Arts and Humanities

Aaron Douglas is best known as a major figure in the Harlem Renaissance and one of the greatest black artists in American art history. His mature style combined art deco energy and sophistication, modernist abstraction, and themes from African and African American history, sometimes described as jazz made visible. This volume brings together essays by many of the leading scholars of African American art, including Kinshasha Conwill and David Driskell, to accompany a major exhibition of Douglas's art. Focusing on his artistic development from his formative years in the Midwest to his blossoming after moving to New York City and his later time as a leading university art educator, the text explores his accomplishments as a poster and book designer, painter, and muralist. Well illustrated with reproductions of his works in both black-and-white and color, this book attests to the undeniable significance of Douglas's artistic achievements. Highest recommendation for any library with an interest in art or African American history.—Eugene C. Burt, Seattle

This compelling monograph depicts the antiquarian Lord Kenneth Baker's extensive collection of satirical art that focused on the reign of Great Britain's King George III. George's 60-year reign (1760–1820) was marked by the monumentally influential conflicts of the American Revolution and the Seven Years' War, before it ended ignominiously in years of isolation and mental illness. For those whose anticipation of the 2008 political campaigns is colored by fear, this time capsule from an era two centuries removed may prove to be a depressing reminder that vitriol is endemic to political discourse. However, the vulgar motifs running through these antique depictions of George III's reign will shock most 21st-century readers and may induce the reassuring realization that today, at least—stained dresses notwithstanding—we are spared such Hogarthian glimpses into our political leaders' excretory functions, which the 18th-century pamphleteers promulgated. Illustrators of the day had no qualms about depicting their king and queen being raped or nude party leaders sharing chamber pots. This focused portfolio of vintage satire documents a time when both political and artistic discourse were more coarse and fearless; recommended for most collections.—Douglas F. Smith, Berkeley P.L., CA

Conlin's first book is a thorough but rather dense history of Britain's National Gallery in London. Unlike most such institutions, which were founded from appropriated royal collections, the National Gallery was created by Parliament as an appropriate ornament for the nation in the post-Napoleonic period. Despite social and educational issues—and a particularly parsimonious Parliamentary paymaster—the gallery's collections achieved first rank. The first third of this book is a narrative political history from debates and origins in the 18th century to the mid-1970s. This is followed by a separate discussion of the continuing debates on education and the gallery's social role, collection development and growth, and the checkered building history. The post—1974 period is briefly treated. Supporting illustrations are well chosen, but works of art are substandard. Less academic than Christopher Whitehead's Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery, this title is suitable for collections on museography. Broader audiences interested in the collection will be served by Augusto Gentili's Paintings in the National Gallery, London.—Jack Perry Brown, Ryerson and Burnham Libs., Art Inst. of Chicago

This copiously illustrated volume showcases over 60 years of the work of one of the world's greatest figurative artists. Selected in collaboration with Lucian Freud himself, the 380 paintings of nudes, cityscapes, interiors, and etchings are reproduced in beautiful color images. Feaver, former art critic for the Observer, follows the development of Freud's art, showing how the artist broadened from a linear style in the 1950s to the more painterly, dense, and expansive style characteristic of his mature work. Also emphasized are the revealing nude portraits of Freud's own family and friends. Four interviews with the artist offer revealing glimpses into his working methods, such as why he preferred focusing on forms and rhythms. The volume is laden with both engaging text and images. But its price is steep, making it most suitable for large university and museum libraries. Robert Hughes's Lucian Freud: Paintings is another, less expensive option.—Sandra Rothenberg, Framingham State Coll., MA

Well known for his colorful portraits of hip-hop street culture, New York—based photographer Shabazz captures the dignity and personality of his subjects. Functioning as an archive of Shabazz's signature style, this book features 250 photographs spanning more than 25 years and four continents. Included are portraits of such hip-hop luminaries as Grandmaster Flash, Public Enemy, Mos Def, and Kanye West. The book's dynamic design and layout echo the title, with full-bleed photos that present both black-and-white and color images in a dazzling burst of expression. On each page the book recounts a quarter-century of change in urban fashion, politics, graffiti, social issues, and the city itself, image by image and decade by decade. The book also features a short foreword by the artist and another by former Magnum editor Lyons. Shabazz's other books include Back in the Day, The Last Sunday in June, and A Time Before Crack. Recommended for general collections.—Shauna Frischkorn, Millersville Univ., PA

Since the 1970s, various books have savaged aspects of contemporary architecture. For example, Patrick Loughran's Falling Glass details many kinds of building envelope failure caused by design flaws. Silber (Straight Shooting) was actually an architectural client. A former president and chancellor of Boston University, he commissioned major campus structures and modified some deficient ones. As the subtitle suggests, Silber rants against architects who pursue personal visions in the face of engineering practice, scale, function, climate, materials, budgets, or construction schedules. His examples of such architects include I.M. Pei, Frank Lloyd Wright in his later years, Le Corbusier, Josep Lluis Sert, Daniel Libeskind, Steven Holl, and Frank Gehry. Silber also criticizes trustees who get sold on impractical, even ruinous conceptions and treads shakier ground when discussing architects' design rationales or speculating on the relationships between specific clients and architects. All in all, this book is a good reminder that the client is paying the shot and as such deserves respect. Recommended for large public and academic libraries.—David R. Conn, Surrey P.L., B.C.

As far as themes of academic discourse are concerned, "the impressionists" and "leisure in art and literature" are not uncommon as both have been acutely examined and written about by countless scholars. That said, what is unique about this book is that Todd (Celebrating the Impressionist Table; The Impressionists at Home) weaves the two themes together to create a sort of visual history of the impressionists' role in and account of the "new" leisure society in France at the turn of the 19th century. The visual part of the story consists of impressionist paintings of French café and bar culture, swimmers, picnickers, theatergoers, dancers, boaters, and shoppers. The history part of the story comes from impressionists' personal archives, where Todd has apparently spent much time reading and translating countless letters, manuscripts, and related documents from the original French. So while Todd's overarching theme is not necessarily innovative, she unites famous and lesser-known impressionist and post-impressionist pictures and words to create a lovely and engaging history about the way the impressionists lived and painted the life of leisure. Recommended.—Jennifer H. Polluck, Yale Ctr. for British Art, New Haven, CT

This handsome volume is a fine introductory sampling of the understudied field of modern fabrics, focusing on the material behind fashion, fine art, and decorative projects from Europe and America. International textile historian and curator Poli is an able if uninspired guide in her basic, opening essay. What makes this book enjoyable is its images, with lush reproductions of fabrics in a dizzying array of material, color, pattern, and weave technique. Many famous names are present, even if their projects are less known, from William Morris's floral carpets in the late 19th century to Giacomo Balla's futurist clothing patterns and contemporary artist Alighiero Boetti's embroidery piece. But women were the true avant-garde innovators in fabric, from Anni Albers's Bauhaus wall panels and Sonia Delaunay's abstract clothing designs to Varvara Stepanova and Liubov Popova's constructivist prints. Despite a few omissions—such as the textiles of African American quilters—this anthology offers a delightful browse through a century of fabric and a good starting point for future research and context. A glossary and biographical dictionary of artists and manufacturers provide cursory background information.—Prudence Peiffer, Cambridge, MA

Business success brings privilege. Celebrity, which can feed business success, brings privilege. Large inheritance brings privilege. Entry to the privileged class can also be inherited. This hefty volume is a robust tribute in scrapbook form to the homes, rooms, gardens, lawns, clothes, fabrics, colors, art, and so on of privileged people. The images celebrate grandeur where more had better be more to prove the point. These are fine photographs of luxury—beautiful lifestyles in beautiful wrappers. But quality photography is hardly the point here. This is a peepshow exposing stone, mahogany, rugs from heaven, art from the gods, and the highest level of our species calling this rarified world home and lolling around inside it in front of a camera lens. But instead of recommending this book, this reviewer suggests subscribing to Vogue magazine instead, because it's at least good for the economy.—David Bryant, New Canaan Lib., CT

This lavish coffee-table book celebrates Shakespeare, his world, his plays, their later reception, and the subsequent presence of his work not only on the stage but in film and other media. Illustrated with color pictures and photographs, it also contains 30 items of removable facsimile memorabilia: e.g., copies of the playwright's baptism record, an extract from the First Folio of 1623, Shakespeare and Anne Hathaway's marriage bond, and the movie poster for Laurence Olivier's 1944 screen production of Henry V. There is also an audio CD of selections from the plays, performed by the Royal Shakespeare Company, which coproduced this text. An extended essay by Alexander (fellow, Shakespeare Inst., Univ. of Birmingham), who has written numerous books on the bard, helps pull it all together. More than just another Shakespeare book; recommended especially for public libraries as a valuable resource to teachers or as a gift for literate friends.—T.L. Cooksey, Armstrong Atlantic State Univ., Savannah, GA

On the surface, this multifaceted memoir could be described as a story about a teenage boy growing up in a haunted house located on the Main Line outside of Philadelphia. In truth, Boylan, the renowned transgendered author of She's Not There, has written a delightful book about a variety of issues that have touched a childhood full of friendships, adventures, and odd encounters with spirits in her family home. She uses the metaphor of "being haunted" throughout to illustrate not only her boyhood experiences but also the memories that have shaped her as a person as she struggled with her gender identity throughout most of her life. Boylan's depictions of her Irish grandmother and her relationships with her father and sister are particularly noteworthy. Her writing style is witty, self-deprecating, entertaining, and often poignant, especially when describing family and friends who have passed away. An adventure to read, this is highly recommended for all libraries.—Erica Swenson Danowitz, Delaware Cty. Community Coll., Media, PA

Brewer (English, Hertford Coll., Oxford, UK) here narrates the story of the Oxford English Dictionary, particularly the 1928 completion of its first edition, the production of the subsequent supplements, and digital resources available today. With this distinctive focus, Brewer examines strategies for insuring accuracy and currency and incorporates into the largely chronological work several short biographies, including editor James Wyllie and publisher Kenneth Sissam. The volume recounts the struggles between editors and lexicographers on one side and Oxford University Press with its publishers on the other, such as editor Sir William Craigie's request for some of the well-known quotation "slips" to develop a separate, Middle English dictionary. Supporting her claims with archival documents, scholarly articles, newspaper stories, and lengthy chapter notes, Brewer casts the press itself as a character, namely, the long-suffering patron of the national dictionary project. The book's scholarly nature and topic makes it best suited for academic libraries, particularly those supporting linguistics programs, as well as large public libraries. Brief passages from the book are available on the web site for Brewer's research project, Examining the OED (http://oed.hertford.ox.ac.uk/main).—Marianne L. Orme, Des Plaines P.L., Wheaton, IL

This comprehensive collection of Frost's prose is a supplement to Robert Frost: Collected Poems, Prose and Plays, which Richardson (English, Doshisha Univ., Kyoto, Japan) coedited with Richard Poirier. Unlike the 1995 book, this title contains every work of prose that Frost "prepared for print," including a wide range of materials, for example, prefaces, speeches, talks, newspaper columns and stories (including his high school newspaper), and essays. The book's chronological order and broad scope provide the reader with a full view of Frost's prose. Richardson's real contribution to the field of Frost literature is his enlightening notes section. Although they are separated from the works, the notes provide a brief but informative introduction to each piece's composition and a bit of biography. Recommended for all libraries.—Paolina Taglienti, Las Vegas Coll., NV

Donoghue (English, NYU; Speaking of Beauty) has fashioned a well-written and engaging exploration of eloquence in literature. He defines eloquence and the role it plays in culture as follows: "The dancing of speech is eloquence....It is commonly assumed that eloquence is a form or a subset of rhetoric….That is not true.…Hitler's Mein Kampf is a work of rhetoric." Donoghue attempts to pinpoint the nebulous, admittedly subjective quality of eloquence in various works (e.g., Macbeth and Bradley Robinson's "The Mill"). He describes the ironically eloquent quality of lacunae (what he calls the beauty and charged possibility of "something almost being said"), the special eloquence found in endings (Herman Melville's short story "Bartleby, the Scribner"), and the eloquence of insanity and things beyond reason (Dante's La Divina Commedia), and he finally moves to the worth and moral purpose of eloquence itself. While there are a number of works that analyze the role of eloquence in politics and oratory, this book examines eloquence solely in a literary context. An enlightening read; recommended for academic libraries.—Felicity D. Walsh, Emory Univ., Decatur, GA

In this entertaining memoir, American-born but London-based writer Fine writes about her obsession with England and the English royal family. The book begins with her childhood struggles with hippie parents in small-town Colorado and then traces her determined steps from undergraduate life in Rochester, NY, to London, where she tenaciously pursues her quest to ensnare the Queen's oldest grandson, Peter Philips. Fine's writing is full of a witty and self-deprecating sense of humor. She openly shares her struggles in matching her dreams to reality. This is paralleled by the writing style, which cleverly mixes fairytale twists and girly preoccupations with London's gray realism. A strong and vivid character develops through heart-wrenching romantic encounters with British aristocracy, frustrations with the bureaucracy around living in a foreign country, tales of nightmare flatmates, and Fine's sincere questioning of her unshakable life goals. Recommended for public libraries.—Rebecca Bollen Manalac, Sydney, Australia

In the brief introduction to this massive volume, Brennan maintains that the "pirate has always enchanted us," suggesting that this compilation of pirate tales spanning four centuries will help the reader "figure out who the pirate really is." Over 100 stories, songs, and verses are presented by well-known names like Mark Twain, Joseph Conrad, and Robert Louis Stevenson and by obscure ones, such as Charles Ellms, Oscar Hermann, and Samuel Samuels. It is only unfortunate that Brennan does not include the necessary information to identify easily the excerpts presented. For example, it is not apparent if the title of a selection refers to a chapter or a monograph. There is no date to place the piece in a historical context, no identification of the characters represented in the selection, and no attempt to provide background information to further the reader's understanding of the piece. The engaging black-and-white sketches found throughout the text are not identified by artist or provenance. Of course, these details may not concern those readers enthralled with pirates and their stories. An attractive volume, this is recommended, with reservations, for public libraries.—Kathryn R. Bartelt, Univ. of Evansville, IN

Family history in Jamaica provides the focus for this memoir as poet Goodison (Controlling the Silver) traces the Harvey roots from the time her great-grandfather, Englishman William Harvey, discovered a well-traveled foot path adjacent to a river circa the last days of slavery. Harvey decides to settle on this land, naming the river after his family, and the plot becomes the family home for generations. Goodison, an award-winning poet and short story writer, tells of her family's fortunes from the early days of English settlement, especially those of her mother, Doris, and her seven siblings. Doris grew up in Victorian comfort as one of the "fabulous Harvey girls," only to experience difficult economic times when her husband, Marcus, loses his auto repair business, causing them to move with their nine children to the slums of Kingston. The appeal of this poetic memoir lies in Goodison's ability to weave Jamaican history and culture into her family saga, capturing the spiritual as well as the factual. Her language—clear, graceful, and at times humorous—enables the reader to see Jamaica through a new pair of eyes. Recommended for large public libraries.—Nancy R. Ives, SUNY at Geneseo

The bright yellow, orange, and pink cover, 28 cutesy cartoons, two-inch outer margins, and vast blank spaces give a children's-book appearance to this otherwise serious discussion of nouns, verbs, modifiers, numbers, and speech in various languages. New York City—based writer and editor Little has studied some of the world's most obscure tongues, but her observations—e.g., that in some languages, the infinitive "to be" can be expressed in as many as five different ways, that there are multiple variations for verb conjugation, and that nouns have declensions—make languages seem impossibly complex and difficult to learn. What's more, though it's surely not her intention, Little's many self-deprecating pronouncements to this effect do a disservice to language learning. Taking into account this caveat and also considering Little's with-it style and the neat charts and boxed bits of linguistic oddities, this small book might do for those interested in language and grammar. Recommended for larger libraries.—Kitty Chen Dean, Nassau Community Coll., Garden City, NY

Rosenberg, who died in the trenches in 1918, was one of England's great World War I poets. During the British Library's 1995 removal from the British Museum, 34 letters and 18 draft poems were discovered in the mislaid files of former museum keeper Laurence Binyon, Rosenberg's mentor and a poet in his own right. Here, Liddiard (Isaac Rosenberg: Selected Poems and Letters) edits together these discoveries, which include the especially wonderful poems "Daughters of War" and "Dead Man's Dump," biographical materials, and Rosenberg's letters to Binyon, fellow poet Gordon Bottomley, and various family members and friends. There is also a brief biography and chronology. Readers can trace variations on and the development of Rosenberg's final poems, which appear in an appendix, in the letters. The poet's poignant, powerful, and heartbreaking work remains important reading. And as much of the writings Liddiard presents here have previously only been excerpted—most, never published at all—this text is an invaluable addition to Rosenberg and World War I studies.—Gene Shaw, NYPL

Writer, philosopher, and literary critic Steiner (poetry, Harvard Univ.; Bluebeard's Castle) presents seven stories he has always wanted to write but never did, either because the subject matter was too painful for him to confront, it was beyond his abilities, or it was taboo. Steiner is an eloquent writer with a broad interdisciplinary knowledge and a keen ability to synthesize complex and seemingly incongruous information. Throughout, he touches on a generous array of subjects. The opening story, "Chinoiserie," describes the author's interactions with late British biochemist Joseph Needham—wondering at his intellect and giving a brief history of Needham's obsessive drive to compile the encyclopedic Science and Civilization in China. The other stories examine education systems vs. academic achievement; civic responsibility; and sex in German, Italian, French, and English. Readers of Steiner's works will revel in this book. For others, it will serve as a great introduction to this author's captivating writing. Highly recommended for all public and university libraries.—Mark Alan Williams, Lib. of Congress

Quillen (A Plantation Mistress on the Eve of the Civil War), former publisher of the South Carolina newspaper Fountain Inn Tribute, celebrates small-town America in this chronological collection of his folksy, witty, and wisecracking news stories and editorials, once syndicated in more than 400 newspapers worldwide. Edited by Moore (Carnival of Blood), the collection reveals the quirks and idiosyncrasies of humankind—especially of Quillen's family, friends, and neighbors—commenting on matters ranging from the quality of the pastor's Sunday sermon to the cost of groceries. Many entries are public, sentimental letters of advice to Quillen's adopted daughter, Louise. Some contain remarks on liquor, race, and religion that show the nature of works published in the first half of the 20th century. Illustrations include editorial cartoons and photographs. Compiled from the files of the University of South Carolina Library and featuring some pieces never before published, this anthology is recommended for humor or journalism collections at larger public libraries and for readers who want to re/visit the journalism styles of times gone by.—Joyce Sparrow, Juvenile Welfare Bd., Children's Svcs. Council, Pinellas Cty., FL

This latest volume to be churned out by prolific celebrity biographer and true-crime writer Clarkson (John Travolta: King of Cool; Whatever Mother Says…: A True Story of a Mother, Madness and Murder) begins with Tarantino's childhood and early life, which Clarkson is able to illuminate thanks to interviews with Tarantino's mother, Connie. As is typical of such pulp biographies, the remainder of the work is filled with intimate details and anecdotes provided by the director's friends, past and present. Clarkson does a good job of identifying the various pop-culture items that have influenced Tarantino, so the uninitiated will have an easier time parsing the intricate pastiche of references that Tarantino inserts into each of his movies. Dedicated fans will no doubt find the account of the rising star's career worthwhile, but the casual reader is likely to become bored with the sluggish pace and uninspired writing. Try Edwin Page's Quintessential Tarantino for a breakdown of the director's films; those looking for a definitive biography (or autobiography) may have years to wait.—John Helling, Bloomfield-Eastern Greene Cty. P.L., IN

Hinton was perhaps the most recorded bass player of the 20th century; his career as a jazz and studio musician extended from the late 1920s into the 1990s. Hinton (1910–2000), an engaging raconteur, provides a fascinating story of his career (which included performances with Cab Calloway, Billie Holiday, Count Basie, Willie Nelson, Louis Armstrong, Della Reese, and Paul Anka) and the development of jazz through the century. Unusual among his contemporaries, though, was Hinton's love of photography. Coauthors David G. Berger and Holly Maxson became part of Hinton's inner circle from the 1970s on and worked with him over the years to record his life story and organize his black-and-white photographs, mostly candid shots using ambient lighting of musicians on tour, in concert, and in the recording studio. Like their previous collaborations (Bass Line; OverTime), this latest is filled with Hinton's photographs; 140 of the 260 images included are previously unpublished. Beautifully produced, this is essential for jazz fans and for any library with jazz-related collections. Highly recommended.—James E. Perone, Mount Union Coll., Alliance, OH

In this sequel to Guitar Man (2007), music journalist Hodgkinson challenges himself to write and ultimately record an original song and, in the process, to determine the keys to creativity from some masters of the genre. A diverse array of songwriters from megastars Keith Richards and Ray Davies to such esoteric artists as folkie Bridget St. John and Lawrence Hayward, an eccentric songwriter from the 1980s, reflect on songwriting in conversations that endeavor to explain the magic, mystery, and magnetism of song. Hodgkinson displays a journalist's narrative style coupled with a novelist's eye for piquant descriptions of characters and places as the book progresses from his nascent lyric writing to a studio session in London. Other highlights of his often hilarious sojourns include a visit to a remote Scottish island to find inspiration and his self-deprecating description of singing in front of a professional music teacher. Stellar music writers—and with his two books, Hodgkinson certainly qualifies—elevate their writing to reflect on what music tells us about ourselves and our humanity. Highly recommended for all public libraries.—Jim Collins, Morristown-Morris Twp. P.L., NJ

Drawing upon his 15 years as a journalist writing on youth culture and politics, Reeves traces the political history and influence of rap since the decline of the black power movement in the 1970s. His thesis, succinctly stated, is that rap music is a "hardrock vessel carrying the hopes, anger, disappointments, attitude, and history of post—black power America." Chronologically focusing on ten artists who have had a major impact on rap over the last three decades (from Run-D.M.C. and Public Enemy to Eminem and Jay-Z), Reeves places each musician within the sociopolitical context of the times. Extending the historical analysis found in other works on the genre, such as Jeff Chang's Can't Stop Won't Stop: A History of the Hip-Hop Generation, Reeves underscores the importance of rap as an art form that continues to evolve while remaining a viable means through which to channel future discourse of post-black power America. Recommended for all public and academic libraries.—Joshua Finnell, McNeese State Univ. Lib., Lake Charles, LA

This June, Superman becomes a septuagenarian, and as these two new titles reveal, Kryptonite has nothing on Hollywood when it comes to the ignominious and deflating treatment of the iconic man of steel. Freelancer Rossen reveals innumerable seedy backstories in Superman's history in Hollywood. From the shameless corporate and economic disenfranchisement of Superman's creators, Jerry Siegel and Joe Shuster, to the machinations of various producers, Rossen's narrative is replete with scams, lawsuits, megalomaniacal egos, and neurotic actors, with plenty of juicy gossip. The bulk of the story appropriately dwells on the trilogy of Superman films produced by Ilya and Alexander Salkind, featuring Christopher Reeve, and the behind-the-scenes stories concerning the casting, filming, fighting (verbal, legal, and physical), and economic aftermath of these films make for entertaining reading.

Film historian and producer Scivally takes the reference high road to the same material, in the dry but comprehensive way characteristic of McFarland that librarians have come to depend upon. Scivally covers Superman's many media incarnations, going into greater depth in the radio, television, and Broadway venues than Rossen does. At times, the detail is numbing (e.g., credit histories for each new actor introduced), but Scivally is thorough, and he has clearly done his research. Chapters covering TV star George Reeves and Bob Holiday in the 1960s Broadway production of It's a Bird...It's a Plane...It's Superman are especially wonderful. Also provided are appendixes for Superman books, web sites, and cast lists. Extensive chapter notes and an excellent bibliography add to the value for dedicated fans and researchers. Scivally's text is the detailed, dry, and exceptionally sturdy yang to Rossen's gossipy and fun yin. Scivally is enthusiastically endorsed for all pop culture reference collections; Rossen gets the popular vote for public libraries.—Barry X. Miller, Austin P.L., TX

This new translation by Benedetti of Stanislavski's famous works An Actor Prepares and Building a Character will be greeted with excitement by actors everywhere. The actor training system developed by Stanislavski in the early 20th century for the Moscow Art Theatre had a profound impact on acting styles around the world and forms the basis for nearly all contemporary actor training. The original English translations that appeared in the 1930s gave rise to several different American interpretations, the best known of which is method acting. For decades, the translations by Elizabeth Hapgood have been the standard text for actors interested in the Stanislavski system. Benedetti, the author of several previous books on Stanislavski, has both improved and expanded upon the Hapgood editions, and the result is a longer yet much more readable text. Essential for all theater collections and highly recommended for all public libraries.—Katherine Litwin, Pierre Berton Resource Lib., Woodbridge, Ont.

In this dense and thought-provoking philosophical study of a variety of operas ranging from Claudio Monteverdi's The Coronation of Poppea to Richard Strauss's Elektra, Starobinski (French literature, emeritus, Univ. of Geneva; Jean-Jacques Rosseau: Transparency and Obstruction) weaves together classical allusions, basic musical analysis, and societal context to support his exploration of the enchantress as persona. The book also treats universal subjects such as power, wisdom, pride, and revenge within opera, with extensive references to contemporaneous and historical sources. While Starobinski does discuss various women who fit his criteria, such as Alcina and Manon in their respective eponymous works, nearly half the book is devoted to five Mozart operas; few of Mozart's characters fall into the seductress category, and Starobinski's text in these chapters is almost devoid of references to his major thesis, which contributes to diluting his premise and making the title misleading. Nonetheless, if readers can forgive these lapses and persevere, they will be rewarded with new and intriguing takes on a well-researched topic. Recommended for academic libraries and music collections supporting scholarly pursuits.—Barry Zaslow, Miami Univ. Libs., Oxford, OH

Over the last 40 years, Visconti has applied his creativity and genius to producing music's most legendary artists—e.g., T. Rex, David Bowie, Thin Lizzy, the Moody Blues, Paul McCartney, and Morrissey (who provides the foreword to Visconti's autobiography). Following his rise to stardom from his humble childhood in Brooklyn, NY, to producing Bowie in London, the narrative reveals a man passionate about music and savvy enough to navigate the turbulent waters of the music industry. At the same time, Visconti's technical knowledge is on full display, treating the reader to an informal history of musical production from analog to digital. Although cataloging the musical past, Visconti's autobiography is a story that is still being written. As producer of the punk band Anti-Flag's album due out in spring 2008, Visconti continues to apply his innovative touch as the architect of the feverishly creative world of rock 'n' roll. Visconti's story should be read by anyone who aspires to work as a producer in the music industry. Recommended for public libraries.—Joshua Finnell, McNeese State Univ. Lib., Lake Charles, LA

Stoic philosopher and Roman emperor Marcus Aurelius (121–180 C.E.) wrote The Meditations as a personal reflection on how to live a virtuous life. Instead of translating the complete work here, Needleman (philosophy, San Francisco State Univ.) and classics scholar Piazza highlight passages they deem comprehensible for readers new to philosophy, omitting those that would have required extensive footnotes. They keep the chapters' original order and use asterisks to indicate omitted sections so that readers can consult complete works should they desire. In general and historical introductions, they give some background knowledge of Marcus, his philosophical influences, and the historical time period, also announcing their intention with this simplified translation: to enable Marcus's work to reach a greater number of readers. General readers will find this newest translation enlightening and easily accessible. Recommended for public and academic libraries.—Scott Duimstra, Capital Area Dist. Lib., Lansing, MI

This is a book about comedy as juxtaposition and rupture—a theme famously addressed in George Meredith's Essay on Comedy (1897) and Henri Bergson's Laughter (1911). Like Meredith and Bergson, Zupancic (philosophy, Slovene Acad. of Sciences, Ljubljana) here theorizes on the topic, with Bergson and G.W.F. Hegel figuring largely in her study. Her initial point is that interesting philosophical systems rupture our experience. Though Bergson's philosophy of process created a sharp distinction between the mechanical and the living, in our lives, Zupancic writes, the mechanical and the living overlap; the resulting tension forces us to rethink, and it is comical to see us struggling. While for Hegel it is spirit that is real, Zupancic believes spirit turns out to be the world—and, so, material. As creatures of body and mind, then, we are left dangling between two conceptual structures. (Informed readers will know that all readings of Hegel are disputatious.) Zupancic's understanding of the human predicament depends ultimately on Freudian and Lacanian psychoanalysis. After reading her discussion of man, woman, and the phallus in Lacan, most readers may prefer Meredith, but the book will find some readers in almost any library.—Leslie Armour, Dominican Univ. Coll., Ottawa, Ont.

"The spiders of December spin frost webs across the windows." Conners crafts a selection of prose poems that celebrate seasons of beginnings, survival, forgiveness, and the dailiness of an ordinary life. Yet there is nothing ordinary about these often ironic and witty poems. Especially strong are those that consider the interminable winters of Rochester, NY. In one, Conners juxtaposes shoveling snow with the act of writing: "My fingers pzrotest this plot we have shoveled out for ourselves." His fingers work slowly, "lugubriously." "They curl and glower at me from their home row perch." Conners, who has written extensively about the prose poem, deftly uses language to create layers of meaning in his own. In "Certified Alive," the narrator seems to pass his worrisome physical exam, but all isn't necessarily well: "It will take/ till spring to spell the names of my discontent" and "If I am too late, only [the postman's] shadow will appear." Conners's language is gritty and visceral. Readers will feel cold seep through blown-open windows and smell spring earthworms churning debris. And yet, "The/ seasons hold us tight: the storms have betrayed our trust but they/ must be forgiven." Highly recommended for contemporary poetry collections.—Karla Huston, Appleton Art Ctr., WI

A finalist for the Walt Whitman Book award and a semifinalist for the Crab Orchard/Open Competition Book Award, Hall's debut is a collection of powerful poems that have at their heart the charged, archetypal figure of the mother. Conflicted by the twin desires of self-destruction and self-preservation, this mother is both terrible and beautiful. This compassionate work shows a family in the aftermath of violence. Hall explores themes of loss, grief, desire, and identity as well as the ways that history, art, and politics shape the self. Not only is this a collection of poems, it is also a story of negotiating narrative in order to reinvent the self—as a way to survive and to learn the redemptive power of love. This book from an assistant professor of English at Bethany College and a recipient of an Academy of American Poets Prize and three Pushcart Prize nominations is both brilliant and brave. Full of memorable lines, the book shows how the author "…was mothered into art." Highly recommended for all libraries.—Kathleen A. Welton, Chicago

These complex poems are rich in literary allusions. Hill, who won the Heinemann Award, borrowed the title from Milton's study on the relationship between government and religion. "Culture is a dead word; let us re-/ animate it" could be this collection's motto. Handel, Brahms, Ben Jonson, Edmund Burke, and William Blake are featured here. Many poems tackle the subject of writing itself: "There's an unfinished psalm doing the rounds/ in the vicinity of my skull." The tone of the poems is often formal; sometimes the number of quotations can be overwhelming. The pieces that work best spring not from the library but from the outer world, as in these lines: "Not to skip detail, such as finches brisking/ on stripped haw-bush" and "This not quite knowing what the earth requires:/ earthiness, earthliness, or things ethereal." Hill also richly textures sound within his work: "sound only, a hish,/ a hisp, tissue of little bells." However, too often, Hill's language obfuscates, as in the opening to "The Peacock at Alderton": "Nothing to tell why I cannot write/ in re Nobody; nobody to narrate this." A challenging collection with some rewards. Recommended for all academic and larger public libraries.—Doris Lynch, Monroe Cty. P.L., Bloomington, IN

Howe's new poetry collection shines with the heightened clarity that often accompanies great loss. The language is conversational, but it's a conversation that keeps going after the mind is tired, with startling insights, hints of danger, and uncharacteristic wit. In "Reading Ovid," for example, the classical poet becomes "a guy who knows how to tell a story about people who/ really don't believe in the Golden Rule," leading the speaker/wife "to fantasize saying to the man I married, 'You know/ that hamburger you just/ gobbled down with relish and mustard? It was your truck.'/ If only to watch understanding take his face/ like the swan-god took the girl." Howe's remarkable poems help us to grasp the nature of narrative itself, as a ritual offering and a way to stop time, or at least to try. In one called "Why the Novel Is Necessary but Sometimes Hard To Read," the speaker describes a common reading experience: "you have to learn the names—you have to suffer not knowing anything about anyone/ and slowly come to understand who each of them is, or who each of them imagines themselves to be." Highly recommended for university and public libraries.—Sue Russell, Bryn Mawr, PA

It's been said that to write in a particular way argues for a certain version of reality. Kirby (The House on Boulevard St.) has for years given us a rarified world, one rendered through the eyes of a keen intelligence. In these poems, we traipse through a postapocalyptic world with Elvis as our guide, or question the dead in all the ways we should have when they lived. Kirby's latest book holds steady with the same dry wit and fantastic themes that characterize his earlier works. At its best, this collection is possessed of sharp description and a wry eye. But at other times, it risks tipping into a wistfulness that the text cannot support, one that seems perilously close to self-pity. It is common to speak of a writer's consistency when discussing his mature work, and Kirby gives us exactly what he always has: his best and his worst, all under one cover. A fine supplement for most academic and large public library poetry collections.—Chris Pusateri, Jefferson Cty. P.L., Lakewood, CO

Basho's travel sketches or Issa's haibun, the Pillow Book of Sei Shonagon, the chronicles of Walt Whitman and Allen Ginsberg, the American realism of Lawrence Ferlinghetti, and the wit of Kenneth Koch—these are only some of the resonances evoked by this highly textured poetic journal. McGrath, author of six previous books of poetry and recipient of a MacArthur grant, explores how life generates art, documenting a year in seven notebooks: Blueberry, Civilization, Papyrus, Dawn, Hurricane, Luxury, and Astral. Running on nature or design—the best writing here describes sea landscape—his engine whirrs through seasons and places, work (Miami), vacations (Jersey shore), family, and former urban home (Chicago). Each section employs an expedient language: "Ovarian cysts are not at all uncommon, and they are likely to be benign." "August 8" is a lovely, wistful litany about the simultaneity of experience: "Someone is studying the Audubon Field Guide, someone is missing the jingle of absent keys. Someone is choosing the blueberry over the strawberry rhubarb pie." "Eclogue" expresses the joy of making, like that of the coco frio vendor to whom he gives his backyard coconuts: "the giant tree laden with dozens/ of fat coconuts in the backyard, and he says/ ¡cocos tremendos!, vowing to come back tomorrow/ with a bigger ladder." Fun, serious, moving; for all collections.—Ellen Kaufman, Dewey & LeBoeuf Law Lib., New York

Any lover of poetry will notice the commonality of modern collections as poets craft themes to bind their prose. In her fifth collection, Nelson follows the trend but does something equally exciting and unexpected—she composes poems that can stand alone. In telling the story of a blind girl's intimate description of a hand, Nelson relays the universal tale of ceaseless longing, but the reader often has to place the book down not only to contemplate the gravity of her bravura phrases but also to enjoy the beauty of her descriptions: "Two Rastas/ have parked at the edge to play/ loud music, but even they/ can't compete with the wind." The wonder is that Nelson does not attempt to write with scholarly verses but with the raw emotion indicative of narrative poetry. In "Evensong," Nelson captures the essence of her work: "I know I could read your poems/ in the dark, but I am allowed only one/ a day, and even that's/ too much." Recommended for all libraries.—Ashanti White, Atlanta

Who is talking? Who is listening? These two questions inform Purpura's third collection of poems. This book-length sequence is reminiscent of poems by Pulitzer Prize—winning poet Louise Glück, with its hypnotic voice and its otherworldly reach. Purpura's poems weave metaphors—one suggesting the birth of a child, another alluding to the progression of the seasons from winter to spring. Using lists, as in objects the narrator finds on a walk, the poems rush breathlessly from image to image. Doing this, they fuse references from the Bible and quotes from literary stars like Vladimir Nabokov to the narrator's own down-home commentary, making the kind of surreal sense found in paintings by René Magritte. Mixing tones from the profound to the flippant, the poems seek to "see as you do, King Baby," which is with a fresh eye. A National Book Critics Circle Award finalist, Purpura achieves her freshness essentially by rooting her poetry in ambiguity and irony. One is never quite sure what she's talking about, but her skillful use of language pleases as it entices. Recommended for all libraries.—Diane Scharper, Towson Univ., MD

As founder of Redeemer Presbyterian Church in New York City, Keller has heard many people question religious beliefs and ask questions like, "How can there be one true religion?" or "How can a loving God allow suffering?" In his new book, written to help counter books like Richard Dawkins's The God Delusion, Keller addresses these and other questions and gives his reasons for believing in God unconditionally. He shares his personal path to Christianity through experiences with his own doubts about faith and conversations he holds with those still struggling with personal belief. Using literature, philosophy, and pop culture, the author gives convincing reasons for a strong belief in God. It is refreshing to read a book that presents a religious view without being overly critical of the secular side presented in other books. An excellent conversation starter, this book presents a valid, well-written, and well-researched argument and should be considered for public libraries.—Jennifer Kuncken, Williamsburg Regional Lib., VA

The first in the "Oxford Studies in World Christianity" series, which should fill gaps in the scholarly publication landscape, this volume delivers not the truly "groundbreaking study" it promises but an able treatment nonetheless of a much-neglected topic. Sanneh, a Yale professor and author of several books on related subjects, including Whose Religion Is Christianity? The Gospel Beyond the West, smartly considers Christianity in what he terms "its current post-Western phase," having developed in many regions without the influence of, for example, scholarly traditions (Sanneh himself perhaps mirrors this in his introduction, where he uncritically equates the character of Peter in Acts with Peter the historical figure). Sanneh is at his best in presenting more recent history, particularly that of missionary activity over the last several centuries in the Arab world, the Americas, Africa, and China. Last but not least, he eschews the easy categorization of evangelistic relations, instead "problematizing" the simplistic correlation of missionary activity to colonizing power. Recommended for larger and/or more subject-focused collections.—Darby Orcutt, North Carolina State Univ. Libs., Raleigh

The "scandal" of Evangelical politics is that there is no comprehensive, consistent Evangelical political philosophy despite extensive Evangelical engagement within politics. Sider (theology, holistic ministry, and public policy, Palmer Theological Seminary) sets out to offer a basic political philosophy that is faithful to Evangelical ideals throughout the political spectrum. This book offers a refreshing willingness to admit the political mistakes of Evangelicals in order to learn from them. The basic question Sider asks is, "What should Evangelicals try to legislate?" He addresses this in two ways. First, he offers a normative framework and methodology based on Evangelical interpretation of biblical principles. Second, he applies this framework to such issues in the Evangelical mindset as the state, justice, human rights, sanctity of life, family, war, environment, and international affairs. Overall, this work represents a worthwhile attempt in seeking a unified Evangelical political voice that is objective and holistic. It is essential reading for American Evangelicals, and it is useful for those trying to understand Evangelical political actions. Recommended for all libraries.—Dann Wigner, Wayland Baptist Univ. Lib., Plainview, TX

Who would ever guess that the ancient language of Aramaic might hold the key to peace and understanding between Muslims and Christians? And that a former U.S. congressman from Michigan (1981–87) and former deputy ambassador to the UN would have discovered some key word similarities between the Bible and the Qur'an? Siljander's book recounts these discoveries as he travels to some of the most embatteled places in the world: the Sahara, Libya, Sudan, Pakistan, Nepal, and India. His accounts of amazing interviews with heads of state and leaders like Muhammad Abdelaziz of the Sahrawri peoples and Tenzin Gyatso, the 14th Dalai Lama, are very revealing. He attempts to allay the misunderstandings and ignorance through startling language discoveries, discussing, for example, words and concepts like "conversion," "son of God," "crucifixion," and "peace" in the context of the original language of Jesus Christ—Aramaic. Finally, Siljander declares that love and relationships are more important than political strength and posturing. An understanding of the principles in this important book could help heal the rift between Islam and the West. Recommended for all libraries.—Gary P. Gillum, formerly with Brigham Young Univ., Provo, UT

Gold Medallion Book Award winner Sittser (theology, Whitworth Coll.; When God Doesn't Answer Your Prayer) here brings together academic Christian history and personal lifestyles and practices to show Christian spirituality manifest through the centuries. We are introduced to a diverse group of martyrs, desert saints, mystics, monastics, icons, reformers, Catholics, the Orthodox, Protestants, and pioneer missionaries. St. Francis lived, as Jesus did, among the poor, preaching the gospel to everyone and later crossing enemy lines in Egypt during the Crusades in an attempt to convert the Sultan. John Newton and William Wilberforce upset the economics of the slave trade. Desmond Tutu challenged apartheid. And C.T. Studd, the best English athlete of his day, untiringly spent his life as a pioneer missionary. Sittser allows us to see the depth of personal Christianity in the lives about which he writes, and he comments that these life stories may result in "changing effects on readers as they did on the author himself." Recommended for all libraries, especially academic ones.—George Westerlund, formerly with Providence P.L., RI

Doing substantial comparative work in rhetoric, gender, and religion, Thurlkill (religion, Univ. of Mississippi) is outwardly interested in holy women. Her study provides a side-by-side examination of the ways in which men in medieval Christianity and Shiite Islam constructed and enshrined feminine images "without seriously compromising conservative gender designations." Reading hagiographies for political, social, and gender information, Thurlkill finds matriarchal authority expressed through this feminine imagery, empowering men to employ them as rhetorical tools in order to reinforce established gender dynamics. Thurlkill is not interested in the actual historical personages of Mary or Fatima but rather in the paradoxical process of sacralizing them within their distinctive religious expression, such as their immaculate yet maternal bodies. She succeeds in arguing for both as models of idealized feminine piety despite the disparities in historical time (c. 200–750 CE for medieval European Christianity; c. 700–1000 CE for medieval Shiite Islam) and cultural geography: both arise as theological symbols during periods of cultural and political tumult. Extensively footnoted and with a rich bibliography, this is recommended for academic gender and religion collections.—Sandra Collins, Byzantine Catholic Seminary Lib., Pittsburgh

Founding editor of the religion department at Publishers Weekly, Tickle is also the prolific author of God-Talk in America, Recovering the Sacred, and other books. This volume is a thoughtful reflection on the meaning of Jesus's words and the importance of various contexts for his followers, as well as on truth that emerges around unconsciously imposed cultural blinders. In the process, Tickle explains much of the thinking behind the Emergent Church movement. She also struggles with how to phrase certain "words" found with different nuances in more than one canonical Gospel. The book concludes with a recounting of Jesus's words from the canonical Gospels and the first chapter of Acts, dividing them into five different contexts, by delivery venue or topic: words of public teaching, of private instruction, of healing dialog, of intimate conversation, and of postresurrection encounters. For many readers, this book will fulfill Tickle's intent: to lead to a new appreciation of Jesus's words and of Jesus himself. Highly recommended for public and seminary libraries.—Carolyn M. Craft, formerly with Longwood Univ., Farmville, VA

In this provocative work, Wilson (religious studies, York Univ., Toronto) investigates the increasingly popular hypothesis that Christianity's origins are rooted in a colossal cover-up, asserting that the "original" Jesus movement developed into the Ebionites, an early Jewish Christian sect. Wilson indirectly presents modern Judaism's understanding of its own development in relation to that of Christianity, and in this respect, his work may be useful. However, several factors preempt any such benefit. First, he displays an uncritical bias in choosing the Ebionites as the "original" Christians solely on the basis of their relative "Jewishness." Additionally, he reiterates unproven hypotheses concerning James (Jesus's brother) and Paul, mistakenly considering them new. Wilson's view of Christians throughout is typified by hostile language and quick accusations. In effect, these pages serve to magnify the rifts and injuries between Jews and Christians. For a balanced perspective, consider instead N.T. Wright's Jesus and the Victory of God or James D.G. Dunn's Jesus Remembered. Not recommended.—Dann Wigner, Wayland Baptist Univ. Lib., Plainview, TX