Arts & Humanities

In 1953, Weston and his biographer, Nancy Newhall, created a mock-up of Weston's nude photography. More than 50 years later, a version of that mock-up is finally being published. Coinciding with an exhibition of Weston's work on view through November 25, 2007, this book contains Newhall's original biographical essay of the artist as well as all 39 black-and-white photographs as they were originally placed. (Warning: it may take a magnifying glass to read Newhall's typed essay and handwritten notes outlining the dimensions of the images.) Newly added are thumbnail images of the 1953 mock-up and an essay by Getty curator Abbott describing the book's original conception and its road to publication. Weston is one of America's most important photographers, and patrons interested in photography, art, and history will be drawn to the essays on his work and the efforts necessary in the 1950s to publish a controversial book of nude photographs. Highly recommended for all libraries.—Valerie Nye, Coll. of Santa Fe, NM

Snapshots have been a hallmark of photography since cameras were made available to the masses, telling not just of things near and dear to people's hearts but of the darker sides of the human psyche as well. Accompanying a fall 2007 exhibition at the National Gallery of Art, this catalog examines the history of the snapshot from 1888 to 1978, reproducing some 250 photos culled from Robert E. Jackson's collection and arranging them by decade. While other books and exhibitions on snapshots have focused more on the pictures themselves, e.g., Douglas R. Nickel's Snapshots: The Photography of Everyday Life, 1888 to the Present, Greenough, Diane Waggoner, Sarah Kennel, and Matthew S. Witkovsky, all with the National Gallery of Art, here cover the cultural history as well as the technology that has influenced how people take pictures. A time line with pictures of the cameras, chapter endnotes, and a selected bibliography complete the work. Recommended for academic libraries as well as public libraries with a photographic interest.—Ronald S. Russ, Arkansas State Univ. Lib., Beebe

Guariglia, a talented young photographer who spent a decade in Asia, took his camera into the 1500-year-old Shaolin Temple to record the culture and life of a Chinese Buddhist sect dedicated to preserving an ancient form of kung fu known as the "vehicle of Zen." His book is valuable for opening these guarded warrior monks' world to us for the first time, placing the temple, the monks, and their focused and austere lifestyle and daily regimen of fighting poses into a broader, contemporary Chinese context with images of the world surrounding the Shaolin Temple. Guariglia brings his National Geographic experience to the project, revealing exotic sites and people through accessible photography. However, though well composed and respectfully chosen, these 100 images are perhaps less artistic and colorful than they might be, considering the unusual subject and locale. An essay by Rhodes scholar and martial artist Matthew Polly (American Shaolin) is full of appreciation for Shaolin as a Zen practice. Recommended.—David Bryant, New Canaan Lib., CT

Wow! is the first reaction readers will have on opening this big book of color photos taken on a succession of airplane and helicopter flights over the varied landscape of South America; ohhh is the unfortunate response upon closing it. Somehow, the dazzling colors and intricate patterns don't add up to the absorbing and informative tour of the southern continent that we expect. Haas (Through the Eyes of the Gods: An Aerial Vision of Africa), a talented photographer, has developed a formula for identifying a pleasing pattern of water and earth or vegetation and focusing so tightly on it as to deny all context. Printed as double-page bleeds, the photos become optical puzzles or animal trophies rather than informative pictures of what passed beneath his aircraft. The procession of 113 photos with minimal text and weak captions is overwhelming, and the excellent photos are subsumed by the weaker ones and those in which digital manipulation has created bizarre coloration or pixelation. Aimed at a general readership; purchase where there is interest.—David McClelland, Seoul, South Korea

This exhibition catalog for a traveling show (London; Washington, DC; and Hartford, CT, through May 2008) spotlights the social and economic changes in mid-19th-century France that transformed the country's northern coast from a poor fishing center into a popular summer tourist destination, as painted in some 60 impressionist works. In the first essay, House (Courtauld Inst. of Art, London; Impressionism Reviewed) focuses on the impact of new rail connections from Paris travel habits as well as on people's growing tendency toward "organized leisure" away from home. He further explores and contrasts 1840s depictions (e.g., by Charles Mozin) with 1870s depictions (e.g., by Claude Monet) of fashionable coastal scenes. In the richly illustrated second essay, Hopkins (English literature, Oxford Univ.; After Modern Art, 1945–2000) discusses the society of the fishing villages before, during, and after the aforementioned shift. The catalog's four sections—"Before Impressionism," "Early Impressionism," "Beach Scenes at the Salon After 1870," and "Impressionism in the 1880s"—are followed by detailed notes on each painting and a chronology covering 1847–86. With liberal color reproductions and sound scholarship, this is a unique contribution to the literature and should not be missed by public, academic, or museum libraries; highly recommended.—Ellen Bates, New York

This extensively researched volume on Marie-Louise von Motesiczky (1906–96), one of Austria's most important but long-unrecognized painters, is intended to complement the centenary catalog accompanying the traveling exhibition (through December 2007) and the catalogue raisonné of the artist's works (to be published in 2008). Independent writer and curator Lloyd (German Expressionism: Primitivism and Modernity) drew on unpublished family archives and correspondence to situate Motesiczky within the personal, social, cultural, political, and historical contexts that helped shape her career and posthumous reputation as well as to celebrate her works. Lloyd details Motesiczky's life from her childhood to her years of exile in England. She also offers a sensitive critical study of Motesiczky's portraits, drawings, landscapes, and still lifes, discussing the various visual and intellectual influences on her works. Featuring 20 black-and-white photographs and 12 color reproductions of Motesiczky's paintings, this thoroughly documented, smartly presented scholarly biography provides a thoughtful and concise overview of the life and career of a painter whose works have been showcased in several recent exhibitions and are owned by museums worldwide. Strongly recommended for large public and academic research libraries with well-developed art book collections.—Cheryl Ann Lajos, Free Lib. of Philadelphia

The fascinating essays collected here date from the 1930s, when the academic basis of traditional design was losing its grip on the professions and newer forms of industrialized modern design had not yet gained full acceptance. Presented together for the first time, the essays were originally published in the progressive New York architecture journal Pencil Points, which morphed into Progressive Architecture after World War II. Their author, the late Nelson (Tomorrow's House), was a signal figure in the world of modern architecture and design between the New Deal and the Great Society. As design director of the famous Herman Miller Company from 1946 to 1972, he exerted considerable influence on the design professions. Kurt W. Forster's (Yale Sch. of Architecture; coauthor, Frank O. Gehry: The Complete Works) juicy introduction mirrors the present and adds considerable luster, while 126 black-and-white archival photos, many never before published, complete the volume. For specialized architecture, design, and art libraries.—Peter Kaufman, Boston Architectural Coll.

The Islamic religion and its cultural influences stretch far and wide across the Asian, Arab, and Mediterranean lands extending from western China and India in the east to Spain and Morocco in the west. O'Kane's (The Iconography of Islamic Art) remarkable book captures the beauty and elegance of Islam's most notable architectural sites and artifacts. These treasures are grouped into chapters relating to Islam's origins and empire as well as its various regional leaders and dynasties; the well-researched text is made up primarily of brief essays focusing on the actions of the aforementioned leaders and events within said regions. With a stunning layout and exquisite color photographs, the magnificence and diversity of these treasures is depicted; readers view examples in architecture (the Dome of the Rock and the Alhambra); the decorative arts (ceramics and gold and ivory items); carpets and textiles; metalwork found in vessels, armor, and elsewhere; and paintings and illuminated manuscripts (the Quran). This affordable book is indispensable for public and academic libraries and collections focusing on art, architecture, and world culture.—Stephen Allan Patrick, East Tennessee State Univ. Libs., Johnson City

More than 250 traditional Christian churches are included in this sweeping survey, which is organized into broad geographical regions from Atlantic Canada and Quebec to the western and northern provinces. While the selections reflect different historical periods, 25 denominations, and a variety of local styles, the emphasis is on Roman Catholic and Anglican structures. The authors are emeritus professors of religion and fine arts at the University of Toronto; de Visser is a prolific and acclaimed Canadian photographer, though some of the 400 reproductions of his work unfortunately slip here in quality, focus, and color. Together, they've created a book that interweaves considerable historical, social, and religious commentary into the encompassing architectural narrative; the final chapter is an overview of world religious architectural history that briefly treats the diversity of contemporary styles. Recommended for its breadth, engaging and informative text, and discriminating selection of representative church architecture.—Russell T. Clement, Northwestern Univ. Lib., Evanston, IL

Sohm's (art history, Univ. of Toronto; Style in the Art Theory of Early Modern Italy) latest book was written in response to his changing perspective from that of an undergraduate living in "a protest culture that proclaimed: 'trust no one over thirty'" to that of a scholar "deep into middle age." He explores how aging artists were critiqued in the Renaissance and baroque eras and how these artists explained their old age to themselves. He devotes chapters to Nicolas Poussin's shaky hands, Titian's failing eyesight, and Pontormo's paranoia and hypochondria. He also examines the psychology of artists' attempts at control over self-presentation—both through self-portraiture and via their behavior, mannerisms, and dress—in relation to reactions to Giorgio Vasari's biography of the artists of the time, Lives. Well illustrated with extensive notes; recommended for the graduate students and faculty of specialized or larger academic libraries.—Nancy Mactague, Aurora Univ. Lib., IL

Complete with Vincent van Gogh's (1853–90) illustrious yellow chair; telling, blue-hued self-portraits; and many dreamy skies, this is both a feast for the eyes and a succinct introductory text to the paintings and life of the internationally celebrated Dutch postimpressionist artist. Erudite author Thomson (Impressionism: Origins, Practice, Reception) has published prolifically on impressionism and postimpressionist artists like Paul Gauguin and Édouard Vuillard. Yet she does not take the reader deep into art historical analysis in this picture-heavy (170 color illustrations) text; instead, her economical and straightforward language encourages readers to focus on the paintings, many drawn from the collection of the Van Gogh Museum in Amsterdam. The book's one drawback is that it competes with scores of other well-written and beautifully illustrated works about van Gogh and his paintings. Therefore, it is recommended only to libraries with art history collections that lack those kinds of books.—Jennifer Polluck, Yale Ctr. for British Art Lib., New Haven, CT

The Ashcan artists' world is usually depicted as the somber, gritty New York City of the early 20th century. Coinciding with a traveling exhibition (Nashville, New York, and Detroit through 2008), this catalog aims to show another side of the Ashcan school, one concerned with the lighter aspects of life—pleasure and amusements, entertainment and society. Here, the artworks of Robert Henri, George Bellows, Edward Hopper, and others feature New Yorkers at leisure. In one essay, independent scholar Valerie Ann Leeds points out the desire of Henri and his circle to paint what they knew best: themselves, their lives, and their surroundings. In another, Marianne Doezema (director, Mount Holyoke Coll. Art Museum) traces the changes in the depiction of woman, from Édouard Manet's Bar at the Follies Bergère to Henri's Salom to one finally representing an emancipated individual. Other well-qualified scholars discuss such topics as the fine and performing arts and sports and outdoor living. Outstanding illustrations and short biographies of the artists complete this excellent catalog coordinated by Tottis (curator, Detroit Inst. of Arts). Recommended for art and university collections as well as for those dealing with New York history.—Paula Frosch, Metropolitan Museum of Art Lib., New York

Wallace (Infinite Jest) expects that most readers usually pass over the guest editor's introduction to sample the selected entries in an anthology like this. That may be for the best in this case, depending on your political beliefs (red flag for elephants). In his introduction to the 22 literary essays published in 2006 in national and regional periodicals, Wallace discusses the series title at length; when he finally gets to the volume at hand, he rambles about the failures of the George W. Bush administration. True, several of the selections—e.g., George Gessert's "An Orgy of Power" (Northwest Review)—concentrate on Iraq, Afghanistan, and the abuses of power at Abu Ghraib. But their range extends beyond matters of power, politics, and war. Malcolm Gladwell's "What the Dog Saw" (The New Yorker), e.g., examines the skills of dog whisperer Cesar Millan, while W.S. Di Piero's "Fathead's Hard Times" (Threepenny Review) addresses the capacity of music to help fight pain. Also included are a foreword by series editor Robert Atwan, contributors' notes with brief author biographies, and a list of "notable essays." A sundry and robust collection; highly recommended for all libraries.—Joyce Sparrow, JWB Children's Services Council, Pinellas Park, FL

Aphorisms are always a delight to read; paragraph-long biographies of the aphorists, less so. New York Times best-selling author Geary's (The World in a Phrase) idiosyncratic book makes up for this by listing as many as four to 30 aphorisms from 350 authors. These are divided loosely into eight categories, loosely being the operative word. "Old Souls and Oracles," for example, oddly links Yogi Berra with Augustine, Confucius, Jesus, Ecclesiastes, and Zen Masters. And why divide "Moralists" into "Major and Minor" but not do the same with "Philosophers and Theorists"? The catchall category of "Strange Beasts" contains aphorisms by such writers as Ambrose Bierce, Emily Dickinson, Diogenes, and Nietzsche, who surely could have fit better elsewhere. Geary concentrates on English, Dutch, and German aphorists because he knows those languages, but he includes translations by others. All in all, a fun book that is too quirky to serve as a reference or compendium; recommended only for large libraries with popular reading collections.—Kitty Chen Dean, Nassau Community Coll., Garden City, NY

This collection of letters by novelist Huxley (1894–1963), author of the seminal Brave New World, spans almost the entirety of his life—the first letter was written in 1901; the last, in 1963, mere months before his death. This remarkable scope, along with the letters' chronological arrangement, allows the reader to follow Huxley's development as a writer and thinker. Notable are his observations of social interactions among members of different classes and races, especially during his extensive travels, and his comments on and to other writers. Editor Sexton's (English, Camosun Coll., Victoria, B.C.) introduction provides a very brief outline of Huxley's life, and footnotes throughout identify the letters' recipients and other names mentioned. The work is unevenly split into two parts, with the divide being Huxley's 1937 trip to America and the majority of the letters predating it. The collection could use a bit more direction than this. With the gaps between letters and the switch among recipients, it can read choppily at times, like half a conversation. Nevertheless, its hundreds of never-before-published letters recommend it for large academic libraries.—Paolina Taglienti, Las Vegas Coll., NV

Novelist Lamb's (I Know This Much Is True) second collection of writing by the students in his writing workshop at the maximum-security York Correctional Institution in Connecticut, after Couldn't Keep It to Myself (2003), also focuses on the inspiring and raw emotions of women sharing the good and bad memories that shaped them. The 20 women whose work is featured here—18 inmates and two of Lamb's cofacilitators—show that writing is not just a way of capturing their most private thoughts and gripping emotions (e.g., hope, despair, courage), but also a powerful tool to foster hope and healing. They write from the heart in works ranging from poems to essays to short stories; each vignette is more compelling than the one before it. Highly recommended for academic and public libraries.—Susan McClellan, Shaler North Hills Lib., Glenshaw, PA

Rogak has written more than 40 books, including the recent The Man Behind the Da Vinci Code: An Unauthorized Biography of Dan Brown. Her latest book is the first ever biography of Shel Silverstein, the remarkable, unorthodox, and very private man who authored such childhood favorites as Where the Sidewalk Ends, A Light in the Attic, and The Giving Tree. But few people know he also penned the song A Boy Named Sue, made famous by Johnny Cash, as well as other country and folk song hits, and collaborated in screenwriting and playwriting. In fact, Silverstein excelled in every artistic outlet to which he put his hand. Consulting many sources, among them Silverstein's friends; radio interviews; and newspaper, journal, and magazine articles, Rogak thoughtfully reconstructs the artist's life. She includes exhaustive notes and lists of Silverstein's books, albums, movie scores, plays, and screenplays. An authoritative and accessible biography, absorbing from cover to cover; recommended for all school, public, and academic libraries. (Index not seen.)—Mark Alan Williams, Library of Congress

Presented as a series of conversations between Stavans (Latin American & Latino culture, Amherst Coll.; The Hispanic Condition) and Albin (Spanish & translation, Rice Univ.), this work analyzes the ways in which the concept of love is portrayed through language. As suggested in the preface, it is a book to dip into sporadically rather than reading straight through. The interview format, with Albin posing questions to Stavans, lends it an informal tone. Yet it is obvious from the first pages that Stavans has both an impressive knowledge and a unique understanding of the topic; Albin, for her part, is skilled in drawing him out and steers the conversations adeptly. Stavans's sources are wide-ranging: from Greek mythology to the Kama Sutra, from telenovellas to the Internet. The two also look at the depiction of love in poetry and visual texts, e.g., in the art of 17th-century Spanish painter Diego Velázquez. Scholarly analysis in an engaging and personal form; suited to both academic and public libraries.—Rebecca Bollen Manalac, Sydney, Australia

For this one-volume reading text of selections from Thoreau's journals, Cramer (curator of collections, Thoreau Inst. at Walden Woods; editor, Walden: A Fully Annotated Edition) draws on the standard 14-volume edition of The Journal of Henry David Thoreau (1906); additional passages from the "lost" third journal, which resurfaced in 1912; and other materials not available to the 1906 editors. The early 1830s and 1840s journals are sparingly represented (much of their content appears in Thoreau's published works); the journals from 1851 to 1861 are more generously provided. Thoreau put all his various interests—e.g., nature, social issues, personal matters—into these writings, which went unpublished in his lifetime. The selections, as well as Cramer's informative annotations, give a well-rounded portrait of the writer and his world. For those who know Thoreau only from his more familiar writings, e.g., Walden, these generous excerpts will provide an accessible entry into the thoughts, feelings, and preoccupations of this unique American author. They may even lead readers to a complete edition of the journals. Recommended for all public and academic library collections. (Index not seen.)—Morris Hounion, New York City Coll. of Technology Lib.

Unlike most authors who explore only William Butler Yeats's (1865–1939) literary themes and symbolism, Vendler (Wallace Stevens: Words Chosen out of Desire) writes entirely from the standpoint of the Irish poet's use of forms and shows how meaning is derived from them. Yeats's grasp of poetic forms was prodigious, and he wrote in many of them, even modifying some—e.g., the Shakespearean sonnet—to make them more "Irish" and less a tribute to Elizabethan England during a time when Ireland was subject to England. Italian forms were another source of inspiration. Vendler points out how in some forms, lines go missing, with Yeats deliberately following a standard only so far and then breaking it for dramatic effect or simply to eliminate a weak or wasteful line. This isn't a beginner's book on the poet (Peter Ure's Yeats and Anglo-Irish Literature would be a better starting point), but it is a substantial contribution to the voluminous critical literature on Yeats and will be useful to faculty and advanced students of poetry. Recommended for academic libraries supporting graduate programs in literature and writing.—Amy K. Weiss, Univ. of California Lib., Santa Barbara

J.S. Le Fanu has long been hailed as an important ghost story and horror writer of the Victorian era, albeit one who has slipped in widespread popularity over the years. Walton (English, emeritus, Univ. of Notre Dame; A Mechanic's Tragedy: Reality in The Princess Casamassima), who has spent decades teaching and writing about Irish and English literature, points here to a key difference between the horror of Le Fanu's work and that of his contemporaries. The terror in Le Fanu's stories, he writes, is not of a frightful crime or thing; instead, it is a deeper, existential fear born out of the profoundest doubt, emptiness, and a lack of spiritual authority. Walton traces this fear of the void through literary and philosophical influences rather than biographical ones. A dense and thorough book exploring a writer whose surprisingly modern nihilism set him apart from his contemporaries; recommended for academic libraries with deep literature collections.—Felicity D. Walsh, Emory Univ., Decatur, GA

Goldberg used to write for television (from The Bob Newhart Show to M*A*S*H), and it shows. His memoir is not unlike a typical sitcom, oscillating between funny and annoying. At its best, it's a well-written, touching, and humorous reflection on a meandering life that suddenly found direction, but at its worst, it's a cloying showbiz memoir full of name-dropping and anecdotes about apartments on Central Park West and private booths at restaurants in Los Angeles. The book is chronologically all over the place, with consecutive chapters taking place decades apart, only to have later chapters come back to the time in between. This makes for a compelling contrast between the different stages of Goldberg's life, but it can be disorienting and downright frustrating if you just want to know what happens next. On the whole, though, Goldberg (also credited as the creator of Family Ties and Spin City) delivers, and his book will be checked out by readers who enjoy witty, light memoirs that feature a few celebrity cameos. Recommended for public libraries.—John Helling, Bloomfield-Eastern Greene Cty. P.L., IN

American films have always been both a reflection of our times and an indicator of what we as a society could become. Harris, who writes Entertainment Weekly's "Final Cut" column, examines this dual nature through the nominees for Best Picture at the 1967 Academy Awards, thus encapsulating the sea change of Hollywood and America in that turbulent decade. The five nominees contained such disparate films as Bonnie and Clyde, In the Heat of the Night, and Dr. Doolittle. Harris follows these movies from their conception to Oscar night, showing not only how these films were made through exceptional access to their creators and stars but also what the films represented as statements of race, identity, and a new kind of violence (Bonnie and Clyde's would change film forever). Harris's experience covering film and television shows on every page, as this is the most engaging and, dare this reviewer say, entertaining book on the movies to be written in years. Highly recommended for all academic and public libraries. [See Prepub Alert, LJ 10/15/07.]—Peter Thornell, Hingham P.L., MA

The afterword from the Library of Congress (LC) says this book's purpose is "to increase the visibility of its film collections." It does that. But as a primer on the history and glories of film's silent era, it fails. Journalist Kobel's text is shallow, disorganized, and full of errors, including those of omission and internal contradiction. A photo caption calls Theda Bara "the screen's first star," but the book's spotty A-to-Z section on "The Stars" doesn't include her, also leaving out all of silent film's geniuses of comedy (who receive insufficient coverage in the "Genres" section). Clara Bow is left "reclusive and melancholy" after 1933, with no word on her happy marriage to star Rex Bell or the last 30-odd years of her life. Predictably, the "cameras worshipped" Garbo, but her magical cameraman William Daniels is unmentioned. Some labels get stuck on the wrong person—Valentino was the "first major star to die young"—or trot out unsubstantiated gossip—Valentino had been a "petty thief." LC's images, especially those reproduced in color, are a treat for the uninitiated; few will seem rare or unique to specialists. Only for comprehensive film collections.—Margaret Heilbrun, Library Journal

In analyzing the development of his stand-up comedy career, Martin considers to have written a biography of someone he used to know. With a preteen passion of becoming a master magician, he escaped domestic turmoil by working at a magic shop in Disneyland. Once he gained confidence in performing live, his eclectic brand of humor was honed at coffee clubs and in local theater productions. Along the way, Martin studied philosophy, which allowed him to observe comedy as social commentary. Within a few years, he stumbled into television writing, working for the controversial Smothers Brothers Comedy Hour. He was a regular guest on the Tonight Show, but it was his exposure on Saturday Night Live that catapulted Martin to success. In the early 1980s, he decided to leave stand-up comedy and become the film star we know today. Martin has always taken his life and the art of comedy seriously; his wonderful catchphrases (e.g., "Excuuuuse me"; "I'm a wild and crazy guy") will live on forever in our vocabulary. An intelligent biographical assessment recommended for all libraries. [See Prepub Alert, LJ 8/07.]—Richard A. Dickey, Washington, DC

Thirty years after its release, Close Encounters of the Third Kind remains a beloved film. Morton (King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson) has written the definitive book on this innovative movie by Steven Spielberg. Beginning with Spielberg's early life and career, Morton carefully reconstructs the planning, writing, technical challenges, and creative special effects needed to produce an epic blockbuster. Rising budget costs, production delays, and many other problems would not hinder the tireless crew. Included are new interviews with Richard Dreyfuss and Teri Garr and a complete listing of the entire crew. Morton details how the ships were constructed, what the aliens were made of, and other technologies that were introduced to make the film as realistic as possible; there is also a scene-by-scene synopsis with the effects used. Meticulous research of this caliber is not found in other books on Close Encounters. Fans will find Morton's take informative and fascinating; recommended for all libraries.—Rosalind Dayen, South Regional Lib., Broward Cty., FL

While the cinematic smack down of Freddy vs. Jason owes a huge debt to the interfilm monster battles of Japanese sci-fi movies, it can't hold a flaming skyscraper to the clash between Godzilla and King Ghidorah or any of the other beastly brawls orchestrated by visual-effects wizard Eiji Tsuburaya during the 1950s and 1960s. In this first English-language book about the creator of Mothra and Ultraman characters, Japanese film and culture commentator Ragone highlights Tsuburaya's inspirations, technological advances, and lasting impact on popular culture and the Japanese film industry. Ragone expertly weaves biographical anecdotes into his exhaustive accounts of film productions, showing readers how a young aviator and toy designer fascinated by King Kong would, with his singular vision, exorcise the demons of postwar Japan, push the boundaries of television, and launch the careers of many talented writers and designers. A selected filmography and plethora of beautiful photographs of film sets, promotional materials, and figurines based on Tsuburaya's creatures will satisfy hard-core fans and novices alike. Recommended for all academic and large public library film and Asian studies collections.—Blanche Angelo, Livermore P.L., CA

In this brief overview, Kolakowski (senior research fellow, All Souls Coll., Oxford; Main Currents of Marxism) examines ideas and questions raised by past philosophers who have "opened up new directions of thought for future generations," among them Socrates, Thomas Aquinas, Descartes, and Nietzsche. He explains that the book is not meant to be an introduction to philosophy, but an examination of the essential ideas in each of these philosophers' thought. The brief chapters, arranged in chronological sections, end with questions and contradictions that arise from their theories. Instead of answering these questions, the author leaves them for the reader to ponder. The book's strength is Kolakowski's choice of philosophers, whose topics cover a broad range, from the existence of God to epistemology and ethics. What's more, the writing is clear and straightforward, which makes the collection accessible for those new to philosophy. Recommended for academic and large public libraries.—Scott Duimstra, Capital Area Dist. Lib., Lansing, MI

Drawing on his position as a professor of humanities (Univ. of California, Santa Cruz; A Tear Is an Intellectual Thing), Neu gives us a wide-ranging, thought-provoking, and incredibly readable—if demanding—study of a subject that will be of interest to anyone who has ever been insulted—and who among us hasn't been? Neu emphasizes "philosophical, anthropological, psychoanalytic and legal approaches" to try to understand as fully as possible the nature of insults and insulting behavior. He considers obscenity, free speech, hate speech, libel and slander, insult humor, and other pertinent issues and gives myriad examples of hurtful behavior involving well-known persons as well as insults from classical to contemporary times. Included is a fascinating and detailed "Shakespeare Insult Kit" that shows the playwright's deep and intuitive understanding of this aspect of human nature. A delightful, important study for readers of all levels; highly recommended.—Leon H. Brody, Falls Church, VA

America is at war, and while we at home are conscious of it, most of us know little of what the troops experience in the heat of battle. In "The Future of Terror," the first sequence of her third collection (after Sad Little Breathing Machine), Harvey utilizes the beauty of poetry to paint diverse impacts of war not limited to death and destruction: e.g., "sometimes I ducked when someone hiccupped." Equally as enveloping is the second sequence, "Terror of the Future." A foil for the former, the latter collection tells the story of hope, loss, and love—it is the "after" in "happily ever after." Harvey's creativity is best exploited in these series, but the pieces in between also find their places, especially shorter works like the simplistically profound, "A Theory of Generations": "You're it/You're it/You're it." The opening poems may be daunting to some readers—they seem rather bizarre and require an elevated level of thinking—but once Harvey hits her stride, she keeps readers intrigued. Recommended for academic and public libraries.—Ashanti L. White, Atlanta

McPherson (English, Univ. of California, Davis; How To Be This Man) is one of those quiet poets who's been publishing steadily since the early 1970s, mostly with university presses. Yet many readers would be hard-pressed to recall a single poem of hers. Some might say she has no style, nothing to call her own. This book contains quite the range: prose poems, historical pieces, poems interweaving quotations (including footnotes), dense poems, and simplistic poems. And emotion's difficult to come by—even works about illness and suicide seem purposely distanced and impersonal, e.g., "Post-Op, Medical Humanities" ("Compared to my husband's kiss/during a camera's long violation/of the nautilus/membranes of my inner Cinerama,/this process is brief/and the nurse has studied haiku") and "Suicidology" ("When we the living feel our dead's hand—/That's how we glean we are both./I hold his fingers, slightly blanched/Flat butter beans, once climbers"). McPherson is one more poet's name to remember, and this is one more book to read and quickly forget. Recommended only for the most comprehensive collections.—Rochelle Ratner, formerly with Soho Weekly News, New York

These poems exhibit a quiet, considered intelligence rare in first collections. Ossmann (creative writing & literature, emerita, Lebanon Coll. & Univ. of Maine at Farmington) writes of desire tempered by wisdom and self-restraint. In "One," a witty poem about admiring, desiring, but never buying avocados, the speaker wants "to become one/with the culture of wanting/in a world of want." The recurring metaphor of life as a trajectory fueled by desire—like a firefly hitting the windshield or the light that outlives a star—hammers home "the point…/that the light lives on…/and that it disappears." Earth-bound meditations—on friends, lovers, gardening, a lost mitten hung in a tree, a house fire—all trace the arc of loss. In "The Music We Travel By," the speaker rides the circular hinge of an accordion bus as her companion swings on "the loose end, the one that might/go flying off anytime": throughout lurks the fear of breaking loose and spinning away, to the point where "when we learn the answers/will we have forgotten/all the questions." Recommended.—Ellen Kaufman, Dewey & LeBoeuf Law Lib., New York

Following his critically acclaimed 2004 translation of the Torah (The Five Books of Moses), Alter (Hebrew & comparative literature, Univ. of California, Berkeley) here turns his attention and considerable skills to the book of Psalms, taking great pains along the way to remain faithful to both the sense of the original Hebrew and the rhythms, metaphors, wordplay, and unique voice of its poetry. An extensive introduction explains Alter's philosophy of translation and the challenges faced by those rendering Hebrew text in English, and detailed, footnoted commentary gives philological, literary, and theological background and justifications for word choice and usage. A short list of resources for further reading is also included. Alter's translation may seem somewhat startling for readers more familiar with the verbose language of the King James Version, but it offers both clarity and fidelity to the meaning, meter, and nuances of the original Hebrew. Highly recommended for theological and academic libraries and for public libraries with large theological collections. [See Prepub Alert, LJ 5/1/07.]—Amanda K. Sprochi, Univ. of Missouri, Columbia

Bock (Dallas Theological Seminary; Jesus According to Scripture: Restoring the Portrait from the Gospels) and Wallace (coauthor, Reinventing Jesus) have written a text to assist readers in separating the fact from the hype in best-selling books and films about Jesus's life. The authors examine six key claims, among them the notion that the original New Testament manuscripts were corrupted through recopying; that the alternative Gospels of Thomas and Judas cast doubt on traditional views of Jesus; and that Jesus's tomb has been discovered. They also explore numerous theories posited by authors such as Bart Ehrman, Marcus Borg, and James Tabor to support the claim of Christianity as the true faith and our modern-day understanding of Jesus as a weak substitute. The writing is difficult, often turning possibility first into probability, then into certainty, and the nuance of the text is at times unclear. The overview does, however, provide historical probability that Jesus was more than a prophet and that he challenges us to be connected to the God within. This evangelical Christian response to popular culture may be of use to conservative readers.—L. Kriz, West Des Moines Lib., IA

Part science lesson, part motivational speech, and part sermon, this book has it all. A former Young Earth creationist minister, Dowd came to the realization that it is possible to believe both in God and in evolution. To many, this is far from earth-shattering news; to Dowd, it is groundbreaking information he has taken on the road with his wife, acclaimed science writer Connie Barlow. This book is their presentation in print form. It starts with an excellent overview of Darwinian evolution, then goes a bit off track as Dowd uses terms like "Lizard Legacy" and "Monkey Mind" in trying to explain what evolution means to human psychological development; this motivational section is complete with self-help exercises to assist readers in bettering their interpersonal relationships. Next, the book goes into a sermon about how we need to tame our Monkey Minds with religion, or "Higher Porpoise," whatever religious tradition we choose to follow. It wraps up well with an ecological call to stop global warming. A well-written work that presents some interesting concepts; recommended for larger libraries.—Jennifer Kuncken, Williamsburg Regional Lib., VA

This humorous, first-person narrative details Guyatt's (history, Simon Fraser Univ., B.C.; Providence and the Invention of the United States) exploration of an end-times-obsessed subculture of Christianity in which the words rapture, tribulation, and Armageddon are part of the everyday vocabulary. Guyatt examines the motivations and personalities of some of the biggest names in the end-times business—e.g., John Hagee (Jerusalem Countdown), Tim LaHaye (the "Left Behind" series), Hal Lindsey (The Late Great Planet Earth), and Joel Rosenberg (The Last Jihad)—as well as some smaller names. He exposes the conflicting views of sincere end-times believers, asking, e.g., whether the Antichrist will use Islam or humanism to take over the world and whether political means should be used to postpone or hasten the inevitable. Along the way, he explains the history of apocalypticism in America and the basics of dispensational theology for a popular audience. (Readers can find a more complete treatment of these topics elsewhere, e.g., in the second edition of George M. Marsden's Fundamentalism and American Culture.) Guyatt's skepticism is obvious; nonetheless, he portrays his subjects with fairness and dimension. Recommended for public and undergraduate libraries.—Nancy E. Adams, Harrisburg Area Community Coll., PA

Evangelical Christianity's influence cannot be gainsaid. No doubt, the passing of such figures as televangelists Jerry Falwell and D. James Kennedy this year as well as the current administration's intersection of faith and politics have played a role in this interest. What, though, is the genesis of the movement? Kidd (history, Baylor Univ.) digs deeply into the Great Awakening (1740–43) to find answers. Not only does his treatment cover the special outpouring of the Holy Spirit and subsequent revivals, but it also covers the reactions of both supporters and detractors of the phenomenon. Overall, this is a fascinating look into America's emphasis on individual salvation and the spiritual equality of humankind, one that is sure to have an audience (40 percent of Americans, according to the author, claim to be born again). Especially recommended for academic libraries, but public libraries would also do well to purchase.—C. Brian Smith, Arlington Heights Memorial Lib., IL

According to Australian esotericist LePage (Shambala: The Fascinating Truth Behind the Myth of Shangri-la), Jesus was a gnostic sage in a Jewish proto-Kabbalist tradition who initiated his most mystically gifted disciples in a secret tantric sacrament of the bride chamber, which corresponds to the heart chakra. LePage has read widely, citing an eclectic range of esoteric and scholarly sources to build her case for a secret Jesus mystery cult that was suppressed by the institutional Christian church. Unfortunately, she lacks the academic qualifications to evaluate her sources properly, which leaves the book marred by errors of fact and elementary misunderstandings of her sources. Her argument is marred by imprecise syncretistic terminology, inventive leaps to conclusions, appeals to nonexistent documents as evidence of censorship, and inept logical constructions. As the Gnostic Gospel of Philip states, "Jesus tricked everyone; for he did not appear as he was but appeared in such a way that he could be seen." LePage is unable to see a Jesus that does not fit her esoteric preconceptions. Not recommended, except for comprehensive collections in contemporary esoterica.—Steve Young, McHenry Cty. Coll., Crystal Lake, IL

Newman continues the line of reasoning she first shared in The Real History Behind The Da Vinci Code (2005). Unlike such popular works as Dan Brown's novel and Lynn Picknett and Clive Prince's The Templar Revelation: Secret Guardians of the True Identity of Christ, this is a meticulously referenced account of the documentary history of the Knights of the Temple of Solomon (i.e., the Knights Templar) from their inauguration circa 1120–25 C.E. until their dissolution in 1312 C.E. Newman investigates not just the records of the Templars themselves but also the larger events in which the Templars were enmeshed, and she ends by chronicling the lines of embellishment explored by later storytellers. Historical vignettes include treatment of such notable figures as Kurdish warrior Saladin, Richard the Lionheart, and Philip II. This indispensable companion to current popular works in this area is recommended for public and academic libraries.—Dann Wigner, Wayland Baptist Univ. Lib., Plainview, TX

Strongly disagreeing with Pope Benedict XVI's claim that he faithfully followed the procedures of historical criticism in his 2007 best seller, Jesus of Nazareth, Vermes (Jewish studies, emeritus, Oxford; The Complete Dead Sea Scrolls) responds by rigorously applying literary and historical critical analyses to the New Testament's Infancy Narratives (cf. Matthew 1:1-2:23 and Luke 1:5-2:52), examining, e.g., Jesus's biblical genealogies and the role of the Holy Spirit in his Immaculate Conception. He compares the biblical text to other ancient Israelite texts, rabbinic sources, and ancient Greek and Roman texts to determine possible background influences, and he shows through historical analysis that although the Infancy Narratives may indeed contain a kernel of historical truth, legendary accretions have made the text as is difficult to accept as literal historical truth. An epilog nicely summarizes his main points. This is a well-written book aimed at a broad general audience. However, despite its use of the most recent advances in literary and historical criticism, it does not contain footnotes. Further, occasional editorial opinions appear to denigrate those not sharing the author's enthusiasm for strict rigorous use of the historical critical method. Recommended with reservations.—Charles Murray, Boston Univ. Sch. of Theology Lib.

One could almost think that this entertaining work by Christgau (Tricksters in the Madhouse: Lakers vs. Globetrotters, 1948) is a novel if it weren't for the 40 pages of citations at the back. He recounts the story of how Albert Siler, an up-and-coming jockey from a struggling family, crossed paths with Big Mooney, an ambitious gambler determined to beat the odds on horse racing by bribing jockeys to lose races. Siler and other young jockeys of the late 1930s were torn between Mooney's easy money and the shame of losing races, but when they tried to leave the gambling ring, Mooney issued dire threats. As the Los Angeles district attorney closed in on Mooney and took him to court, it was up to Siler and the other jockeys to supply the information to close Mooney's operations for good. Christgau brings this "Scandal on the Turf" back to light and life. Recommended for libraries where there is an interest in racing or handicapping, as well as for those enjoying character-driven historical true crime.—Amy Ford, St. Mary's Cty. Lib., Leonardtown, MD

Chicago journalist Davis offers a sequel of sorts to his Papa Bear: The Life and Legacy of George Halas about the longtime NFL patriarch who kept the league afloat for its first 40 years. Here, readers meet Pete Rozelle, the 1960 compromise candidate for commissioner who went on to rule the NFL for 29 years as football became the nation's most popular and lucrative sport. This is as much a history of the NFL as it is a biography; a plethora of compelling anecdotes gleaned from Davis's interviews with players, coaches, executives, and writers take the narrative on detailed, fascinating tangents before returning to Rozelle. Since Rozelle's life was so bound up in the NFL, this approach makes sense, and, ultimately, Rozelle's personal life is covered as well. Davis's view is that Rozelle's three greatest career achievements were revenue sharing, NFL Films, and the Super Bowl—each reflected the importance of growing the league and the sport. Excepting occasional minor factual mistakes in the review copy, this is a well-written and thorough portrait of one of the most prominent sports people of the 20th century. Recommended for all libraries.—John Maxymuk, Rutgers Univ. Lib., Camden, NJ

Tommy Lasorda was a kid who wasn't good enough to get playing time on his high school baseball team, yet he went on to play professional ball. He compiled a 107-57 record with the Los Angeles Dodgers's top minor-league club, but he couldn't eke out a single win in the majors. He later managed the Dodgers, winning almost 1600 games and two World Series, and was eventually voted into the Hall of Fame; however, after he gave up the helm, the team shunted his larger-than-life personality to the background for years. He decries bad manners, yet he complains when members of his granddaughter's youth-league team shake hands with their opponents after games. Although he was known for keeping his players happy, he once suggested that Steve Garvey settle a problem with teammate Don Sutton by slugging him. In short, Lasorda is a man of contradictions, but such men make good biographical material, and Los Angeles Times sportswriter Plaschke has crafted an entertaining study of the man who bleeds Dodger blue. Recommended for all public library baseball collections.—Jim Burns, Jacksonville P.L., FL