husband of 60 years says "he would have waited./He says he would have sat/where the steamship docked," and it would be difficult to suggest that she made a mistake. Kumin is one of America's great resources; her latest collection is highly recommended for all.—Louis McKee, Painted Bride Arts Ctr., Philadelphia

In her second collection (after the award-winning World's Tallest Disaster), Marvin uses fresh language as she tackles familiar but provoking questions of love, selfhood, and how one really lives in the world. While her jaded view often refreshes ("The world felt bad. Every leaf looked/like it needed a cigarette."), several of the poems fall flat at closure, e.g., "The Pet": "I cannot remove him without killing him,/which frankly, I have never wanted to do." In fact, this collection swings from striking poems with vivid images to poems that plod along in dense, phrase-bound lines (e.g., "It is sorry, then, the haul come to nothing/in the net, only more weight of pages/and pages to trod with upon our backs"). But what keeps readers involved are the many chances Marvin takes; she also masterfully expresses mood and captures nature in a distinctive way that compels rereadings, as in "Azaleas": "Blooms pink as baby mice, soft as tiny hands, cluttering/the bush as if in celebration." An uneven collection, but the good poems far outweigh the bad, and even the lesser offerings provide interesting perspectives and surprises. Recommended for all academic libraries and for mid-sized to large public libraries.—Doris Lynch, Monroe Cty. P.L., Bloomington, IN

Lesbians, Greek gods, the Encyclopaedia Britannica, and a son's gerbil all inhabit Seiferle's five-part inquiry into the nature of the tongue. In theory, each section coheres around a comparison of this wild muscle to a fountain, bit, bridle, rudder, and fire. In actuality, the poems do not fit quite so neatly into the construct, if they fit at all. Seiferle seems to have tossed all her intellect and creativity into an enormous poetry blender. Unfortunately, the motor flags, and instead of a smooth, lyrical drink, the reader is left to sift through a lumpy mess. Underneath all the allusions to gods and goddesses, the moments of high romanticism, and postmodern asides, this is the poetry of a woman raising a son, loving other women, and musing on the metaphysical questions of our time. But the words are leached of any meaning beyond a well-crafted turn of phrase. To quote from the "Avatar of Imminence," the poet seems too caught in the nets of the self, on a deck in the middle of nowhere, to reach the other passengers on board. An ambitious collection that fails to deliver on its high tone. Not a necessary purchase.—Susan Rich, Highline Coll., Des Moines, WA

Do blacks have superior athleticism programmed into their genes? Do Jews' common DNA patterns give them not only superior intelligence but also a susceptibility to diseases like Tay-Sachs, breast cancer, ulcerative colitis, and Parkinson's? Reporter and Emmy Award-winning producer Entine (adjunct fellow, American Enterprise Inst. for Public Policy Research) explored the first question in 2000 with Taboo: Why Black Athletes Dominate Sports and Why We Are Afraid To Talk About It. He now addresses similarly controversial ground in this study of the genetic makeup of Jews. His explorations take him from his own Jewish family members' cancer diagnoses to genetic labs—both academic and commercial—across the world, with lengthy forays into Jewish history, the history of Israel and Zionism, and the split between social anthropology and biological anthropology. While such books as Rabbi Yaakov Kleiman's DNA and Tradition: The Genetic Link to the Ancient Hebrews have covered the topic, this one is slated for a national media campaign. Though its arguments are provocative, it lacks the empirical evidence to back them up. Recommended for larger public libraries.—Marcia Welsh, Dartmouth Coll. Libs., Hanover, NH

Hazleton's journalistic experience led her to develop a lively and engaging prose style, which provides an only surreptitiously dense serving of information and reflection. Her treatment of Jezebel is similar to her take on Jesus's mother in Mary: A Flesh-and-Blood Biography of the Virgin Mother. Alternating among modes of history, historical imagination, and cultural studies, this book unfolds not only stories of its title character but also, more interestingly, stories of the stories about the "harlot queen" that detail and speculate on the influences, prejudices, and politics that have impacted their telling throughout the centuries. Several offerings in recent years have sought to revise the popular image of this foreign-born queen by marriage of ancient Israel, but this is certainly the most entertaining. Suitable for public library patrons; academic collections will prefer Janet Howe Gaines's Music in the Old Bones: Jezebel Through the Ages.—Darby Orcutt, North Carolina State Univ. Libs., Raleigh

Dating back to 1988, this project of the Priests for Equality, a Maryland-based grassroots organization of laity and clergy working for equality in the church and society, seeks to provide an inclusive-language translation that creates a nonsexist, nonclassist reading of certain ancient Hebrew and Greek religious texts. It collects prior inclusively translated works also by the Priests of Equality: The Writings (1998), The New Testament (1994), The Torah (2000), and The Prophets (2004). Though it is, as the preface states, "nearly identical to the four-volume series in content," there are some significant updates, including additional footnotes, occasional retranslation, and tetragrammaton where appropriate. The text is accessible and relevant to contemporary readers, and this reviewer found the inclusive language invitingly nonobvious. Similar titles include Today's New International Version (IBS, 2002) and New Jerusalem Bible (Doubleday, 1985). No doubt this text will be welcomed by some audiences and shunned by others. Potential for use in gender, religious, and a variety of historical and women's studies; recommended for both circulating and reference collections in academic and public libraries.—Lura Sanborn, St. Paul's School Lib., NH

This definitive work by Lindsay (sociologist, Rice Univ.), who has coauthored two books with George Gallup Jr., addresses the whos, whys, whats, and implications of the evangelical movement's increasing impact on the realm of politics and the marketplace. Lindsay conducted more than 350 in-depth interviews with politicians, academics, artists, media and film people, corporate leaders, White House staff, and U.S. Presidents Jimmy Carter and George W. Bush. He also interviewed pastors of large churches, seminary presidents, and heads of evangelical organizations. Some participants with whom he spoke are public about their faith, while others express only their beliefs in private; some emphasize a vibrant religious experience, while others primarily promote issues like the environment and welfare. Lindsay explores evangelical social networks and organization: one "nonpartisan" gathering, called Renaissance Weekends, has included key Democrats (e.g., Hillary and Bill Clinton) among its early participants. Another group, Faith and Law, composed mostly of senior staffers on Capitol Hill, was formed to think through the implications of faith-informed public policy. Lindsay predicts we may soon see whether evangelicals become a counterculture for the common good, or, as some critics fear, amount to a religious crusade. Highly recommended for all libraries.—George Westerlund, formerly with Providence P.L., RI

In this collection of essays, most of which are being published for the first time, philosopher and theologian Mackey (emeritus, Univ. of Edinburgh; Christianity and Creation) treats of a range of topics all more or less connected to the question of science and religion, including a fine essay on the origin of the idea of creation out of nothing. Another essay considers how the relationship between science and religion has changed from one of disjunction to one of convergence. Two essays approach the subject from a literary viewpoint. And the two final essays consider the question of morality, with Mackey offering a solid, nuanced discussion of the age-old problem of how a good God can allow evil. Several times, Mackey treats religious topics, e.g., contraception and intercommunion, from a liberal viewpoint. Those looking for a straightforward discussion of religion and science would be better served by Francis S. Collins's The Language of God: A Scientist Presents Evidence for Belief. But Mackey's work shows the mind of a thinker unafraid to explore byways that enlighten the discussion. Recommended for larger theology collections.—Augustine J. Curley, Newark Abbey, NJ

Marino (journalist, Il Tempo) claims that Columbus came to the New World as an emissary of Pope Innocent VIII, not the Spanish monarchy. The pope, also reported to be Columbus's biological father, sent Columbus to spread the Gospel and bring peace to Christians, Jews, and Muslims by creating a New Jerusalem in the New World, where all religions could coexist. Marino's first book about Columbus won the Scanno Prize in Italy, and maybe reading that one would help clear up the confusion here. The book mentions numerology, the meaning of which Marino never fully explains; alchemy; and too many names of which to keep track, issues that make for a very disjointed and complicated read. Dates discussed hop from the 12th to the 20th century and places covered range from Asia to Europe and the Americas, never quite making sense in context. Add to that footnotes, which are in some cases more than a page long. Not recommended; as an alternative, try Gavin Menzies's 1421: The Year China Discovered the Word, which was used as a reference for this text.—Jennifer Kuncken, Williamsburg Regional Lib., VA

The Vatican, in its concern to protect lay Catholics from the influence of misleading and heretical teachers, sometimes mistakenly condemns the work of those who are neither misleading nor heretical. Nayak's (missiology & comparative religions, Univ. of Fribourg, Switzerland) book on Anthony de Mello, S.J., the well-known Indian Catholic spiritual teacher, forthrightly opposes the Vatican's ill-considered notification of June 24, 1998, condemning de Mello's teachings and trying to reduce his influence. Besides the fact that de Mello had died the previous year and was thus unable to defend himself, the notification based its criticisms on texts erroneously attributed to him. The notification is especially significant because it was issued on the authority of Cardinal Josef Ratzinger, then head of the Congregation for the Doctrine of the Faith and now Pope Benedict XVI. For the book's first third, Nayak, a former Jesuit priest and disciple of de Mello, gives an informative biography of de Mello and a précis of his teachings. He then systematically dismantles the notification and its accompanying explanatory material. Unfortunately, this latter portion is dull reading and will be of little interest except to scholars of religion. For academic libraries only.—James F. DeRoche, Alexandria, VA

Schaeffer (Portofino) shares his personal responses and reactions to his mostly unsupervised upbringing in L'Abri, an idealistic, isolated, intellectual Christian community in Switzerland. This community initially hosted collegians, but with the Sixties and all that came with it, it grew to include people of international significance. Young Schaeffer mixed with them all, despite feeling trapped and rebellious. At times, he was haunted by the thought that he should have pursued his early career success in painting. Nevertheless, and despite his lack of education, Schaeffer became an able speaker and successfully produced Christian films and wrote numerous books. In a reaction that did not come as a surprise, he completely broke from all his avenues of evangelical Christian fame to struggle in the secular world, at one point shoplifting so that he could eat. His attempts in secular film (e.g., Baby on Board, with Judge Reinhold) failed, but he has found some success as a best-selling secular author. This is not just a book about rejecting Christian evangelicalism. It has parallels in secular culture and is an honest read about family life and its challenges. Suitable and recommended for large libraries.—George Westerlund, formerly with Providence P.L., RI

Stark (social sciences, Baylor Univ.) offers a fresh look at the history of religions with the characteristic style he developed in such works as The Rise of Christianity and Cities of God. He brings this new perspective to the discussion of religion in primitive societies, ancient civilizations, and modern times, considering Hinduism, Buddhism, Taoism, Judaism, Christianity, Islam, and other religions. Many current treatments of the history of religion focus on its development as a result of human invention (see Todd Tremlin's Minds and Gods: The Cognitive Foundations of Religion). Stark examines the benefits/disadvantages religions engender within society, but his groundbreaking premise is the sincere consideration that revelations could originate with a higher being or power. In this way, he takes seriously the beliefs of religious founders and adherents throughout history. Written in an engaging style yet retaining scholarly integrity through an elaborate system of endnotes, charts, time lines, and a glossary, this work would serve well as an introduction to the history/sociology of religion. Recommended to public, academic, and seminary libraries.—Dann Wigner, Wayland Baptist Univ. Lib., Plainview, TX

Templeton Award-winning religion journalist Stern's broad work surveys the world's contemporary religious traditions on the issue of natural disaster. The first two chapters focus on the 2004 tsunami in Southeast Asia that killed some 200,000 people and on the flood myths of antiquity—narrative bookends of natural disaster. The remaining chapters (3-11) detail conversations the author had and interviews he conducted with 43 leaders from the world's "major" religious traditions, e.g., Judaism, Roman Catholicism, Islam, and Hinduism. These include Rabbi Harold Kushner (When Bad Things Happen to Good People) and Hindu scholar Arvind Sharma. Stern's writing is personal, attempting to distinguish the voices of his interviewees while making them familiar and accessible. Each participant has his or her own understanding of natural disaster and demonstrates this through a theological vernacular, yet one might wonder if the choice of voices is broad, specific, or engaged enough. The book is a snapshot of micro-theologies and as such cannot speak for whole traditions, but it can serve as an introductory narrative and engaging read for those interested in what leading figures from the major traditions make of natural disasters. Recommended for public and theological libraries.—Anthony J. Elia, JKM TheologicalLib., Chicago

Perennialist/traditionalist thought strives for a unity that transcends each individual religion and its unique doctrines. This look at primordial religion edited by the late Lings (Muhammad: His Life Based on the Earliest Sources) and Minnaar, a professional editor in the field of religious studies, is an anthology of 25 essays of the leading 14 exponents of sophia perennis: Frithjof Schuon, René Guénon, Ananda Coomaraswamy, and Titus Burckhardt, to name a few (there are biographical notes on all). Unfortunately, as with almost all other compilations, the readability of the essays differs from one author to the next. Burckhardt communicates much more accessibly and concretely than does Guénon, for example, yet their arguments are equally sound and reasonable. Generally, however, the authors discuss Truth, Prayer, Virtue, and Beauty in a way that crosses cultural, linguistic, and ethnic boundaries. Some occasionally sound like Luddites, but they go deep into an esoteric and mystical realm most readers rarely get the opportunity to visit. This insightful and amazing glimpse into Eastern thought as interpreted by Eastern and Western scholars deserves second and third readings. Recommended for academic and public libraries.—Gary P. Gillum, Brigham Young Univ., Provo, UT

This is an insightful review of the human and spiritual dynamics surrounding the great modern council within Catholicism. Initially, many of the council's participants believed that the preestablished agenda formulated by curial insiders would be "rubberstamped" by the assembled bishops, which would result in business as usual. However, on the very first day of the session, it became evident this would be no ordinary council. Wilde (sociology, Univ. of Pennsylvania) brilliantly examines the possible reasons Vatican II became the most radical ecclesial and cultural phenomenon of the 20th century. Drawing on interviews, secret documents and diaries, and contemporary sociological scholarship, she clearly articulates the dynamic tension between progressives and conservatives and the resulting documents with their profound impact on modern society. This analysis grants the reader a privileged glimpse into the personalities and perspectives of ordinary bishops engaged in extraordinary work. Complete with time lines and endnotes; recommended for all libraries.—John-Leonard Berg, Univ. of Wisconsin Lib., Platteville

Seeking to produce an authoritative biography of the great Philadelphia Athletic owner-manager, Macht examines Mack's early life, playing career, and first years as a Major League skipper. While a mammoth undertaking, this book covers only the period through the first of Mack's great dynasties with the Philadelphia Athletics, which ended following the disastrous 1914 World Series. Barely mentioned are the long, tough years, when Philadelphia skidded to the bottom of the American League standings before rebounding as one of baseball's legendary teams by the end of the 1920s. Also left for another story is the breakup of Mack's second Athletic dynasty and the ensuing even lengthier drift into the baseball wilderness. Nevertheless, the tale Macht offers is often riveting, spanning the years of labor strife, the birth of the American circuit, and the evolution of the World Series. Linked with President Ban Johnson and Cleveland owner Charles Somers, Mack helped to ensure the American League's viability. Along the way, he coped, sometimes successfully, sometimes not, with idiosyncratic players like Rube Waddell and Joe Jackson and featured other stars, including Eddie Plank, Home Run Baker, and Eddie Collins. Mack also went head to head with New York Giants manager John McGraw in three memorable World Series. Recommended for general libraries.—Robert Cottrell, California State Univ., Chico

Veteran author Schumacher unsuccessfully attempts to explain the role George Mikan, basketball's first superstar, played in the inception and development of the NBA. Oddly, the bulk of this unsatisfying work consists of breezy recounts, along with statistics, of Mikan's biggest games at DePaul University and with the Chicago Gears and Minneapolis Lakers, with Schumacher failing to capture the historical significance of Mikan's on-court accomplishments. Schumacher then clumsily shifts to an inconsequential summary of his subject's years off the court, glossing over episodes such as Mikan's unsuccessful run for political office, his trying his hand at coaching and team management, and, years later, assisting in bringing pro basketball back to his hometown of Minneapolis. Schumacher is clearly trying to garner support for NBA pioneers such as the diabetes-stricken and impoverished Mikan who, in the author's stated opinion, have not been receiving fair pensions from a league that is now thriving thanks in part to contributions made by such pioneers. The accomplishments and impact of this "gentle giant" deserve a sound biography, but this is not it. Mikan himself produced an autobiography with the same title, the contents equally vapid. The two books should not be confused, but they can be passed over by all but the most indiscriminate public libraries.—Douglas King, Univ. of South Carolina Lib., Columbia

American artist O'Keeffe (1887–1986) painted landscapes, bones, shells, and highly suggestive, sensual, fleshy flowers through the eyes of a poet. She favored the simplicity of the desert, and her observations of venues ranging from New York to New Mexico inspired her unique natural forms. This catalog accompanying a show traveling from the Irish Museum of Modern Art, Dublin, to the Vancouver Art Gallery, Canada, celebrates O'Keeffe's Irish heritage with three brief essays focusing on her originality and stating she was without progenitors. These essays, by curator Marshall, Achile Bonito Oliva (White and Other: In Any Case, Art), and Yvonne Scott (Jack Keats: Amongst Friends), are followed by a catalog section with full-page reproductions containing her intense palette of the color spectrum and interspersed with quotes by the artist; all are works exhibited in the show. A one-page chronology provides biographical background. Mainly a picture book for O'Keeffe aficionados, this catalog belongs with all books on modern American art.—Ellen Bates, New York

The enigma and legend surrounding this eminent 20th-century painter accords yet another biography. This volume, Part 1 and prolog of a two-part work, is fact-filled and rife with biographical and historical detail. Author, portraitist, and family friend Reily (Joseph Imhof, Artist of the Pueblos), who first met O'Keeffe in 1946, painstakingly chronicles the places and people important to the artist's life. She begins with O'Keeffe's birth in Sun Prairie, WI, continues through her young life on the Texas plains, and ends in 1945, a time when O'Keeffe found resonance with her artistic vision among New Mexico's hills and mesas. Reily includes detailed introductions to O'Keeffe's family, teachers, renowned fellow artists, and influential friends, including her husband, Alfred Stieglitz, and her close friend Anita Pollitzer. This volume helps us understand the evolution of O'Keeffe's artistic determination, skill, and vision akin to the landscapes of the places she inhabited. The extensive notes and commentary are complemented by 75 black-and-white maps, illustrations, and photos that capture period and place. Recommended for upper-level undergraduates, graduate students, scholars, and specialists. [Part 2 will pick up in 1946 and continue through O'Keeffe's death in 1986.—Ed.]—Katharine A. Webb, Ohio State Univ. Libs., Columbus