Arts & Humanities

It is ironic that the art produced under the Communist government of China during the 20th century gives a glimpse into the production of art under the aegis of the Catholic Church during the Middle Ages in Europe. In both cases, artists of great technical ability harnessed their talents to produce masses of propaganda, most barely rising above the level of kitsch. But the difference is that we can interview the painters who glorified Mao in an effort to understand the cultural forces that shaped their output. And a curious story it is, combining the change of China's artistic outlook from traditional ink painting to Western-style painting and the powerful swirl of politics that made a literal life-or-death difference to some prominent artists. In this catalog to an exhibition at the Asia Society in New York, Chiu (director, Asia Society Museum) and independent curator Zheng include 16 essays on specific artists, artworks, or facets of the revolutionary art movement. Thoughtful but not too dense, the essays are paired with 200 high-quality illustrations, most in color, of finished artworks and preliminary sketches. This will be as valuable to Sinologists and political scientists as it is to artists and art historians.—David McClelland, Philadelphia

This instructive and inspirational reference work takes readers on a voyage through the visual arts of the many different cultures that have inhabited Earth from primeval times to the present day. After a helpful introductory section dedicated to explaining how to look at and talk about art, the book does just that—it looks critically at and discusses the history, key features, and cultural contexts of specific works of art, artistic movements, and artistic themes. Easy to read and use, the book is divided into six sections arranged chronologically from Ancient Egypt to North American art today. For example, the first section, titled "Prehistory to 1400 C.E.," covers Ancient Egypt (c.3000–300 B.C.E.) through the end of the Khmer Empire (802–1431 C.E.) and everything in between. The sections are color coded on the fore edge of the book's text block, which makes skipping around easy, and each section begins with a time line. The book ends with a practical glossary of terms and a comprehensive index. While there are other art reference books, such as Phaidon's recent 30,000 Years of Art and The Collins Big Book of Art, none features as many high-quality images of as many works as this effort. Both newcomers to art and art connoisseurs will enjoy this picturesque work.—Jennifer Pollock, Yale Ctr. for British Art Lib., New Haven, CT

This stout volume breaks ground in art history and Asian American studies. Bolstered by hundreds of illustrations, the ten essays by preeminent scholars include comprehensive and accessible histories depicting how Asian American artists' lives have been both intertwined with and segregated from mainstream American culture. Editors Chang and Mark Johnson, codirectors of the Stanford Asian American Art Project, and Paul Karlstrom (ed., On the Edge of America: California Modernist Art, 1900–1950) include chapters on such topics as photography, women artists, and postwar modernists. Perhaps most valuable is a 190-page section containing succinct biographies of 159 artists. Many little-known masters gain deserved prominence, and more famous artists like Isamu Noguchi are placed in an artistic and sociocultural continuum expanding the sense of the interconnectedness of artistic achievement in America (despite the Asian Exclusion Act of 1924 and 1942's Executive Order 9066). The 1970 cutoff date largely excludes artists of Hawaii, and the editors acknowledge that the sparse coverage of people of Filipino, Korean, and Southeast Asian ancestry reflects the demographics of an earlier era. Nonetheless, this survey has great value for students of art and ethnic history. A benchmark text that will be of great use for many years to come.—Douglas F. Smith, Berkeley P.L., CA

Contemporary photographers living and working in New Mexico have tall boots to fill following Timothy O'Sullivan, Ansel Adams, and Paul Strand, among countless others. That historical backdrop is nicely illustrated in this volume's introductory essay by Stuart Ashman, cabinet secretary of the New Mexico Department of Cultural Affairs. The innovative contemporary scene is surveyed through the curatorial efforts of Barrow (photography, emeritus, Univ. of New Mexico) and journalist Kristin Barendsen, who contributes profiles of 25 artists, including such well-known photographers as Paul Caponigro, Betty Hahn, Joan Myers, Patrick Nagatani, and Joel-Peter Witkin. The profiles are supplemented by seven to eight full-page photographs of each photographer and biographical details that document each artist's major exhibitions, awards, and book publications. The range of photographic techniques and subjects is wide, from black-and-white photograms to elaborate mixed-media collages. The diversity of themes, from environmental degradation to the impact of the nuclear weapons industry to Chicana identity, extends far beyond the regional. Highly recommended for most academic libraries and larger public libraries with an interest in the Southwest and photography.—Nancy B. Turner, Syracuse Univ. Lib., NY

This two-volume set is the first of three sets on the Rijksmuseum's holdings scheduled for publication. One of the two volumes includes textual entries varying from one to seven pages in length on such artists as Frans Hals and Gerard van Honthorst, while the other offers 440 captioned, high-quality color images. Each artist's signed entry includes birth/death dates, a biography with pupils' names and dates of apprenticeships, references and notes, catalog and inventory numbers, titles and dates of works, supports and measurements, inscriptions, technical notes, and scientific reports, including x-radiography, infrared photography and reflectography, and paint samples. Issues also covered include condition, conservation, original framing, provenance, literature, and catalogs, and a final feature offers an interpretation of subject and style, the work's relation to other works, and attribution. The scholarly apparatus includes a summary of methodology and dendochronological analysis of the edges of panel paintings, as well as a bibliography, an index of persons with names of artists included in this volume in boldface, and subject indexes of religious and profane subjects, portrait sitters, provenance, and auctions. While all students of Renaissance art would benefit from these volumes, because of their cost, they are recommended for larger university, public, and special libraries.—Nancy Mactague, Aurora Univ. Lib., IL

This nicely illustrated and beautifully presented exhibition catalog features reproductions of nearly 200 vintage photographic images made by 19th-century scientists, amateur inventors, and photographers, who used photography as a tool for documenting the results of early experiments with microscopes, telescopes, electricity, magnetism, motion studies, X-rays, radiation, and spiritualist demonstrations. It also includes four scholarly and engaging essays: While Keller (associate curator, photography, San Francisco Museum of Modern Art) introduces the exhibition and establishes the parameters of scientific photography, Jennifer Tucker (history, Wesleyan Univ.) further defines scientific photography in terms of its various social and cultural venues of knowledge. Tom Gunning (art history, Univ. of Chicago) examines how scientific photography rendered invisible worlds visible to specialist and general audiences, while Maren Gröning (curator, photographic collection, Albertina Museum, Vienna) describes the social contributions of Josef Maria Eder, one of the most important 19th-century scientific photographers. Nicely organized with contributors' essays followed by plates, this book also contains short introductory essays. A listing of the reproductions featured in the exhibition ends this excellent topical approach to the subject. Of significant interest to scholars and popular readers, this publication belongs in many academic, special, and public libraries. Highly recommended.—Cheryl Ann Lajos, Free Lib. of Philadelphia

Gardens in art are a special subspecies of landscape painting, and Büttner (art history, Dortmund Univ., Germany) brings to this analysis the same skills apparent in his earlier works (e.g., Landscape Painting: A History). As reflections of the world in which they are created, gardens and their representations in art offer insight into social, historical, and aesthetic contexts. From the touching frescoes found on the walls of Pompeii to medieval representations of the Garden of Eden, from illuminated manuscripts and books of hours to the religious images of enclosed gardens and symbolic flowers, and from opulent illustrations combining architecture and gardening to naturalistic landscapes and family gardens—all illuminate the changing vision of gardens in the eye of the beholder and the hand of the artist. The 180 color illustrations and comments upon them add an extra dimension to this tour through two millennia of gardens in art. A fine addition to art libraries and large academic and public collections.—Paula Frosch, Metropolitan Museum of Art Lib., New York

The question "Charles who?" will be answered quickly by this well-researched book, which accompanies the first public exhibition of Rohlfs's best work as a group. Cunningham (curator, American Decorative Art 1900 Fdn.) documents Rohlfs's life (1853–1936), but his main focus is Rohlfs's furniture and other domestic objects, produced after Rohlfs and his family moved to Buffalo, NY, in 1887. Like Gustav Stickley and other Arts and Crafts furniture makers circa 1900, Rohlfs preferred dark-stained quarter-sawn oak to make his furniture. Unlike Stickley, whose pieces were mostly unadorned and rectilinear, Rohlfs decorated his pieces with organic designs and fretwork. The book's scholarly value is enhanced by over 300 illustrations (including photos of Rohlfs's furniture in his own home) and a selected bibliography. It will appeal to scholars, designers, and collectors concerned with the Aesthetic Movement and Arts and Crafts furniture. Highly recommended for any library whose patrons are interested in these topics.—Martha Smith, Elmira Coll. Lib., NY

Looking at these 180 mesmerizing photographs is a time-transcending experience. They succeed in evoking the Holy Land of centuries ago. Only occasional images (like the stylish attire of Jewish women and children at the Wailing Wall) bring the viewer back from the poverty and daily toil associated with traditional ways of living. The photographers of the Matson Photo Agency of Jerusalem's American Colony took these pictures in the early 20th century, and Ari Speelman, a Dutch Christian enthralled with the Holy Land after visiting, ordered 1200 lantern slides (on glass plates) to be hand painted for shows throughout Holland before World War II. Authors Hardiman (Hebrew Univ. of Jerusalem) and Speelman, an artist and granddaughter of Ari Speelman, relate the engrossing story of the Christian expatriate American colony. The book focuses on landscape views of geographical areas related to biblical verses (e.g., the Jordan River and the Dead Sea) and on the people, including Muslims and Bedouins. Because it documents a part of the world to which people of different faiths relate, this is recommended for all public libraries, to be shelved in the religion, travel, or photography sections.—Anne Marie Lane, Univ. of Wyoming, Laramie

This important new anthology features more than 100 short essays spanning the career of noted and influential architecture critic Huxtable. Most of the pieces originally appeared in the New York Times when Huxtable was its architecture critic, but there are also more recent essays from the New York Review of Books and the Wall Street Journal. What makes this volume important is Huxtable's retrospective organization. The theme that runs throughout is the "transformation of modernism." Opening chapters on each decade from the 1960s to the 1990s reflect the architectural Zeitgeist of the times. In the second half, Huxtable assembles essays examining iconic buildings and the works of the masters of modernism—Le Corbusier, Mies van der Rohe, Alvar Aalto, Louis Kahn, Walter Gropius, and Frank Lloyd Wright. She devotes a whole section to essays about the World Trade Center, and her 1966 piece is all the more prescient given our historical perspective. Although the essays span a career lasting more than 35 years, none of them seems dated. If your library does not own any of Huxtable's work, this is the one to add to your collection. Highly recommended.—Herbert E. Shapiro, Empire State Coll. of the SUNY, Rochester

As the manager of pop superstar Madonna, Oseary has unparalleled access to both her private and her public life. Never has the latter been so apparent as it is in this book of photographs documenting Madonna's successful 2006 Confessions Tour. Taken in cities on three continents, Oseary's close-ups candidly expose the singer's on-stage intensity, the amazing movements of her backup dancers, backstage moments, and the reactions of excited crowds the world over. Moreover, they allow us to examine in detail aspects of the tour—set pieces, instruments, costumes—that attendees might have missed during the concerts. It is also fascinating to see how Madonna changes her style for certain places, e.g, forgoing her signature wavy hair for a shorter, straighter hairstyle for a concert in Tokyo. It should be noted, however, that while the photographs are engaging, the relative obsolescence of the subject—especially now that Madonna is on a newer, entirely different tour—may limit the demand for this title. Recommended for music and photography collections.—Josh Becker, Library Journal

This capacious and erudite treatise places Cortona (1596–1669) beside Bernini and Borromini as a leading creator of Roman baroque architecture. Merz (privatdozent, art history, Univ. of Augsburg, Germany) and the late Anthony Blunt (Art and Architecture in France, 1500–1700) hatched the project in 1983, shortly before Blunt's death. Merz incorporated Blunt's notes and methodology in examining Cortona's long, productive career as an artist and architect. Here, he starts with Cortona's youth and early training in Florence and Rome and presents major commissions such as Villa Sacchetti, Palazzo Barberini, Santi Luca e Martina, Santa Maria della Pace, Santa Maria in Via Lata, and designs for the Louvre. While Cortona's talents as a painter were immediately recognized through his imaginative designs and intricate fresco cycles, his major architectural projects and facades were not completed until the 1650s. Merz concludes by discussing Cortona's place in the high Roman baroque artistic tradition, his influence and followers, and later reputation. Color is used sparingly in the nearly 250 reproductions and illustrations, which include architectural details. Some black-and-white photos are dated. This welcome English-language addition to the extensive literature in Italian on Cortona is highly recommended for all academic collections.—Russell T. Clement, Northwestern Univ. Lib., Evanston, IL

Prakash, an author and adviser to art collectors, opens this title with an introduction that sets the scene for the emergence of women artists in the late 1800s. He quickly reviews how changes in education and technology and historically important events impacted Canadian women who were painters, sculptors, and printmakers. The book is divided into two sections. In Part 1, Prakash describes the work of 36 women artists who "changed Canadian art forever" or were "masters of their craft." Selected images of each artist's work are printed side by side with descriptions of the symbolism and influences apparent in the works. Part 2 provides extended biographical information about the women covered in Part 1. The biographies include information about each artist's early life, education, mentors, career, and exhibition history. The final portion of the book is a 32-page chronological list of early Canadian women artists. The list provides each artist's name, birth and death dates, training, and associations of professional membership. Recommended for public and academic libraries with large art collections and libraries with women's studies collections.—Valerie Nye, Coll. of Santa Fe, NM

Rael (architecture, Univ. of California, Berkeley) introduces earth as a free and universal building material, still sheltering billions of people in dry parts of the world. As he points out, many significant works have been made of earth, including ancient cities and most of the Great Wall of China. Here, he presents 47 examples constructed since 1970; 13 are located in the southern United States. The profiles are divided between rammed earth, mud brick, compressed earth block, and molded earth techniques. Most of these contemporary examples have steel roofs, and their earthen walls are not always structural. Most are homes, but there are also schools and religious buildings. Rael concludes with a reference to his web site, Eartharchitecture.org, which he says provides a meeting place for traditional and modern design techniques. A valuable addition to the flow of publications on the topic; recommended for public and academic libraries, particularly in the Southwest.—David R. Conn, Surrey P.L., B.C.

Ross, who taught at Maine College of Art for 20 years and now paints in New Mexico, creates paintings that all follow a similar formula: vertical rivulets of subtle color are overlain by horizontal bands of paint, usually alternating translucent and opaque white to create a sort of grid. His painstaking technique requires 100 or more layers of paint, which are individually polished to create a radiant surface. This collection of his work contains 64 plates, primarily smallish photographs of full canvases. Some detail close-ups provide a sense of what it might be like to see the actual works, but the impact of Ross's paintings depends on subtle qualities of color and texture, and the reproductions can't re-create that experience. The essay by Ratcliff and a brief foreword by Douglas Dreishpoon lean to the poetic, with statements like "for him to paint is to imbue his boundless sense of things with the luminous tone of his own sense of things." Recommended for specialized and comprehensive contemporary art collections.—Kathryn Wekselman, MLn, Cincinnati

This sumptuous book features 126 duotone photographs of Egyptian ruins from various perspectives, ranging from close-ups of ancient stonework that resemble etchings to broad panoramas of pyramids with dark, brooding skies. Made with infrared film, the images are imbued with a haunting, almost dreamlike atmosphere. Photographer Sanders, who has journeyed to Egypt over the course of three decades, masterfully composed and exposed each of these fresh and highly original images. Each photograph has been carefully selected and arranged and is accompanied by brief text or quotation, with sources ranging from Mark Twain to Florence Nightingale. Dorothea Arnold, curator of Egyptian art at the Metropolitan Museum of Art, contributes a detailed introduction about the images within the context of historical photography of Egyptian monuments. In her thoughtful introduction, Sanders describes not only her approach but also the deeply spiritual theme of the photographs. The book includes a helpful picture index with a thumbnail and brief annotation for each plate. This work not only depicts lovely artifacts but stands as an enduring work of art in its own right. Highly recommended for all libraries, especially art, photography, and Egyptian history collections.—Raymond Bial, First Light Photography, Urbana, IL

The subtitle of this book is a misnomer, as the primary subject is the work of a single artist, the Turkish American painter Burhan DoÐançay. His large-scale acrylics incorporating collage and fumage on canvas and cardboard are less influenced by modern collage artists Robert Rauschenberg, Jacques Villeglé, and Mimmo Rotello than by urban walls of graffiti, advertising bills, and torn posters. DoÐançay's work, here presented as 11 themed series created from the 1960s to the present, is introduced with a substantial essay by art historian Taylor, author of the more comprehensive and informative Collage: The Making of Modern Art. Though generously illustrated with color plates of the collages, most from the artist's own collection, the text itself fails to provide much explication or context for the selected works. Taylor's brief biographical interview with the artist is more illuminating, and the index, list of exhibitions and collections, and bibliography provide reference value. A visually appealing book for libraries with comprehensive collections in contemporary international art.—Nancy B. Turner, Syracuse Univ. Lib., NY

To discuss painting in terms of light is by now a cliché, but in the case of Santa Fe artist Watts, it is a fitting connection. The word light is often found in the titles of her abstract paintings, and it is featured in the colors and shapes she chooses and the overall effect of her works. Despite its almost 300 pages, this 40-year retrospective catalog has its own lightness and simplicity. Albright-Knox Art Gallery director Louis Grachos's brief foreword mentions the importance of the American West landscape on Watts's work and her use of light. Sidestepping the art historical canon, independent curator and critic Wei provides a progressive time line of Watts's career and guiding principles, particularly Buddhism, in prose that complements the minimalist work. The small scale of the reproductions on the page sometimes leaves the reader straining to see more, while a few intense close-ups of canvases help mitigate this distance. Though Watts's fans will find their new coffee-table centerpiece, readers should look elsewhere for in-depth discussions of light and minimalist tendencies in modern art. Recommended only for highly specialized art libraries.—Prudence Peiffer, Cambridge, MA

Le Corbusier is arguably the greatest and most influential 20th-century architect, and the literature on him is vast. But because of his mercurial, enigmatic, and controversial personality, scholars have been reluctant to put his life under the biographical microscope. Art historian Weber (Balthus: A Biography), having combed the archives of the Fondation Le Corbusier in Paris, offers a uniquely intimate account of the architect. The countless letters in which "Corbu" poured out his theories, passions, and many idiosyncrasies form the basis of this revelatory, nearly day-by-day chronology. In Le Corbusier and the Continual Revolution in Architecture, Charles Jencks likewise veered away from architectural analysis to delve into the architect's psyche but never approaches the exhaustive, even voyeuristic degree Weber achieves—we witness Corbu's verbal assaults on friends and powerful clients alike, the extramarital but hardly clandestine affairs, a horrific swimming accident, even a photo of Corbu painting in the nude! Le Corbusier truly comes to life in Weber's biography, but many will still prefer a more compressed and analytical study, such as Kenneth Frampton's excellent Le Corbusier.—David Soltesz, Cuyahoga Cty. P.L., Parma, OH

Could you pass a Jane Austen aptitude test or complete an Austen-themed crossword puzzle in ink? Whether you are capable of these tasks or aspire to be, you'll appreciate this latest edition in the popular series featuring studies of well-loved authors or their classic works (e.g., Charles Dickens, Frankenstein). With seriousness and good humor, Adams (The Sexual Politics of Meat), Douglas Buchanan, and Kelly Gesch have compiled commentaries on minute details in Austen's works. Readers will learn the importance of a good carriage, discover the ingredients in white soup and other foods consumed in Emma and Mansfield Park, and unearth the "myth-interpreting" themes of the books. The merchandizing of Austen is included, with a chapter on the best gifts for Austen fans. Novel summaries, character studies, time lines, and movie reviews are also included. Illustrations of Austen and her characters and photographs of manors and churches are just a few of the details that add to this excellent resource for book discussion groups, literature collections, and Janeites.—Joyce Sparrow, Juvenile Welfare Board Children's Svcs. Council, Pinellas Park, FL

This introductory volume of an annual anthology of previously published works addresses an array of issues: friendship, family, food, hip-hop, black writers, talent, fashion, race, stereotyping, IQ tests, sick relatives, historically black colleges and universities, gayness, slavery, Iraq, Darfur, justice, and Barack Obama. Early (English, African & African American studies, & American culture studies, Washington Univ.; This Is Where I Came In: Black America in the 1960s) and Dickerson (The End of Blackness: Returning the Souls of Black Folk to Their Rightful Owners; An American Story) claim that the anthology intends to achieve three goals: to bring attention to the best works of African Americans published in a particular year, introduce some lesser-known sources of African American essays, and offer an ongoing record of the yearly progression of African American essay writing. Though these goals are indeed lofty and laudable, the quality and intellectual depth of this volume does not live up to expectation. While some of the names are well known, the selections are mostly mediocre at best. But this is a start, if not an impressive one. Recommended for public libraries with funds to spare.—Edward K. Owusu-Ansah, Kingsborough Community Coll. Lib., CUNY

Daugherty (English & creative writing, Oregon State Univ.; Five Shades of Shadow) has written the first comprehensive biography of Donald Barthelme, a leader of the postmodernist movement of the 1960s who published over 100 short stories in The New Yorker. Daugherty took the title of one of Barthelme's early stories as his own, believing it to be an apt description of the man. For a time, Barthelme's works were largely out of print, but a resurgence of interest has changed that. Daugherty's book is an attempt to accumulate details about Barthelme from his colleagues, friends, and ex-wives while these resources are still available. He does an admirable job of examining the influence of Barthelme's father, a noted architect, on his early work as well as Barthelme's tumultuous private life, including his four marriages and his battle with depression and alcoholism. Although Daugherty was a student of Barthelme at the University of Houston, he keeps his own observations out of his biography except in his introduction. In this regard, Daugherty is as much the "hiding man" as the man he seeks to reintroduce to the world. Recommended for larger public and academic libraries.—Anthony Pucci, Notre Dame H.S., Elmira, NY

This anthology follows the 2001 publication of Fierce Pajamas, the first collection of humorous pieces from The New Yorker. Familiar humorists from earlier generations, such as E.B. White, S.J. Perelman, and James Thurber, are joined by more contemporary writers like Calvin Trillin, Garrison Keillor, and Steve Martin. The emphasis, however, is on newcomers of the past few years, including such notables as Yoni Brenner and Larry Doyle. Remnick and Finder, editor and editorial director, respectively, of The New Yorker, use 14 categories to group the pieces, which are generally tongue-in-cheek or full of parody and make you smile, chuckle, or laugh out loud. Not all may be to your taste, but there is enough variety to have wide appeal. With takeoffs on Aesop's fables, Donald Rumsfeld, how to operate a cell phone, and, dear to librarians' hearts, how to cite materials, this title will be a good addition to your collection. Recommended especially for public libraries.—Gina Kaiser, Univ. of the Sciences in Philadelphia Lib.

The pervasive influence of Shakespeare on modern culture cannot be overstated. Garber argues that we should not merely consider how culture has appropriated and interpreted Shakespeare but how Shakespeare "writes" the modern. Thus, for instance, Freud does not so much interpret Hamlet as interpret himself through Hamlet. Romeo and Juliet define our conception of lovers, and Prospero, Caliban, and Ariel inscribe the colonial and postcolonial discourse. Garber (William R. Kenan, Jr. Professor of English and American Literature and Language, Harvard Univ.) has written extensively on Shakespeare, including the award-winning Shakespeare After All. She covers ten major plays, examining their role in literature, performance, film, politics, theory, and popular culture. Though Garber assumes familiarity with the plays and some theoretical sophistication, her treatment is thorough, witty, fluent, and accessible. An important contribution for both the serious reader and the specialist; recommended for public and academic libraries.—T.L. Cooksey, Armstrong Atlantic State Univ., Savannah

For his new biography, Gooch (City Poet: The Life and Times of Frank O'Hara) interviewed not only O'Connor's friends and literary allies Elizabeth Hardwick, Sally Fitzgerald (Robert Fitzgerald's wife), and Robert Giroux but also lifelong friends Betty Boyd; Erik Langkjaer, O'Connor's lone love interest; her uncle Dr. Bernard Cline, who influenced her obsession with birds; and Iowa Writers' Workshop director Paul Engle, who persuaded O'Connor to take up writing fiction and introduced her to John Crowe Ransom, Andrew Lytle, and Robert Penn Warren. Gooch's biography is a marvel of concision but skimps on nothing. Not a detailed analysis of O'Connor's fiction, it offers the brief, thematic shape of each novel and some short stories. Gooch writes of O'Connor's horrific lupus affliction, her grotesque and vaguely cartoonlike sense of humor, her complex religious sensibility, and her ability to learn something from every writer she read, from theologian Pierre Teilhard de Chardin (the source of her title "Everything That Rises Must Converge") to Carson McCullers, whose Clock Without Hands she judged "the worst book I have ever read." If O'Connor's writing glows with edged comic genius, biographer Gooch is himself no slouch. If a library is to have only one book on Flannery O'Connor, this should be it. Highly recommended. [See Prepub Alert, LJ 10/15/08.]—Charles C. Nash, formerly with Cottey Coll., Nevada, MO

As editor Greene (Mary Leapor: A Study in Eighteenth-Century Women's Poetry) writes in his introduction to this study of Graham Greene, to whom he is not related, "A life in letters has a crucial advantage over a conventional biography: it is chiefly in the subject's own voice and in his words." These letters offer a fascinating glimpse into the 20th-century English writer's sense of humor; for instance, a letter written to his younger sister observes, "Have you ever noticed how useful numbers are in filling up a letter?" He then gives an example of filling up a lukewarm letter to a friend with a large, if nonsensical, equation. The selected letters (only Greene's letters are used in this work) deal with "Greene's personal, literary, religious and political concerns," explains editor Greene, and are arranged chronologically around his major works. There are numerous biographies on Graham Green, most notably Norman Sherry's three-volume The Life of Graham Greene. This collection gives the reader access to some material previously unavailable even to Greene's official biographer. Recommended for medium to large academic libraries; an optional purchase for others. [See Prepub Alert, LJ 8/08.]—Felicity D. Walsh, Emory Univ., Decatur, GA

Wu (English, Georgetown Univ.), the editor of The Selected Writings of William Hazlitt and New Writings of Hazlitt, is well qualified to write this biography of the essayist and critic. Hazlitt (1778–1830) knew great authors and artists of the Romantic period, including William Wordsworth, John Keats, Charles and Mary Lamb, J.M.W. Turner, and Leigh Hunt. Wu hopes that his biography will save Hazlitt from the lasting effects of the devastating criticisms that have stuck to him long after his death. Hazlitt had strong opinions about colleagues, enemies, and even friends, but he was consistent in his beliefs and principles, especially his hatred of the monarchy and Tories and his love of revolutionary movements. Despite the plethora of endnotes, this book is written in an entertaining style, with liberal quotations from Hazlitt's essays, criticism, and letters. Though there are other biographies of Hazlitt (notably Stanley Jones's Hazlitt: A Life), Wu's effort benefits from newly discovered documents and his passionate defense of his subject. This should be the standard by which all future biographies will be judged; recommended for academic libraries and larger public library collections.—Morris Hounion, N.Y.C. Technical Coll. Lib., CUNY

Brecher is the most influential writer you've never heard of in Hollywood. He wrote At the Circus and Go West for the Marx brothers and classics such as Du Barry Was a Lady and Meet Me in St. Louis for MGM. He wrote stand-up for Milton Berle and created the radio and television program The Life of Riley. Now in his nineties, the man is still a comedic genius with wit and timing that can't be beat. Incredibly, his career covers the entire spectrum of 20th-century entertainment, beginning with vaudeville and encompassing movies, radio, plays, television, and even the web (in impassioned support for the writers' strike of 2007). Brecher's story is presented as a series of interviews, which allows his voice to come through in its witty splendor. Rosenfeld does a fine job as chronicler, selector, and muse for these interviews, and his genuine friendship with Brecher is the reason that this book exists. Altogether delightful, this is an incredible reminiscence by a remarkable man. Highly recommended to all film collections and those public collections whose senior patrons will remember the gagsters and stars of Brecher's heyday.—Christian Zabriskie, Queens Lib., NY

Davis, a former editor and columnist for TV Guide, traces not only the beginnings of the show loved by children around the world but also the history of children's television prior to the birth of Sesame Street. He profiles the major players responsible for creating the landmark program, like Joan Ganz Cooney, the founder of the Children's Television Workshop, and Jim Henson, the creator of the Muppets. Davis also explores earlier children's shows, like Captain Kangaroo, where many of the people who gave Sesame Street such a unique look and appeal got their start. If you want a comprehensive history of Sesame Street itself and how it has evolved over the past almost 40 years, this is not the book. If you want to examine the vast influences that made the show so successful and the people both behind the scenes and in front of the camera, then this is perfect. This compelling work will give readers wonderful flashes of nostalgia. For all reference and browsing collections. [See Prepub Alert, LJ 10/15/08.]—Jeff Ayers, Seattle P.L.

Much has been written in magazines and online about what Hill describes as the American New Wave, yet this is one of the few books to tackle the subject. Jesse Fox Mayshark's 2007 Post-Pop Cinema examined many of the same directors, and his work is both more insightful and better written than this study by Hill, who has written for Video Watchdog. Both authors afford each director a chapter that contains a career biography as well as film reviews of their relevant work. Hill's reviews contain more comparative commentary between films and their directors—such as Wes Anderson, Spike Jonze, and David O. Russell—but Mayshark's analyses hold up under multiple readings; Hill's feel more like transitory blogs. Perhaps Charlie Kaufman's work should have been Hill's true focus, from which he could branch out to the films and filmmakers that seem to share his vision, rather than his current model of trying to connect those branches back to the Kaufman tree. Hill's book is worthwhile for a public library, but one already owning Mayshark's book may not need it.—Peter Thornell, Hingham P.L., MA

The story of 19th-century pianist and composer Thomas "Blind Tom" Wiggins is a complex intersection of American history, music, and culture. Perhaps the most perplexing questions about Wiggins—one that the prevalent racism of the period has made difficult if not impossible to answer—is whether his seeming musical brilliance, combined with his social idiosyncrasies, indicates autism or simply neglect. O'Connell addresses this question but draws no firm conclusions. Her biography is rich in sources but lacks a historian's rigor and is often speculative as to the moods and motivations of both Wiggins—admittedly an enigmatic figure—and those around him. The historical context, which might provide some clues, is presented in a hurried manner, which makes it difficult to construct a clear picture of the world in which the book's central figure lived. Although there are existing examples of Wiggins's music, including the recordings made by John Davis, O'Connell offers no firm opinion on the conflicting reports of the music's quality. Ultimately, one ends the book hardly more informed than when one began. Not recommended.—Genevieve Williams, Pacific Lutheran Univ. Lib., Tacoma, WA

Before collaborating on the writing and directing of over 13 films, Joel Coen studied film at New York University, while Ethan Coen studied philosophy at Princeton University. In this text, 14 scholars in both philosophy and film and media studies investigate the philosophical themes and underpinnings of their films. They explore such topics as the competing theories of justice that exist in Intolerable Cruelty, laziness as a virtue in The Big Lebowski, Ed Crane's various types of Kierkegaardian despair in The Man Who Wasn't There; Blood Simple's oscillation between classic noir and postmodern conventions, and the ethical landscape in No Country for Old Men. Edited by series editor Conard (philosophy, Marymount Manhattan Coll.), this volume is written for both fans of the Coen brothers and the philosophically curious, without the technical language. Footnotes are included at the end of each essay for deeper exploration. Both educational and entertaining, this philosophical compilation is recommended for public and academic libraries, particularly those with degree programs in philosophy and film.—Joshua Finnell, McNeese State Univ. Lib., Lake Charles, LA

Fifty years after its release, Douglas Sirk's Imitation of Life endures, still raising thought-provoking questions about racial injustice, relationships, and gender through its heartrending depiction of two friends—one whose theatrical career overshadows her personal life and the other whose daughter renounces her heritage to pass for white. In this meticulously researched and finely written book, Staggs (When Blanche Met Brando) incisively delves into plot, characters, settings, cinematography, costumes, dialog, mise-en-scène, and musical motifs—at the same time referencing other films, including the original 1934 version. Details and perceptive commentary on the careers, lives, and artistic approaches of the major players—Lana Turner, Juanita Moore, Susan Kohner, Sandra Dee, John Gavin, and Troy Donahue—are deftly interwoven along with the controlling vision of director and input from producer Ross Hunter. Staggs also turns the spotlight on the smaller roles and technical and creative staff. This book is no mere recitation of details and behind-the-scenes anecdotes but rather a comprehensive analysis of the people, concepts, cinematic components, and social issues of a classic film. Essential for film scholars and enthusiasts.—Carol J. Binkowski, Bloomfield, NJ

Vanity Fair editor Carter has put together an anthology of pieces about the making of 13 very different films. What could The Magnificent Ambersons, Tommy, and The Best of Everything have in common? They were subjects, along with the ten other films included here, of Vanity Fair articles over the last ten years. Flops and successes are all grouped together in a what-if kind of book. What if Robert Redford had played Benjamin Braddock in The Graduate? What if John Travolta's feet were not shown in his big dance sequence in Saturday Night Fever? Can you imagine anyone other than Bette Davis uttering "Fasten your seatbelts. It's going to be a bumpy night"? (It was supposed to be Claudette Colbert, but she had hurt her back.) All of these things were possibilities. Some of the essays collected here are better than others ("Tommy Dearest" by James Wolcott stands out), and some rehash what most film buffs already know. But all of the pieces are well written yet still juicy, just the kind of thing that appeals to celebrity mavens and film scholars alike. Highly recommended.—Rosellen Brewer, Sno-Isle Libs., Marysville, WA

The world is getting smaller, and even countries like Indonesia are producing new hybrids of popular and ethnic music. Most Americans who have never heard Indonesian music probably think of it in terms of the gamelan music of Bali. Those days are long gone. Here, Wallach (popular culture, Bowling Green State Univ.) shows that many foreign influences are changing the current popular music in Indonesia. For examples, traditional dangdut folk music now incorporates sounds and instrumentation from India and other countries of the region, while thrash metal punk bands are now sprouting. Wallach explores these genres and more, doing an excellent job of documenting the cultural and ethnographic aspects of his topic. However, considering the narrow focus and scholarly tone of the book, it is recommended for comprehensive world music collections.—Bill Walker, Stockton-San Joaquin Cty. P.L., Manteca, CA

This difficult, highly abstract, yet extremely closely reasoned study touches on so many topics and ideas that the reader may come away from it wondering whether Eagleton (English literature, Univ. of Manchester; The Meaning of Life: A Very Short Introduction) has made a convincing argument for his main thesis, which is that "most ethical theories can be assigned to one of Jacques Lacan's three psychoanalytical categories of the imaginary, the symbolic and the Real, or in some combination of the three." Eagleton starts by adumbrating the aforementioned aspect of Lacan's thought, then goes on to examine the ethical theories found in Hume, Kant, Schopenhauer, Kierkegaard, Nietzsche, Levinas, Derrida, and Badiou, among others. He finds that the thought in each of these theories pales in comparison with "the richer ethics of socialism and the Judeo-Christian tradition," which he then considers in detail. Because of the fecundity of the ideas here, this study is recommended for advanced academic ethics and Christianity collections.—Leon H. Brody, Falls Church, VA

Harris (philosophy, Purdue Univ.) and Molesworth (English, Queen's Coll.) recount the life and works of the pragmatic philosopher and black leader Alain Locke. A graduate of Harvard, the first African American Rhodes Scholar, and a professor of philosophy at Howard, Locke became one of the most influential black intellectuals in the early 20th century. While the authors touch on the important personal relationships Locke developed as the main critic and mentor to those making the Harlem Renaissance, his leadership was consciously planned as an intellectual one, and this is primarily an intellectual biography. Locke's ultimate importance comes through in the intersection between his life and his ideas. Harris and Molesworth accessibly examine Locke's major works and their impact, and their biography does double duty as an introduction to his thought. This study may miss parts of Locke's personality he held close to the chest, such as his religious convictions; however, Harris and Molesworth successfully show that Locke's influence as a leader came from his constant contemplation of the issues surrounding race, cultural and aesthetic pluralism, and the philosophy of value. Recommended for academic libraries.—Steven Chabot, Univ. of Toronto

It's been apparent to American poetry readers for some time that the long-assumed gulf between traditional and experimental poetries has narrowed as poets on either side of the divide have begun adopting the tools and techniques of the other. This generous array of work by more than 70 contemporary poets provides evidence that surrealism, linguistic indeterminacy, social and political awareness, fragmentation, and cross-genre fusions are now taken for granted. That said, most of the poets included here have long been associated with the avant-garde (Rae Armantrout, Lyn Hejinian, Nathaniel Mackey, Michael Palmer, Juliana Spahr), and the stronger influence has largely emanated from their direction. But the editors' concept of hybridity is broad enough to encompass "mainstream" poets like Charles Wright, Norman Dubie, and Robert Hass and their sampling points to an increasingly open, inclusive poetic climate, one in which factional distinctions and labels have lost their descriptive utility. Recommended for most poetry collections.—Fred Muratori, Cornell Univ. Lib. Ithaca, NY

In the pre-Gutenberg world, we are told that certain rhyme schemes and meters were employed as mnemonic devices to allow troubadours to recite long passages from memory. With its liberal use of closed forms and rhyme, this latest offering from Logan (e.g., The Whispering Gallery) employs many of those same devices. But for all its effort, it creates an unmemorable commonplace, one that disappears as soon as it is read. The frequent use of such well-worn phrases as "arms akimbo" and "cream-white breasts" do little to excite the reader's imagination. Reading this work for the first time, one might hold poetry harmless, think it nothing more than a genteel parlor game in which nothing is wagered and nothing is lost. As the book proceeds, one may be reminded of the Monty Python bit about the cheese shop that sells no cheese, as Logan's book seems to offer us little in exchange for our attention. Readers of Logan's work will likely be disappointed by this latest effort, and most libraries can pass.—Chris Pusateri, Jefferson Cty P.L., Lakewood, CO

Polemics and diatribes—especially concerning the spiritual and secular—are abundant these days, with fair-minded conversations few and far between. This book is a welcome exception. In brief, it's a respectful dialog between an evangelical Christian and a secularist about the origins of Christianity. Bird (lecturer in New Testament, Highland Theological Coll., Scotland) is the Christian apologist here; his sparring partner is "secularist" Crossley (lecturer in New Testament, Univ. of Sheffield), who approaches Christianity more from a sociohistorical perspective and thinks like skeptical philosopher David Hume. Translation: miracles don't occur. Bird and Crossley interact on a wide array of crucial subjects, covering the divinity of Jesus, the resurrection of Christ, the Apostle Paul, the authenticity of the Gospels, and the rise as well as spread of Christianity. Interestingly, the idea for this book stemmed from the authors commenting on each other's respective blogs online. Especially helpful are the responses from two other Jesus scholars representing both sides of the debate. In the end, readers can make up their own minds after considering the arguments. Exemplifying scholarly integrity and balance, this book is recommended for both public and academic libraries; religiously affiliated colleges, universities, and seminaries will definitely want to add this to their religious studies and apologetics collections.—C. Brian Smith, Arlington Heights Memorial Lib., IL

Well-known biblical archaeologist Freund (archaeology & Judaic studies, Univ. of Hartford) applies his considerable historical and archaeological knowledge to controversial archaeological claims and their further uses (and abuses) in biblical studies. For him, archaeological data are no more self-evident or self-explanatory than the Bible itself: "The fact that material culture and writings are ancient … and can be 'discovered' is equated in students' minds as being verifiable, quantifiable, and therefore scientific and true. Nothing could be farther from reality." He shows the subjective influences of historians, theologians, and archaeologists in interpreting their data when seeking to prove (or disprove) the truth of the Bible. Women, for example, are poorly represented textually, and therefore archaeology has limited efficacy for enlightening our view. Conversely, despite historical claims to the contrary, literary and archaeological evidence suggests that synagogues as well as churches practiced incense burning through the fourth century C.E. Well written and researched, this book seems more popular than scholarly in nature. Recommended for religion and popular collections where interest in biblical archaeology is strong.—Sandra Collins, Byzantine Catholic Seminary, Pittsburgh

The Christian Bible is not only a physical object but also a delivery system for spiritual and secular ideas, according to cultural historian Ferrell (early modern history & literature, Claremont Graduate Univ.). Examining the English Bible collection at the Huntington Library, Ferrell discusses these Bibles' historical, political, and social impact on Christian belief and practice in Great Britain and America from the Middle Ages to the present. Beginning with an illustration of a 1000-year-old Gundulf Bible, Ferrell argues against the claim that the Bible was once considered inaccessible to the common people. Instead, she shows how it has been transformed by its makers and its readers as they adapted it to fit the culture of each successive era. Whether used as political propaganda during the reigns of Elizabeth I or Henry VIII or, most famously, as a vehicle to stop the spread of Calvinism among the Puritans (King James Version), the Bible has both "escaped and required the expectations of its readers." Ferrell also poses the question of what makes the Bible a book and includes a fascinating discussion of biblioclasm (cutting and pasting, exemplified by Thomas Jefferson's Bible) and grangerizing (insertion of illustrations, evidenced by the Kitto Bible). For Ferrell, designing Bibles to fit secular culture does not make them secular texts but rather provides evidence of their status as sacred texts. Written for a general audience, this is an engaging and accessible overview of the history of the English Bible. Recommended for all libraries.—Brian Greene, Northeastern Univ. Lib., Boston

After a career as a professor of English and a teacher and dean at several divinity schools, in midlife Killinger (God, the Devil, and Harry Potter) moved to Lynchburg, VA, to pastor his first church. Across town, Jerry Falwell was making his name as a fundamentalist preacher and founder of the Moral Majority. As the pastor of a prominent Presbyterian congregation, Killinger felt reluctantly drawn to critique Falwell's theology and tactics. "But I was there—I sometimes thought maybe God had planned it that way—and somebody had to do it." He details his awkward encounters with Falwell and the unexpected publicity that came his way. Although his relationship with Falwell is the main focus here, Killinger also writes about his life before and after Lynchburg. Because Falwell has the ability to polarize, the definitive book on him may never be written; Killinger's memoir can serve as an interesting footnote to more substantive studies such as Susan Harding's The Book of Jerry Falwell. For large public libraries.—Diane Harvey, Univ. of Maryland Libs., College Park

While most of the literature on Buddhist art focuses on its narrowly defined aspects, Leidy (curator, Asian art, Metropolitan Museum of Art; coauthor, with Robert A.F. Thurman, Mandala: The Architecture of Enlightenment) presents a very readable broader text, opening with a brief introduction to the life of Gautama Buddha and his teachings before going on to survey Buddhism's march across all Asia from its source in third century B.C.E. India and across Asia through to the 19th century. Organized roughly chronologically, the 15 topical chapters (e.g., pillars and stupas, Buddha image, caves, early Sino-Tibetan traditions) effectively integrate more than 200 exquisite photographs, mostly in color and some full-page, into Leidy's explication of how art communicated Buddhist traditions to the largely illiterate laity. Highly recommended for public, academic, and school libraries, even those already owning Dietrich Seckel's The Art of Buddhism.—James R. Kuhlman, Univ. of North Carolina at Asheville Lib.

Thompson was a highly influential driver and promoter in the drag-racing field of motor sports. A hard charger and innovator, he lived life at 200 miles per hour and in the process developed a legion of fans and not a few enemies. Still, it was shocking when he and his wife were murdered in 1988, even more shocking when it took the authorities 15 years to solve the case, and surreal when a business associate was convicted of the crime nearly 20 years after it happened. Arneson (John Force: The Straight Story of Drag Racing's 300-MPH Superstar) relays the tale in a stark narrative that highlights Thompson's accomplishments, the facts surrounding his death, and the heroic fight of his family to keep the case in the spotlight until justice was served. Drag racing is a somewhat insular sport and doesn't have nearly as large a following as most other motor sports. It is good to see a biography of one of the sport's most important stars. Recommended for public and all motor sports collections.—Eric C. Shoaf, Univ. of Texas at San Antonio Lib.

According to Ezra (American multicultural studies, Sonoma State Univ.), more has been written about Muhammad Ali than about anyone else in history. Ezra's contribution explores how Ali's cultural status has always been determined by who has been making money off of him. First, as Cassius Clay, he was the brash but lovable "Louisville Lip," guided to the heavyweight championship by the beneficent (and white) Louisville Sponsoring Group. Then his star fell as he came under the control of the Nation of Islam. And, finally, his image has been reconstructed under the direction of his wife, Lonnie, and with the help of what Ezra sees as sycophantic biographers. Scholars will appreciate Ezra's work, with its plethora of footnotes and paucity of ring action, more than Joe Fight Fan may. In the end, this book increases our understanding of how difficult it is to know the real Ali, a simple man paradoxically imbued with great complexity. Recommended for academic and larger public libraries.—Jim Burns, Jacksonville P.L., FL

As much social commentary as a compendium of soccer tales and soccer reflections, this delightful collection is essential reading for the soccer fan and those interested in soccer and sport generally in a global environment. Most of the 56 entries were previously published, but often in obscure sources, and 12 pieces translated from languages that include Spanish, French, German, and even Icelandic appear for the first time in English. Recognizable writers include Gay Talese, Ted Hughes, Gunter Grass, and even Elvis Costello, and formats include essays, newspaper articles, poetry, and fictional accounts of soccer. The reader will find a remarkable plea for soccer in Kosovo, a story written from prison about the 1974 World Cup match between East and West Germany, a hilarious account of soccer in Mexico featuring "Madrigal the Fool," and a life-and-death story from Hungary. Soccer often slides to the background in some of these accounts, yet the game is omnipresent. Bringing a variety of writings together in one volume is a credit to the editors, who provide an excellent introduction for each entry. Recommended for public and academic libraries.—Boyd Childress, Auburn Univ. Libs., AL

When Wertheim (senior writer, Sports Illustrated; Running the Table) began his research on mixed martial arts (MMA), he did not anticipate liking what he saw. Similarly, this reviewer did not look forward to Wertheim's book with relish. MMA is, after all, the ultimate blood sport, one in which caged contestants punch, kick, choke, and grapple, using the tools of virtually every fighting system known to man to overcome their opponents. To the untrained eye, MMA matches are sanctioned bar brawls. Focusing on the rise of the Ultimate Fighting Championship, the sport's dominant league, and its five-time champion, Pat "The Croatian Sensation" Miletich, Wertheim changes his own mind and this reviewer's as well. The athletes are some of the best conditioned in sports, and an unexpected number hold college degrees. The results are not orchestrated, as in professional wrestling, and the sport is far more dynamic than the nearly moribund world of boxing. MMA fans will welcome this book, and it is an eye-opener for those who know little of the sport. Recommended for all public libraries.—Jim Burns, Jacksonville P.L., FL