Arts & Humanities

The subject of this catalog, edited by Sala (modern & contemporary art, Univ. of Barcelona) and accompanying an exhibition at the Van Gogh Museum in Amsterdam, is turn-of-the-20th-century Barcelona and its great architectural, cultural, political, and societal changes. Coverage includes the works of dominant artists and architects (e.g., Antoni Gaudí's Temple Expiatori de la Sagrada Família), notable landmarks (e.g., Els Quartes Gats, the café once frequented by Pablo Picasso and his bohemian circle of friends), and influences that include fin de siècle Paris, impressionism, and Norwegian artist Edvard Munch within the dynamics of the times. Art historian contributors capture the major highlights of this Catalan city's modernist transformation in eight brief and beautifully illustrated essays. An anthology of poems and prose follows the essays and provides a sampling of Barcelona's literary character. Readers are allowed a glimpse into the lives of the upper classes through interior photographs of their dwellings, and there are many exquisite full-page, full-color reproductions of decorative displays, architectural photographs, and poster art. An exciting chronicle of Barcelona's rich modern history for contemporary readers; recommended for all art-book collections.—Ellen Bates, New York

Pompeo Batoni (1708–87), one of Rome's most celebrated painters, was during his lifetime and remains today best known for his portraits—namely, of English, Scottish, and Irish men and a few women visiting Rome on the Grand Tour (a typical trip for Britain's 18th-century upper classes). Published in association with the Museum of Fine Arts, Houston, this catalog celebrates the tercentenary of Batoni's birth and accompanies an exhibition of his finest works, now showing at the National Gallery, London (through May 18, 2008). It contains more than 150 color illustrations representing paintings from private and public collections in the United States and Europe. Some of these works are newly discovered, while others have never before been shown. Authors Bowron, a curator, and Kerber, who completed his doctoral thesis on Batoni at the University of Munich, present these works alongside essays exploring Batoni's art, life, patrons, historiography, and critical reception, devoting one chapter to his drawings and working methods. Scholarly, thoroughly researched, and with many attractive color reproductions, the volume's specialized nature recommends it for academic libraries supporting art history programs and for museum libraries.—Sandra Rothenberg, Framingham State Coll. Lib., MA

The concept of corporate art does not generally quicken the pulse, but the provocative and even edgy works making up the Cleveland-based Progressive Casualty Insurance Company's art collection certainly are the exception. Highlighting nearly 300 works from a collection exceeding 6500, this publication casts in strong relief one of the country's most impressive groupings of American and European contemporary art. Chronologically arranged, it leads us from the collection's 1970s acquisitions of works on paper (by, e.g., Jasper Johns, James Rosenquist, and David Hockney) to its acquisitions through the early 21st century of paintings, sculpture, and site-specific works (by, e.g., Andres Serrano, Andy Yoder, and Sharon Louden). No such comprehensive catalog devoted to the Progressive's collection exists, and this work covers its history as well as its art. Full-page, oversized color reproductions that seem to leap from the printed page are augmented by four essays (including a superb entry from Dan Cameron, director of visual arts, Contemporary Arts Ctr., New Orleans) delineating the collection's strengths, scope, and goals. Nobel prize-winning author Toni Morrison writes the foreword. Recommended for all libraries with contemporary art collections.—Kraig Binkowski, Yale Ctr. for British Art Lib.

Ciampi, who specializes in large, luscious residential interiors for magazines like Architectural Digest, has attempted to dramatize the lives of some 50 young and hip Chinese artists, curators, and collectors by turning their homes, studios, and galleries into opulent stage sets. Tinari's informative accompanying profiles, each between 300 and 500 words long, are probably one of the best short guides to modern-day China's important young artists. Unfortunately, for all of Ciampi and Tinari's efforts to give us a survey of China's lively contemporary art scene, the book's design amounts to a confusing mishmash of visual information that relegates the text to the final ten percent. Not art historical in tone, this is a magazine-type survey of contemporary artists in their spaces that includes few pictures of their work. With good-quality printing but substandard binding; best for art and large public libraries.—David McClelland, Seoul, Korea

In 16 essays covering 500 years, Freeman (Art: A Crash Course) examines the dominant themes and influences of British art, highlighting such fascinating ideas and new perspectives as the weather's effect on British art and the contributions of various ethnic groups. But, too frequently, his meaning is unclear, as when he states that the driving force behind British art has passed from the artist into the hands of the state (an assertion for which he offers little or no proof) and then remarks, "In itself, this doesn't augur well, but the fat lady is still in the dressing room, and so nothing is lost." Further, his word choice and attitude of studied iconoclasm detract from the book's seriousness while making it necessary to read with care. Well-reproduced illustrations, a register of artists (additional background information on the featured artists and artworks would often have been helpful), and a very selective bibliography round out the text. Freeman's broad and knowledgeable examination of themes, artists, and works makes the book important for academic libraries with informed readers who might benefit from Freeman's provocative ideas.—Martin Chasin, Adult Inst., Bridgeport, CT

Govan is a leading collector of crèches, or Christmas Nativity scenes, as well as the founding president of Friends of the Crèche Society (friendsofthecreche.org). Here, he opens with stories of his travels in search of contemporary examples of this genre. In the 12 sections that follow, he then details the unique qualities of more than 100 crèches from approximately 70 countries, discussing the evolution of the art form and the diverse cultural backgrounds from which the various examples were created. He further details the context of the crèche, its place as both a specific gift and an instrument of change, and its effect on families and individuals. Artists whose work is featured include a New Zealand carver and an American firefighter. The volume is clearly written and beautifully produced, with large color photographs (generally on facing pages) detailing the crèches' craftsmanship and various design features. Given the art form's specific religious focus, however, its appeal is limited. Recommended where there is interest.—Alex Hartmann, Delgado Community Coll. Lib., West Bank, New Orleans

In this nicely illustrated (170 b&w, 30 color illus.), thoughtfully conceived, nearly comprehensive, and yet concise survey, MacGregor (curator, Dept. of Antiquities, Ashmolean Museum, UK) provides a scholarly account of the early (16th–19th centuries) history of collectors and collecting in western Europe, linking European museums to the mostly private collections of princes, institutions, and individuals. Chapters set forth models and precursors to public museums in Europe as well as various types of collections, including art, natural, medical, archaeological, scientific, and technological. Related topics—e.g., the selection and display of collections, the preservation and presentation of objects, and architectural and social settings—are also discussed. Well documented and expertly presented, this unique, fascinating, and generally readable work updates other studies on the topic and belongs in many large public, special, and academic library research collections covering the history of collectors, collecting, collections, and museums in European contexts. While it addresses neither post-19th-century collecting nor American collectors, it is nevertheless relevant to and appropriate for North American libraries and museum studies collections. Strongly recommended.—Cheryl Ann Lajos, Free Lib. of Philadelphia

A longtime New York City-based artist, poet, and teacher (advancement of science & art, Cooper Union), Nadin (Twelve Prints and Poems) showed the paintings and sculpture reproduced here in Cuba in 2007. He made all of the pieces on his Catskill farm, where he lives and works, using natural materials (e.g., linen, honey, indigo, beeswax, egg, and wool), many of which come from the farm. Nadin's work appears to be abstract and influenced by aesthetic considerations, but instead he intends the pieces as direct expressions of consciousness, expressing their place of origin rather than formal or visual principles. Accordingly, he buries his sculptures underground or underwater prior to exhibiting them. Here, Richard Milazzo and Andrew McCarron's essays on Nadin's current and past work and Philip Larratt-Smith's interview with the artist (all in both English and Spanish) emphasize theoretical concepts and use specialized language most suitable for audiences familiar with contemporary art writing. Black-and-white photographs taken at the farm complete the text. Recommended for academic and specialized collections. [Visit the artist online at http://peternadin.com.—Ed.]—Kathryn Wekselman, MLn, Cincinnati

Captivating and stunning are the words that best describe this exquisitely illustrated exhibition catalog (180 illus., 156 in color) from the Iowa State University (ISU) museums, which features American jeweler-turned-metal sculptor Albert Paley's notable public, private, and institutional artworks of portals and gates. Paley, whose works grace the New York State Senate and the Victoria and Albert Museum, London, among other sites, creates objects of both aesthetic and functional beauty that bring forth emotions transcending architectural, symbolic, and metaphysical forms. Here, guest curator and author Rowe provides a comprehensive look at his distinguished career, from the 1974 gates he created for the Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, to newly installed portals at Hometown Perry, IA, here commemorated by U.S. Poet Laureate Ted Kooser. She also includes four excellent essays discussing Paley's collaborative process and use of nature. The catalog concludes with a biographical chronology as well as lists of commissioned works and exhibitions, publications and works about the artist, and items in the exhibition. Delightful, beautifully crafted, and colorful, it should be useful to public and academic library collections focusing on modern and decorative arts. Highly recommended.—Stephen Allan Patrick, East Tennessee State Univ. Libs., Johnson City

In his first work of nonfiction, Pulitzer Prize-winning author Chabon (The Amazing Adventures of Kavalier & Clay) tells readers of some of the books that have helped shape his writing career. Among his loves: F. Scott Fitzgerald's The Great Gatsby, Philip Roth's Goodbye, Columbus, Arthur Conan Doyle's Sherlock Holmes mysteries, and various comic strips and ghost stories. Chabon argues that there's a place for both high and low art in literature and that what really makes a reader is a love for the story. Chabon's 16 essays are seemingly organized from the least personal ("Trickster in a Suit of Lights, Thoughts on the Modern Short Story") to the most personal ("Golems I Have Known; Or, Why My Elder Son's Middle Name Is Napoleon") and argue the merits of reading, writing, and storytelling, breaking down the barriers between so-called genre writing and "serious" literature. Affectionate and funny; a welcome and necessary addition to all collections.—Pam Kingsbury, Univ. of North Alabama, Florence

Alfred Kazin was one of the 20th century's most influential critics of American literature. Here, Cook (American literature, Univ. of Missouri, St. Louis) provides a sympathetic portrait of both the critic and the man, drawing on interviews with Kazin and his family, friends, and literary contemporaries as well as on his personal journals and letters. The result is a smoothly written, extensively researched biography that also analyzes the often turbulent times in which Kazin lived. Cook considers all aspects of Kazin's life—e.g., his often chaotic relations with his wives and children and his conflicting opinions on various political and social topics. The portraits of his friends and enemies (in some cases, one and the same), including Saul Bellow, Irving Howe, and Edmund Wilson, are especially vivid. Cook's emphasis on Kazin's fears and doubts as well as his triumphs make this a well-rounded study of one writer's beneficial influence on American literary studies from the 1930s to the 1990s. Essential reading for anyone interested in New York intellectuals or in Kazin himself; recommended for all larger academic and public library collections. (Index not seen.)—Morris Hounion, New York City Coll. of Technology Lib., CUNY

Written over the past several years, the 35 essays in this companion to Dating Your Mom (1985) and Coyote v. Acme (1996) are 35 more reasons to consider New Yorker contributor Frazier one of America's premier humorists. With the title piece, which has been anthologized numerous times since its 1997 publication, Frazier sets a standard of excellence for the collection from which he never wavers. "How To Operate the Shower Curtain," instructions for his houseguests, is likely to become another classic, copied and prominently placed in guest bathrooms across America. Frazier finds humor in such unexpected places as the "sudden" death of a 97-year-old man, the description by the FBI of Osama bin Laden's build as "thin," and the challenges of information overload, which require our minds to distinguish among H.G. Wells, George Orwell, Orson Welles, and Orson Bean. Each piece is a delight, proving Frazier a master craftsman and sure to leave readers trying to narrow their list of favorites. Not to be missed; highly recommended for all libraries.—Anthony Pucci, Notre Dame H.S., Elmira, NY

Vladimir Mayakovsky (1893–1930) was one of the great poets of the Russian Revolution and, along with Lorca and Apollinaire, one of the great poetic idols of the 20th century. Here, filmmaker Almereyda presents all of Mayakovsky's great poems (e.g., "A Cloud in Pants," "Screaming My Head Off," "Getting Along with Horses") alongside excerpts from his memoir (I, Myself), artistic appreciations, and eyewitness accounts that together offer insight into the poet's art and life. The translations—by a new generation of Russian American poets—are consistently wonderful. Rachel Cohen's essay concisely and brilliantly describes the Futurists, the Formalists, the Acmeists, and the Symbolists—all artistic groups surrounding Mayakovsky. The book further explores Mayakovsky's relationships with Lili Brik and Tatiana Yakovleva, explains his propaganda work, and addresses his mixture of the surreal, the lyric, and the sarcastic; the text is generously illustrated with photographs of Mayakovsky's friends and contemporaries and artworks of the times. Encompassing the excitement and glory of the revolution's generation, this is an important addition to literature collections.—Gene Shaw, NYPL

Thirlwell presents a novel approach to the novel, a stylish consideration of style, literary criticism as creative nonfiction, and delectable brain candy. Thirlwell's subjects (Flaubert, Diderot, Sterne, Joyce, Tolstoy, Chekhov, Pushkin, Nabokov, Kafka, and many others) are also characters, interacting and influencing one another over time and across continents. Reaction to this work is likely to be extremely mixed, with some critics praising its boldness, precocity, and originality and others damning it as an ostentatious jumble. It could easily be mistaken for fiction since it reads like wildly careening metafiction. In fact, says Thirlwell, "this book—which I sometimes think of as a novel, an inside-out novel…is about the art of the novel. It is also, therefore, about the art of translation." He concludes with the original French text of Nabokov's own boundary challenging story/essay Mademoiselle O and his lively English translation of it. Thirlwell established himself as something of an enfant terrible with his first novel, Politics (2003), and this book should enhance his reputation. Recommended for all academic and larger public libraries.—Jim Dwyer, California State Univ., Chico

Ahl (classics & comparative literature, Cornell Univ.) has previously published translations of Seneca's and Lucan's works and has written books on Sophocles, Lucan, and Ovid. His new translation of this great Latin classic, Virgil's tale of Aeneas's seven-year journey from Troy to Italy, joins recent efforts by Stanley Lombardo (Hackett, 2005) and Robert Fagles (Penguin, 2006). Here, Ahl employs a version of Virgil's hexameter verse, in which the first syllable is accented. Unlike previous translators, he tries to capture some of Virgil's wordplay, puns, and anagrams, aiming to remain true to the original Latin. The overall results are accurate but not as fluent or vigorous as the translations by Lombardo and Fagles. While those translations remain the first choice for general readers interested mainly in The Aeneid's narrative aspects, Ahl's translation is good for those wanting a fuller sense of Virgil's language and poetic artistry. In addition to an indexed glossary of names, Ahl includes notes explaining references; classicist Elaine Fantham offers a substantial introduction discussing Virgil, Aeneas, and The Aeneid. Recommended for all public and academic libraries.—T.L. Cooksey, Armstrong Atlantic State Univ., Savannah, GA

How many of us have mumbled or possibly even shouted, "I've got to get out of here"? These are the watchwords of train hoppers, spirited adventurers who escape "everywhere" by stealing rides on freight trains. Vollmann, winner of the 2005 National Book Award for fiction (Europe Central), is dedicated to firsthand experiences for his literary inspiration; in this unusual contemporary travel book, he shows how he and various hobo companions take to the rails to see the United States from empty railroad cars. Vollmann frequently references classic works by Jack Kerouac, Ernest Hemingway, and Jack London—authors who write more about the journey than the destination (he includes a list of sources). He also provides interviews with traveling companions and the many people he meets during his quests, which usually begin at "zero-dark-thirty." Accompanying black-and-white photographs reveal what life is like on present-day rails and show the friends, foes, and harsh graffiti of train hoppers. Recommended for larger public libraries.—Joyce Sparrow, MSLS, Juvenile Welfare Board Children's Svcs. Council, Pinellas Park, FL

Sergey Prokofiev, one of the most significant Russian composers of the 20th century, is best known for his operas (e.g., The Love for Three Oranges) and ballet music (e.g., Romeo and Juliet). But he also completed nine piano sonatas, which have become an important part of the repertory. Berman, a well-known concert pianist, studied them while a student at the Moscow Conservatory, and he is eminently qualified to guide the reader through the pieces. This is like looking into a master performer's teaching notebook: each sonata is approached in chronological order, with a short general discussion of the work and its setting, a detailed description and phrase-by-phrase analysis of each movement, and advice to performers as to how the piece should be played. The writing is highly technical and requires a solid understanding of musical form and its jargon, as well as an intimate playing acquaintance with the sonatas. Invaluable for advanced performers; recommended for academic libraries.—Timothy J. McGee, Trent Univ., Ont.

Even if Breathless means more to you as an adjective than a noun, you know who director Jean-Luc Godard is, however indirectly. His influence has pervaded the cinematic landscape, informing the work of everyone from Woody Allen to Quentin Tarantino—the latter director, in homage, even tweaked the title of Godard's film Bande à part into the name of his production company, A Band Apart. But Godard's relationship with the cinema goes much deeper than influential reciprocity. Cinema, as we know it, could not exist without Godard, just as he, in turn, processes life through cinema's lens. With descriptive clarity, Brody (film critic & editor, The New Yorker) fluidly intertwines the stories of Godard's existence and the life of cinema so tightly that they become one, turning this biography into a history. Brody does well in objectively showcasing the development and rationale of an idealistic auteur's life threaded through the annals of film. Essential for academic and large public library film collections.—Ben Malczewski, Ypsilanti Dist. Lib., MI

In his entry in the "Legendary Sessions" series, music journalist Irwin (In Search of the Craic: One Man's Pub Crawl Through Irish Music) deftly sets the stage for Bob Dylan's seminal album Highway 61 Revisited, describing the songwriter's move from socially conscious protest songs to introspective, Beat-inspired lyrics and discussing Dylan's affiliation with manager Albert Grossman and his burnout after a 1965 European tour. Irwin delves into the genesis of the groundbreaking "Like a Rolling Stone" and provides a riveting chapter about the tumultuous and polarizing Newport Folk Festival where Dylan unveiled his electric sound. He then details the recording of the album, which was characterized by bitter, angry songs filled with symbolic references. Irwin also includes short biographies of the many characters involved with the album. Not just a book about a record, this work offers a lively, interesting, and informative look at Dylan during the pivotal period 1963–65.

Unfortunately, experienced music journalist and musician Clayson (The Beatles Box) begins his series entry on the Rolling Stones with a rambling account of their many influences, including blues, soul, folk, Jimi Hendrix, Dr. John, and Dylan, leaving the reader in bewilderment about the primary impetus behind the band's music. He follows with brief, sensationalist profiles of each member: sex-crazed Bill Wyman; serious Charlie Watts; troubled, talented, and marginalized Brian Jones; financially astute Mick Jagger; and quiet yet boisterous Keith Richards. Clayson covers the business moguls behind the band (Andrew Loog Oldham and Allen Klein) and the recording of the 1968 Beggars Banquet. In a scattershot, hodgepodge finish, Clayson outlines Brian Jones's split from the group and his untimely death, the Hyde Park and Altamont concerts, and various events up to 2007. Written in a conversational, disjointed style, this volume offers little new information about the Stones or their music. Not recommended.—Dave Szatmary, Univ. of Washington, Seattle

Chris Farley's unique comedic talents catapulted him to national fame via television's Saturday Night Live and films such as the popular Tommy Boy. His flair for improvisation and his ability to connect with people were outstanding. His life, however, was eclipsed and ultimately cut short by ongoing alcohol and drug addiction. Here, his brother, Tom Farley Jr., and Colby (coauthor, Belushi) provide an honest and compelling portrait of Farley from his early years until his death in 1997. The unusual structure of the book adds to its poignancy; each chapter contained in the three acts of Farley's life is a well-organized compilation of vivid reminiscences from family and former schoolmates, TV and film personalities, and community center workers. A heartbreaking story of a complex man emerges: the popular public figure, the kindhearted private one—a religious man, caring friend, and dedicated volunteer to the aged and homeless—and an insecure, troubled individual, who, despite a supportive network and wholehearted attempts at rehab, succumbed to his addictions. Essential for fans.—Carol J. Binkowski, Bloomfield, NJ

Writer and musician Hardy offers the second recent biography of the uncompromising Texas singer/songwriter Townes Van Zandt (1944–97), following John Kruth's 2007 To Live's To Fly. Both books examine similar terrain in Van Zandt's personal history, music, and the demons that plagued him throughout his life. In this extensively researched and footnoted book, Hardy states that Van Zandt's "craft was inextricable from his life," and he is particularly adept at setting the context of Van Zandt's life within the musical scenes in which he lived and worked, all the while illustrating the intersection of his personal life and the creative process. Like Kruth, Hardy interviewed many of those who were close to Van Zandt, but Hardy's writing is more streamlined, and his reliance on narrative creates a smoother flow. Smaller libraries that own To Live's To Fly may not need both titles, but Hardy's is certainly recommended for libraries with strong popular culture collections and especially those without material on the legendary Van Zandt.—Jim Collins, Morristown-Morris Twp. P.L., NJ

Born in East Texas to famed folk song collector John Lomax, Hawes spent her childhood traveling with her father and her brother, Alan Lomax, to help preserve the folk music culture of rural America. As a child, Hawes took to heart her mother's advice—"by doing, you learn to do"—and has applied it to all areas of her life. She learned the tools of folklore fieldwork by transcribing the songs of rural musicians and taught herself how to play these songs, eventually joining the Almanac Singers, which included Woody Guthrie and Pete Seeger, as part of a growing folk movement. When she married Butch Hawes and moved to California, she began teaching guitar and college-level folklore studies. Eventually, she was named director of the Folk and Traditional Arts Program at the National Endowment for the Arts, and in 1993, Bill Clinton recognized her work by awarding her the National Medal of Arts. Although Hawes recounts her life dispassionately and in a rather pedantic manner, her accomplishments and her significant contributions to American music mark her place in music history. Libraries with comprehensive folk music collections will want to own her memoir.—Henry L. Carrigan Jr., Evanston, IL

By turns harrowing, winsome, and inspiring, this work by novelist (In the Clear) and Los Angeles Times columnist Lopez relates the first two years of his friendship with Nathaniel Anthony Ayers. A budding string genius at Juilliard in the early 1970s, Ayers succumbed to paranoid schizophrenia and became homeless, yet he continued to play the violin as a way to keep the demons at bay. With the help of Lopez and others who responded to his columns, Ayers took steps to recovery, residing in a group facility, making trips to Disney Hall for concerts, and achieving the dream of having his own music studio. The tangle of mental health policies and government priorities comes in for a thorough drubbing, as does the callous disregard for students' personal situations at many elite institutions, at least at the time Ayers was enrolled. Lopez's newspaper experience serves him well, and both he and his subject come across as fully developed individuals. A deeply moving story; highly recommended for all collections and of special interest to those dealing with the intersections of music and psychology or therapy. [See Prepub Alert, LJ 12/07; The Soloist is being made into a DreamWorks film starring Jamie Foxx and Robert Downey Jr.—Ed.]—Barry Zaslow, Miami Univ. Libs., Oxford, OH

Graham's 12th collection of poetry can be daunting. A Pulitzer Prize-winning poet and Harvard professor, Graham fuses the philosophical and the colloquial with the surreal in a style characterized by lengthy sentences—some containing nearly 400 words. Arranging fragments, clauses, and prepositional phrases, these long-lined, collagelike poems often end with a striking final image, as Graham meditates breathlessly on everything from nature to politics to the act of imagining. The result is a very literary language poetry—there are echoes of W.H. Auden, Gerard Manley Hopkins, and Marianne Moore, among others. Like Auden, whose "Musée des Beaux Arts," is none too subtly referenced here, Graham looks at the bleak side of life. Like Hopkins, she coins words such as "lightshafts" and combines words, as in "leaf-glittering, shadow-mad," to produce a metaphor-driven stream-of-consciousness effect. Like Moore, Graham seems fond of lists, especially of vivid nouns; ultimately, she presents what Moore described as "the raw material of poetry" as opposed to the poem itself. Recommended for academic libraries only.—Diane Scharper, Towson Univ., MD

In her third book (after House of Poured Out Waters and The Lord and the General Din of the World), award-winning poet Mead has created a series of subtle chants—expressing solace, enlightenment, and joy—as she explores the cycles of life and death in the natural world. Both musical and meditative, the collection is divided into three parts. Themes of grief and the yearning for wholeness are constant, as are images of light, trees, and water: "We cry. We carry/our grief whole, we/carry our lives. Swayed/by the under-self/it's how we love." Mead has been justly compared to Emily Dickinson for her brilliance, inventive syntax, and emotional richness, and her latest is a serious work that will live long with readers. A worthy addition to all libraries with a comprehensive poetry and/or a women's studies collection.—Kathleen A. Welton, Chicago

Pathos in poetry is a tricky business. The earnest first-person approach of much contemporary poetry makes an appeal to the emotions a very dangerous game—done poorly, it risks crossing into self-parody, a simpering sort of emotional pandering. In this long-awaited follow-up to her 1999 volume, Interior with Sudden Joy, Shaughnessy strikes an interesting détente between the emotive qualities of poetry and its need to offer something that transcends mere emotion: a poetic practice that forwards a politics, grapples with the sensual, and confronts cultural issues without oversimplifying. Every poem, whether mainstream or avant-garde, must offer the reader some means of access, and Shaughnessy provides an astonishing versatility that rejects the bitter aesthetic arguments in which most American poetry is mired. The playfulness here brings to mind Wittgenstein's notion of "language games," and the unabashed sensuality reveals a nascent feminist sensibility. Most of all, this work reminds us that the first step of successful pathos is an instant and visceral reaction, the real reward for those who love to be astonished. Strongly recommended for all libraries.—Chris Pusateri, Jefferson Cty. P.L., Lakewood, CO

No book published during this important election year more effectively addresses religious/secular issues than this study by philosopher Dacey (Ctr. of Inquiry, New York). Arguing that secularism has lost its soul, Dacey proposes a secularism based on the objective moral value of questions of conscience. Calling on the liberal traditions of Spinoza and John Stuart Mill and drawing from the latest research on belief, the mind, and ethics, he says that the role of the church should be to "bring about openness of mind and will to the demands of the common good" rather than to impose certain ways of thinking and conduct. For him, secular liberalism is not a religion but a moral, philosophical, and political outlook committed to reason and science, the separation of religion and state, freedom of belief, and a public ethic affirming the values of personal autonomy, equality, toleration, self-criticism, and this-worldly well-being. This thoughtful, informative, and tremendously interesting primer for secular ideas raises the bar for books dealing with world rights and makes sense of a philosophy foreign to many people of faith. Highly recommended for well-informed readers in public and academic libraries.—Gary Gillum, formerly with Brigham Young Univ., Provo, UT

Goldberg (law, Georgetown Univ.) aims to urge readers to reexamine the fundamental principles separating church and state, science and religion. Much has been written about the placement of the Ten Commandments in federal court buildings and the teaching of creationism or intelligent design in junior-high biology classrooms. The frequently controversial resolutions seem like substantial victories for religion and its advocates, but Goldberg disagrees. He sees these isolated "victories" as diminishing both religion's power and the transformative nature of spiritual symbols. Religion, he feels, is selling itself short and condescending to the views and values of worldly secularism. Goldberg's thesis is easily accessible to any reader interested in the secular vs. sacred debate yet also challenging to practitioners of religion, law, and government. Brilliantly written, passionately argued, and sincerely unbiased, the book is a clarion call to restrain the billboarding of religion. For all libraries.—John-Leonard Berg, Univ. of Wisconsin Lib., Platteville

This first book by former Sojourners editor and NPR producer Grainger reflects both his personal background and his graduate work at Harvard Divinity School. Throughout, he intersperses vivid and sometimes humorous accounts of growing up in a fundamentalist family with historical data and theological concepts. In the process, he discusses such elements of Christian fundamentalism as biblical literalism, conversion experiences, creationism, and social and moral issues, tracing their origins while examining current trends. Grainger makes clear that Fundamentalism is not static but is actually a highly adaptable movement that reevaluates itself and its approach in the light of each new challenge; he describes it as less a reactionary movement than "an alternate way to be modern." This is a thought-provoking examination of an often maligned part of American Christianity, showing its strengths as well as its weaknesses. Recommended for academic and public libraries.—C. Robert Nixon, MLS, Lafayette, IN

A doctoral and research fellow at Princeton Theological Seminary, Jones currently serves as the national coordinator of Emergent Village, a nonprofit organization of the Emergent movement, an ecumenical and postmodern form of American Christianity. The Emergent movement values inclusion; rejects the secular/sacred dichotomy, finding God active in all of life; believes friendship and reconciliation to be more important than doctrinal agreement; and gives greater weight to the biblical call to community than to the democratic assertion of individual rights. It values orthopraxis (doing the Gospel) over orthodoxy (believing the Gospel) and often engages in social and/or political activism without attaching to a particular political party. Here, Jones analyzes the movement in 21-sentence dispatches that describe its chief characteristics and follows each dispatch with narrative illustration and discussion that successfully help clarify and amplify the movement's features. Highly recommended for public and seminary libraries.—Carolyn M. Craft, formerly with Longwood Univ., Farmville, VA

Historian McElvaine critiques and even ridicules what he calls "Lite Christians," self-proclaimed believers offering, as he sees it, a "no commitment, no-hardship, salvation plan." He expands this critique to assail the beliefs of historic Christianity and, to a lesser extent, the Judaism recorded in the Old Testament. On a positive note, he trumpets Jesus's teachings in the Sermon on the Mount, wherein Jesus spoke of sacrificial deeds and loving kindness to one's neighbors. He ignores, however, Jesus's condemning words in this sermon to guilty hearers, his warnings of "the hell of fire," selectively utilizing Jesus's words to authenticate his own thesis for loving, sacrificing, and doing good. Though McElvaine is clearly knowledgeable and clever, his book would have been better had he gracefully pointed to Jesus's words advocating love and service within the entire context of the Scriptures. As it stands, he is guilty of the charge he reserves for others: "these Christians alter everything important in the teachings of Jesus." Because of McElvaine's generally mean and jesting critique, this is not an easy book to read for anyone not fully in accord with his personal beliefs. Not recommended.—George Westerlund, formerly with Providence P.L., RI

Archivist-turned-historian O'Toole (Boston Coll.; Passing for White: Race, Religion, and the Healy Family, 1820–1920) deftly tells the history of lay Catholics in America. Beginning with the priestless church of the Colonial period, he goes on to explore the church in the democratic republic, the immigrant church, the church of Catholic Action, the church of Vatican II, and the church in the 21st century. Each chapter begins with a short biography of a lay Catholic of his or her time; the last chapter opens with a portrait of "Maria," O'Toole's projection of a typical modern-day Catholic. O'Toole does not shrink from treating the pedophilia crisis, but he does so from the perspective of an impassioned historian. In addition, he is careful to explain any term that might be unfamiliar. Less academic in style and format than Patrick W. Carey's The Roman Catholics and more accessible than Charles R. Morris's American Catholic, this is a worthy successor to James Hennesey's American Catholics and Jay P. Dolan's The American Catholic Experience, both classics. Highly recommended.—Augustine J. Curley, Newark Abbey, NJ

Humans cannot live by bread alone, to paraphrase a famed prophet, and opulence and naturalism often ignite spiritual quests. Yet in their longing—and, perhaps, desperation—seekers often embrace any set of teachings seeming to offer a panacea. Books such as Rhonda Byrne's The Secret (on which this book's title plays), James Redfield's The Celestine Prophecy, and Joel Osteen's Your Best Life Now are treated as scriptures and their authors deified by an often uncritical readership. Writing with candor, directness, and humor, Price (scriptural studies, Johnnie Colemon Theological Seminary) takes a fair yet critical approach to the spiritual smorgasbord currently pervading America. Among others topics, he discusses the ideas and works of New Age guru Deepak Chopra and neo-Buddhist Eckhart Tolle. Even evangelical Christianity receives his scrutiny and assessment. Price's intent is "to sift through the facts, claims, the doctrines, in order to separate the wheat from the chaff." In short, his work provides an in-depth survey of religious teachings that have permeated the 21st century. Highly recommended for academic and public libraries.—C. Brian Smith, Arlington Heights Memorial Lib., IL

In this methodically researched study of both biblical and extrabiblical texts, Vermes (The Nativity) examines the notion of resurrection in religion and history, providing much insight into the historical, cultural, religious, and literary beliefs concerning not only the resurrection but also life after death and ascension. After a brief overview of Old Testament cases of resurrection and ascension, he examines those same concepts in the New Testament. Yet for all his analysis and investigation, one can't help but want this book to be longer and more inclusive. For every point Vermes makes concerning the resurrection, there are several others he does not consider. For example, in discussing "Six Theories To Explain the Resurrection of Jesus," he discounts what he calls the more extreme theories of the "inveterate skeptic" and the "fundamentalist believer"—and he writes as if those are the only two theories he leaves out. All in all, this work offers an interesting glimpse into some deeply held beliefs and viewpoints, but it's no more than that. Recommended for specialized collections.—Wesley Mills, SUNY Empire State Coll., Rochester

Sports columnist O'Connor (The Jump: Sebastian Telfair and the High Stakes Business of High School Ball) examines what may be the longest-running rivalry in sports history. While both Arnold Palmer and Jack Nicklaus have retired from competitive golf, they still appear on the same money list. Nicklaus has the edge in on-course winnings; Palmer, in off-course winnings, with Palmer having the overall edge. Each has written autobiographies; Howard Sounes wrote about them both in The Wicked Game, but O'Connor goes one step further by detailing how each pushed the other, examining their relationship off the course, and showing how their spouses interacted. At the end, O'Connor shows how a bond can be forged between two divergent personalities, fire and ice, passion and dispassion. In truth, much of what O'Connor presents can be garnered from different sources, but he has done a considerable amount of original research. Recommended because there will be demand.—Steven Silkunas, North Wales, PA

In this history of sports in China over the past century, Xu (history, Kalamzaoo Coll.) accents the cultural intertwining of athletics and politics as the country continually increases its emphasis on the former to enhance its stature in the world. The scope of this book—and China's expanding sports focus—coincides with the modern Olympic movement. Even side trips to, e.g., the "Ping Pong Diplomacy" between China and the United States in the 1970s, are ultimately related to the international competition at the Olympics. Xu focuses on the underlying issue of the rise of Communist China and the marginalization of Taiwan in international competitions, concluding with a look ahead to the potential dangers and opportunities that the 2008 Beijing Olympics hold for China. The study is thorough and detailed, examining archival U.S. and Chinese government memos, communications, and policies as well as interactions with the International Olympic Committee. The writing is a bit dry, but the book offers essential research and analysis on a key and timely topic in world sport and politics. Recommended for academic libraries and for public libraries where demand warrants.—John Maxymuk, Rutgers Univ. Lib., Camden, NJ