Arts & Humanities

This book is the first to document the early drawings of Audubon held at Harvard's Houghton Library and Museum of Comparative Zoology. The 116 drawings are reproduced in full-color plates and are arranged in three sections—birds of Europe, birds of America, and exotic birds and animals. The drawings date from 1805 to 1832; a number were engraved as plates for Audubon's multivolume Birds of America. Richard Rhodes (John James Audubon: The Making of an American), Scott V. Edwards (organismic & evolutionary biology, Harvard Univ.), and Leslie A. Morris (curator of modern books & manuscripts, Houghton Lib.) provide an overview of and commentary on Audubon's work. Audubon was able to draw dynamic and lifelike poses of birds because he worked from live specimens (which he collected from their habitats) affixed to a board with wires. A variety of bird families are represented, including song birds, perching birds, and ducks. Recommended for libraries that support large collections in natural history and American art.—Sandra Rothenberg, Framingham State Coll. Lib., MA

Since Berke (coeditor, Architecture of the Everyday) founded her architectural firm in 1982, she has produced thoughtful, quietly elegant designs for a range of domestic, commercial, and industrial projects. Her interest in designing works eminently suited to their function and place has found expression in everything from urban lofts and houses to art galleries, hotels, and offices. In this volume, 21 projects by Berke are grouped into three sections prefaced by contemplative essays by author Myers, curator of architecture at Carnegie Museum of Art's Heinz Architectural Center. The text accompanying each project highlights significant features while calling attention to the architect's light touch, and the many photographs encourage readers to linger over the pattern of expansion joints in the cement floor of an artist's loft or the contrast between public and private facades of freestanding houses. A project list and select bibliography complete the volume. Highly recommended for architecture libraries.—Amy Trendler, Ball State Univ. Libs., Muncie, IN

Renzo Piano has become one of the world's most prominent architects. This large-format volume in architect and journalist Buchanan's series on the artist examines 14 of Piano's latest creations. The far-flung group includes the New York Times Building, the Nasher Sculpture Center in Dallas, and extensions to the High Museum of Art in Atlanta. Other designs in the volume are large office buildings, auditoriums, and a church, mostly in Europe. Several are conversions of existing structures. Buchanan analyzes each project and contributes thoughtful summary essays about Piano's current output. Piano's busy structural detailing can be distracting, but these diverse urban solutions showcase his sensitivity to site, scale, and context. The supporting color photographs and graphics are excellent. Recommended for libraries with comprehensive architecture collections.—David R. Conn, Surrey P.L., B.C.

This book, the second in an ongoing series concentrating on the architectural production of individual U.S. cities, highlights the last 25 years of architectural design in Atlanta. The production quality is high: for each building, five pages of excellent color photographs are mixed together with succinct text devoted to each building. The architects are almost all Atlanta firms, and they have followed in the footsteps of their more illustrious leaders, illustrating all of the major styles of the past quarter century, from cubism to postmodern revivalism. The former style is sampled in the New World of Coca Cola Museum, and the latter is evident in renovations of older, historic buildings in which the quality and character of earlier construction shines forth. Recommended for architecture school libraries and libraries in the Southeast region.—Peter S. Kaufman, Boston Architectural Ctr.

James Castle (1899–1977), born profoundly deaf, lived within his own silent world, communicating solely through his art, and he left an innovative and imaginative body of work. The Philadelphia Museum of Art has mounted the first comprehensive exhibition of Castle's work, and Percy (curator of drawings, Philadelphia Museum of Art) has brought together an amazing collection of his art as well as scholarly essays and biographical pieces. Castle used everyday items like soot, swabs, sticks, and food containers to create intricate constructions, surrealistic images, and collages of words and pictures. Here, one can find, e.g., endless sketches of rooms in his family's farmhouse, paintings on the bottom of an ice cream carton, and a glass bottle wrapped in felt, string, and paper. The book also examines Castle's materials and techniques and his obsession with the ephemera of life around him. A major contribution to the literature of 20th-century art as well as outsider art; the accompanying DVD features an excellent film, Jeffrey Wolf's James Castle: Portrait of an Artist.—Paula Frosch, Metropolitan Museum of Art Lib., New York

Jaques (d. 2008) shot couture fashion for Harper's Bazaar, Holiday, and Town & Country, and his portfolio includes travel photography, portraits of celebrities, writers, painters, and musicians, and photojournalism. Fiori, his editor at Town & Country, where she is now editor in chief, collects and contextualizes the photography of the man she calls "the most influential and least recognized" of the magazine photographers. Jaques worked alone, without assistants, which allowed him to create a sense of intimacy and immediacy with his work. The cover of this collection is a good example, showing Marlon Brando as both virile and vulnerable. This collection shows Jaques's composition to be his strongest quality as a photographer, no matter what the subject. The book is limited to black-and-white photographs because Jaques's color negatives are lost. This book reveals the exceptional quality of Jaques's work and the extent of his influence; recommended for public, academic, and specialized libraries.—Karen MacMurray, South Piedmont Community Coll. Lib., Polkton, NC

Set against the backdrop of tumultuous Parisian vanguard art and society of the early 20th century, this exhibition catalog captures the vitality and expressive qualities of portraiture at a time when it seemed threatened by photography. Portraits in painting, sculpture, and on paper by Picasso, Matisse, Chagall, Duchamp, and other heavyweights are counterbalanced by the works of lesser-known artists such as Paul Colin, Romaine Brooks, and Christian Bérard. The exhibit draws portraits from large and small museums and private collections, affording glimpses of works that are seldom accessible for study. Photos are used liberally to reinforce the show's strong biographical bent. In the long opening essay, Silver (modern art, NYU; adjunct curator, Bruce Museum) provides an overview of individual and group portraiture from the fauves through cubism and surrealism, with special attention on intense personal relations and networking among artists, writers, dealers, collectors, models, and urban legends such as Josephine Baker and Pierre Mac Orlan. In the catalog portion of the book, Bruce Museum curator Abigail Newman excels in describing the portraits. Printed in a pleasing format with crisp reproductions but unfortunately lacking an index and bibliography; recommended for academic art and visual culture collections.—Russell T. Clement, Northwestern Univ. Lib., Evanston, IL

Simms (art history, California State Univ., Long Beach) presents a serious study of French painter Paul Cézanne, discussing the relationship between drawing and painting in his watercolors and its significance in transposing his sensations into transcendental works of art. Simms focuses progressively on the factors that contributed to the artist's unique tonal paintings. In five chapters, he covers Cézanne's earliest watercolors in the 1860s, when his work was daring and helped establish his reputation; the influence of Pissaro and Impressionism in the 1870s; his mature works of the 1880s and 1890s; the significance of the blank paper, or reserves, in his watercolors; and the notion of genesis in his important bathers paintings. Simms concludes that the "dialog between the drawing and painting" in Cézanne's watercolors has been overlooked. An important contribution to Cézanne scholarship; all special collections of modern art and French painting, as well as academic and public libraries with art history collections, should acquire.—Ellen Bates, New York

In this volume, published for the Paul Mellon Centre for Studies in British Art, Solkin (social history of art, Courtauld Inst.; Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England) presents a detailed academic study of paintings from early 19th-century England depicting the life of common people in that society. Lengthy chapters provide in-depth consideration of works by Thomas Heaphy, David Wilkie, William Mulready, and others, exploring their meaning in relation to the prevailing political, artistic, and philosophical currents of their time. Solkin uses extensive research, including contemporaneous writings about the artworks, to construct detailed arguments about the sociohistorical context in which these works emerged. He illustrates his points with 100 black-and-white and 150 color reproductions, including many detail views. With its scholarly approach and specialized subject matter, this book will be most suitable for academic and specialized collections.—Kathryn Wekselman, MLn, Cincinnati

Perhaps Lievens would have been a pop star in this century. It is said that he was self-confident; he used strong brush strokes and a lot of impasto when painting and was associated with the likes of Rembrandt. But there seems to be more than meets the eye with this Dutch artist, who has fallen out of favor. Through a comprehensive look into his burgeoning skills and the development of his artistic style, esteemed and prolific author Wheelock (art history, Univ. of Maryland; Gerard ter Borch), curator of northern baroque painting at the National Gallery of Art, Washington, gives us a full-bodied and flavorful account of the artist and returns him to a respectable place in art history. Lievens's early works possess inconsistent use of color and unique proportions, but his rapid development, probably in response to patron requests, shows Lievens to have been an astute student of psychology and a bold creator of strong portraits, landscapes, and still lifes. A good advancement in scholarship, Wheelock's book is recommended for libraries specializing in art history and Dutch culture.—Nadine Dalton Speidel, Cuyahoga Cty. P.L., Parma, OH

After considering thousands of submissions, snapshot collectors Williams and Richard Cahan (coauthors, Richard Nickel's Chicago: Photographs of a Lost City) in collaboration with Nicholas Osborn, founder of Square America (squareamerica.com), a web site dedicated to American snapshot photography, selected this unusual variety of American pictures taken between the 1890s and early 1970s. The idea of analyzing the casual pictures taken by everyday people has enjoyed recent popularity through art exhibitions and through Sarah Greenough and others' recently published The Art of the American Snapshot, 1888–1978. Greenough's book can be regarded as the landmark text on vernacular photography because it is more a critical history than a review of common themes in snapshots, as is seen in the book reviewed here. While lacking the depth of Greenough's book, this collection succeeds in using pictures that illustrate effectively the character of different time periods; for example, the authors include many pictures taken by soldiers in both world wars. Thoughtfully put together if not groundbreaking, this is recommended as an optional purchase for public libraries.—Eric Linderman, Euclid P.L., OH

As J.K. Rowling writes in her introduction, this book "can be read as a warts-and-all exposé of fan mentality or as a story of the world's biggest book group or as the personal journey of a group of people who would never otherwise have met." Anelli, webmaster of the Leaky Cauldron (the-leaky-cauldron.org), has toured with rockers Harry and the Potters and interviewed both Rowling and anti-Potter crusaders. She missed out on the initial phases of Pottermania, and much of the book is Anelli's personal (metaphorical) rags-to-riches tale—from overworked, underpaid MTV staffer to webmaster of the most respected Harry Potter fan site on the Internet. Her excitement never falters, and Potter fans will find much to like here, though those who are not already fans may have difficulty following Anelli as she hops back and forth in time. She and the Leaky Cauldron have spent years successfully promoting and upholding the spirit of the Harry Potter books, movies, and culture; all libraries serving Potter fans will find this a worthwhile purchase.—Audrey Snowden, Cleveland P.L.

Davis (English literature, Univ. of Liverpool; Bernard Malamud: A Writer's Life) sets out to explain the importance of Victorian literature to contemporary readers. Because the Victorian age was the first in which reading was a nationwide pastime, the author calls his work a "personal manifesto," inviting his own readers to discover what moves them in a book. Phrenology was popular in Victorian times, and Davis describes what he calls the "Victorian bump," that portion of the mind that makes Victorian literature really matter, a point of transition between old and new, primal and civilized, faith and doubt. To make his point, he explores the works of such authors as Anthony Trollope, Thomas Hardy, Matthew Arnold, John Stuart Mill, John Ruskin, and Sir Walter Scott. Part of a series exploring a broad range of subject areas, this book is admittedly subjective in its exploration of the relevance of Victorian literature in the 21st century. Davis notes that it is intended for the reader rather than the scholar, but it will be of more interest to academic than to public libraries.—Denise J. Stankovics, Rockville P.L., Vernon, CT

Miller's (Codename Tricycle: The True Story of the Second World War's Most Extraordinary Double Agent) comprehensive and fascinating portrait of Arthur Conan Doyle—doctor, Spiritualist, and creator of Sherlock Holmes—is informed by material previously unavailable to other authors; Doyle's personal papers only recently became available in the British Library, and the Richard Lancelyn Green archives have only been available since 2005. It is one of the great ironies of fiction that Doyle came to hate the great Sherlock Holmes for his dominance over Doyle's other writings; for readers more interested in the cultural and historical period of Doyle's life than his famous detective, Miller's book will prove equally appealing. His chapters on the Boer War and World War I illustrate how Doyle's war experiences influenced much of his later work and ideas. Miller's sensitive discussion of Doyle's strong belief in Spiritualism recommends this biography over Andrew Lycett's The Man Who Created Sherlock Holmes. These two recent biographies complement each other, however, and larger libraries should purchase both. (Index and photos not seen.)—Susan L. Peters, Univ. of Texas, Galveston

O'Hear (philosophy, Univ. of Buckingham; director, Royal Inst. of Philosophy) offers much enthusiasm for, clear summaries of, and moderate insight into 19 of the significant canonical works of Western literature, beginning with The Iliad and The Odyssey and ending with Goethe's Faust. Citing with approval philosopher David Hume's remark that the same Homer who pleased in Athens and Rome still pleases in London and Paris, O'Hear assumes an ahistorical stance, passing over historical contexts and the vast secondary literature. He defines the great books as possessing an objective significance that goes beyond individual and subjective interpretation. The point is not what we feel about the work or how we make it conform to us but how we are transformed by it. His readings are clear and his writing fluent, but his discussions do not go far beyond plot summaries. Recommended only for public libraries.—T.L. Cooksey, Armstrong Atlantic State Univ., Savannah, GA

Rogak (A Boy Named Shel: The Life and Times of Shel Silverstein) has produced an unauthorized biography of one of America's most popular novelists. Using King's novels and movies, as well as numerous articles and interviews, as well as other books and web sites about the author, Rogak covers all of the major events of King's life and career—his abandonment by his father when Stephen was two years old; his instant and continuing fame as a horror novelist; his many fears and phobias, his addictions to (and recovery from) alcohol and drugs; the accomplishments of his wife, Tabitha (also a novelist), and his three children; the car accident that almost killed him; and his successful efforts to go beyond genre literature and be accepted as an accomplished writer. For King's many fans, this is a good introduction to the writer and his work, but anyone looking for literary analysis will have to go elsewhere. For medium to large public library collections. (Photographs and index not seen.)—Morris Hounion, N.Y.C. Technical Coll. Lib., CUNY

This concise and readable dual biography of one of the most highly regarded British modernist writers and his aristocratic German wife is the portrait of a marriage between two unconventional, volatile people—and the story of what happens when passion fades but mutual understanding and companionship remain. Their relationship began like a soap opera, the younger Lawrence eloping with the married Frieda, and persisted well beyond Lawrence's untimely death. Never settling down anywhere for any length of time, they traveled the world, sometimes together and sometimes apart but always dependent in some sense on each other. Squires (English, emeritus, Virginia Tech; ed., D.H. Lawrence's Manuscripts) has written extensively about Lawrence, and he and his wife, Lynn K. Talbot, have tracked down thousands of Frieda's previously unpublished letters, which the present volume draws on extensively. This retelling of their lives together results in a fuller and more realistic portrait of both Lawrence and Frieda, who emerge as more likable than we might have thought. Highly recommended for academic and public libraries.—Alison M. Lewis, Drexel Univ. Lib., Philadelphia

Relying on primary sources such as correspondence, invoices, and diaries to profile the book-buying practices of prominent individuals, Willes depicts the transformation of the book in England from luxury item to commodity. Nine detailed chapters introduce readers equally to reading tastes, family travails, and the developing publishing industry. Willes, former publisher for the National Trust, moves chronologically from Bess of Hardwick (b. 1527) to political and literary leaders Denis and Edna Healey (born 1917 and 1918, respectively), granting one American, Thomas Jefferson, a chapter among the dozen English individuals presented. Unlike other profile collections, such as Pre-Nineteenth-Century British Book Collectors and Bibliographers, Willes's book occasionally departs from highlighting individuals: Chapter 6 discusses distribution of fiction in the 1700s, and Chapter 8 describes the trend toward greater literacy in the late 1800s. Addressing readers familiar with English culture, Willes does not always explain references to historical events or aspects of English units of currency. Reproductions of artwork and chapter notes enhance this thoroughly researched, interdisciplinary work. Recommended for academic libraries.—Marianne Orme, Des Plaines P.L., IL

Joseph P. Kennedy, patriarch of the Kennedy political dynasty, spent only a few years in the film business (roughly 1926–30), but he brought the same drive to his film efforts as he displayed in all his enterprises, juggling several studios, perfecting the art of the deal, and laying the grounds for modern corporate Hollywood while adding considerably to the family's wealth. There are numerous biographies of Joe Kennedy, but this is the first in-depth look at his years in Hollywood, much of the material drawn from previously unavailable papers in the Kennedy Library. Beauchamp (Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood) captures Kennedy's charm, his business acumen, and a certain ruthlessness with friends and enemies, and he details Kennedy's prolonged personal and professional relationship with Gloria Swanson and his work with such varied figures as FDR, William Randolph Hearst, and Cecil B. DeMille. Beauchamp covers an important period of change in Hollywood, with the coming of sound technology and the decency code, but the average reader might be confused by the intricate details of Kennedy's movie deals. This carefully researched biography is recommended for academic and large public library collections. [See Prepub Alert, LJ 10/1/08.]—Stephen Rees, Levittown Lib., PA

Broven (Rhythm and Blues in New Orleans; cofounder, Juke Blues magazine) has put together a detailed and engrossing study of the independent record labels of the 1940s–70s. Broven presents the behind-the-scenes stories of Atlantic, Motown, Sun, Chess, King, Specialty, and other record companies as well as the relationships among the independents and radio, jukebox companies, and the trade magazines. His research included studying print sources and conducting all-important interviews with many of the principals involved in the dissemination of R & B, hillbilly music, jazz, Cajun, and early rock 'n' roll. Broven's scholarship is quite good, yet his book never reads like a scholarly tome: he weaves the stories together in fluid prose. An outstanding and important study that goes well beyond comparable predecessors; highly recommended for both public and academic libraries.—James E. Perone, Mount Union Coll., Alliance, OH

For her latest "personal biography"—a formula she's used to profile Ingrid Bergman and Bette Davis, among many others—Chandler interviewed Mae West toward the end of her life and fills the book with West's ruminations. At one point, says West, "Groucho seemed to enjoy talking about himself. I could understand that, because I was always the same. I was my favorite subject." This is certainly evident in the first part of the book. West speaks at length of her close relationship with her mother and her career-oriented youth. We hear about a secret marriage, her relationship with George Raft, and the Hollywood experience. In the "Hollywood Encore" chapter, Chandler presents different perspectives on West from actors and directors including Bette Davis and George Cukor, which provides less egocentric reading. Chandler also includes synopses of her plays and films and a chronology. Simon Louvish's Mae West: It Ain't No Sin is a more riveting read, but Chandler presents a distinctively first-person perspective. Recommended for libraries where Chandler's previous books have been popular. (Photographs and index not seen.)—Barbara Kundanis, Longmont P.L., CO

Scott (Inst. of Contemporary Music Performance, London) has written an informative, practical, and visually attractive how-to guide for learning to play the bass guitar. Beginning with bass parts, the history of the bass, tuning, warming up, and music tablature, Scott methodically introduces the bassist-reader to his or her instrument. Every page includes illustrative color photographs, and each section offers a "Must Know" or "Want To Know More" sidebar. The accompanying music CD, with 99 play-along exercises, is particularly useful and includes percussion. Scott covers a variety of musical styles and rhythms from rock 'n' roll, doo-wop, and country to jazz, swing, and reggae. He concludes with riffs in the style of bass legends like Paul McCartney, Sting, John Entwistle, Charles Mingus, and Carol Kaye.

Chiavaro, a New York City-based musician, has worked as a session musician for several famous producers, including Phil Ramone (Billy Joel), Jack Douglas (Aerosmith), and Brian Harding (Jennifer Lopez). Here, he provides a more thorough, technical approach than Scott and delves deeper into proper technique, position, the fundamentals of music tablature, music theory, scales, and special techniques. Using a private music lesson as his format, Chiavaro instructs his bassists to read each chapter and then follow along with his instructional DVD to practice. Both Scott and Chiavaro encourage their readers to find a good instructor to help them advance. Scott's highly readable guide will appeal to a wider audience, including music aficionados who want to learn more about the bass, while Chiavaro's book is best suited to the serious music student who wants to devote time to the fundamentals. Both titles are highly recommended.—Elizabeth M. Wavle, Elmira Coll. Lib., NY

At age 16, German started writing the Rolling Stones fanzine Beggar's Banquet. After tenaciously courting the band at album parties and other appearances, he gained access to the Stones's camp, and his publication became the band's official bulletin. During the 1980s, the band spent much of their time in New York City, giving German easy accessibility, and he was eventually brought into their homes. With entertaining and relaxed prose, German recounts his relationships with Keith Richards and Ron Wood (with whom he eventually collaborated on The Works) and various lively members of the Stones's circle. German's exclusive access throughout the 1989–90 Steel Wheels tour and his backstage accounts of the modern megatour, with its own social hierarchy and myriad levels of access, will be of enormous interest to Stones fans. Colorful portraits of Richards and Wood, depicted as avuncular and open, as well as the more distant Mick Jagger, form a picture of the band in an often tumultuous and eventually wildly successful period not heavily documented by previous works. Recommended for public libraries.—Jim Collins, Morristown-Morris Twp. P.L., NJ

As this massive, vibrant, and colorful study shows, the importance of Texas Blues is demonstrated by the number of musicians who have practiced or are practicing this art. The coverage is expansive, with introductory essays, interviews conducted by Govenar and others, and a wealth of photographs. Govenar (Meeting the Blues) manages to profile an amazing number of guitarists, pianists, singers, and others, both well known and obscure, who show how much pioneering blues musicians like T-Bone Walker and Lightnin' Hopkins influenced their own development. The discussion of the role played by tiny establishments, radio stations, country music, and several key record labels is particularly enlightening. These vignettes, along with a carefully chosen discography and bibliography, contribute to making this a special book on the blues field, particularly its Texas developments. Recommended for all libraries, especially those with large music holdings.—William G. Kenz, Minnesota State Univ., Moorhead

Vincente Minnelli's long directing career included films ranging from Cabin in the Sky to Meet Me in St. Louis and An American in Paris, but in his lifetime he didn't receive the popular acclaim enjoyed by many others in the industry. Two new books offer well-deserved tributes to his artistic accomplishments. Levy (film, Univ. of California Los Angeles; Cinema of Outsiders: The Rise of American Independent Film) provides an engrossing and carefully researched biography of Minnelli, tracing his life and career from his work at the Radio City Music Hall and on Broadway to his decades-long involvement in film. With keen insight and tasteful honesty, Levy examines Minnelli's productions and his relations with the actors and others involved in them, weaving these components into a life story that includes a marriage to Judy Garland, friendships with the Gershwins and other notables, and an intricately complex personal life.

The anthology edited by McElhaney (film studies, Hunter Coll.; The Death of Classical Cinema: Hitchcock, Lang, Minnelli) is a stimulating complement to Levy's biography. Written over several decades by a selection of respected international scholars, the thoughtful and educational essays included in this broad work range over Minnelli's career but concentrate on analyzing his artistic development. They address, e.g., the director's settings, musical scenes, and psychological subtexts as well as his treatment of historical material. The result is a valuable addition to the literature of film history and aesthetics. Both volumes are excellent resources and enjoyable reads that should be welcome additions to circulating libraries and large academic film collections.—Carol J. Binkowski, Bloomfield, NJ

While Douglas Fairbanks's name remains familiar, his accomplishments as a movie star, producer, and ebullient personality of Hollywood's silent era have grown undeservedly obscure. Film historian Vance (Chaplin: Genius of the Cinema) gives us a handsome work, with gorgeously reproduced photographs secured through Cushman (photograph curator, Academy of Motion Picture Arts & Sciences Lib.). Although the book follows Fairbanks from birth to death (1883–1939), it appropriately concentrates upon his movies after he left a successful Broadway career for film superstardom in 1915. Fairbanks the man evidently derived his own life force from his career, the heights of which were spectacular. The mobs who greeted him and Mary Pickford, the "Sweetheart" of the movies, on their European honeymoon may still be unparalleled. When he made the leap—literally—from affable comedy hero to swashbuckler with The Mark of Zorro (1920), he launched a series of dynamic costume adventures that showcased his remarkable athleticism and grace. The best chapter here is on Fairbanks's production of The Thief of Bagdad (1924). Although Fairbanks's death came all too early, he may have effectively felt that his life was over with the advent of talkies and the end of his marriage to Pickford. Highly recommended for film collections.—Margaret Heilbrun, Library Journal

In this collection of essays, French philosopher Badiou (École Normale Supérieure; Being and Event) seeks to provide a new definition of philosophy. According to Badiou, contemporary philosophy has become paralyzed because "it no longer knows if it has a proper place." This paralysis has come about because philosophers have interpreted philosophy through the confines of its own history. He explains that philosophy must be independent of its history and work with the conditions of science, art, politics, and love to inform universal truths. Each section contains a collection of essays pertaining to each condition and examines its relationship to philosophy. According to Badiou, just as Plato refuted the claims of sophists regarding universal truths, philosophy must now refute the theories of 20th-century sophists such as Wittgenstein, who tried to explain away philosophical problems by examining language and meaning rather than trying to understand philosophy itself. Badiou is a prominent and sometimes controversial voice in Continental philosophy, and this collection of essays demonstrates his highly technical and original thought. Recommended for academic libraries.—Scott Duimstra, Capital Area Dist. Lib., Lansing, MI

Critchley (philosophy, New Sch. for Social Research; Infinitely Demanding: Ethics of Commitment, Politics of Resistance) maintains that people today are terrified by death: we fear total annihilation. Philosophers, most famously Socrates, have claimed to be able to accept death, and Critchley thinks that by studying how various philosophers have approached death, we can to some extent relieve our anxiety about it. He accordingly presents over 190 brief accounts of how philosophers have died. Some philosophers, like Montaigne, have indeed looked at death without fear, and Simone Weil died through ascetic practices that amounted to voluntary starvation. Critchley, as one would expect from a leading postmodernist, allows his book to escape from its ostensible thesis. Much of the book consists of anecdotes, often mordantly funny, such as students playing football with Jeremy Bentham's head. Sartre, close to the end, asked, "How are we going to manage the funeral expenses?" Critchley on occasion expresses his own views, e.g., he finds part of Heidegger's account of death "false and morally pernicious." Highly recommended for general and philosophy collections.—David Gordon, Bowling Green State Univ., OH

De Beauvoir's World War II journal—written between September 1, 1939, and January 29, 1941, after the establishment of the Vichy government in France—shocked many when it was published in France in 1990. De Beauvoir has been viewed as the constant companion and lover of existentialist philosopher Jean-Paul Sartre; yet, here, she recounts her sexual affairs with many young women at the time. Simons (philosophy, Southern Illinois Univ. Edwardsville; Beauvoir and The Second Sex) argues that de Beauvoir misrepresented her work in philosophy during that period; Sartre might have appropriated parts of her novel She Came To Stay into his well-known Being and Nothingness. The diary offers new insights into de Beauvoir's philosophical development, showing how her ideas evolved from prewar solipsism to the postwar political engagement of The Second Sex. Le Bon de Beauvoir is her adopted daughter and editor of Lettres à Sartre and other works by de Beauvoir. Highly recommended for anyone interested in the development of French existentialism or the relationship of Sartre and de Beauvoir, this is a good addition to any public or academic library.—Bob T. Ivey, Univ. of Memphis

Walsh argues that Kant, Derrida, Hegel, Schelling, Nietzsche, Kierkegaard, Heidegger, and Lévinas are joined by an existential move away from rationalist metaphysics toward the practical and toward an acceptance of our own role in establishing what is real. His argument draws heavily on Hegel's Phenomenology of Spirit. Walsh is not the first to suggest that Hegel continued Kant's project more than he opposed it, but readers may wonder if he grasps Hegel's Science of Logic. Many will think he is right in seeing Schelling as "a crucial link between the idealists and the fragmented thinkers who followed," but he picks one strand of many in Schelling's thought. Walsh (politics, Catholic Univ.), the author of two earlier probings of modernity (After Ideology), writes, often insightfully, about politics in relation to basic philosophical outlooks. But linking the democratic Kant; Hegel, who thought the state was "the march of God in history"; Nietzsche, who thought altruism a form of degeneracy; Nazi Party member Heidegger; and Democratic Socialist Derrida makes the head spin, as does Walsh's turgid prose. Allan Megill's Prophets of Extremity: Nietzsche, Heidegger, Foucault, Derrida is a useful andidote; still, there is a place for Walsh in academic libraries.—Leslie Armour, Dominican Univ. Coll., Ottawa

Chen's debut book of poetry offers an impassioned record of a girl who grows up without a father, learning to make do and becoming adept at expressing what she's learned in wordplay ranging from dictionary definitions to nursery rhymes. Despite the subtitle, this feels more like a display of word collages than a narrative, although there is a loosely told, somewhat abstruse story line. The collection describes Chen's attempts to find her father as well as her gradual realization that her identity lies in her search. Beginning with a child abandoned by her father, the poems show a dreamy, lonely girl who clings to her mother while becoming an introspective young adult. As she matures, she finds her soul mate in a childhood best friend who ultimately becomes her lover. The Chinese American Chen is equally skillful with English, Asian, and French forms; the book includes sestina, rondeau, haiku, epistle, prose poem, and riddle as it shows Chen's genius with figurative language. Although Chen's grasp of numerous poetic forms is impressive, it doesn't always make up for the adolescent nature of her subject matter. Nevertheless, Chen's intriguing collection is suitable for all libraries.—Diane Scharper, Towson Univ., Maryland

Sometimes, titles reveal little about the book they gloss, but in this latest from Gibson (Polar), the title provides insight into the material contained within. Literally speaking, a skirmish is a brief exchange between two warring parties that can foretell a larger battle to come. Gibson's work proceeds by just such allusions, giving readers a certain sense of the poem, only to yank them back into the present by overturning all of the assumptions the poem had built. In this age of rapid change, surprise is a constant, but the surprises offered by Gibson's poetry are more than gratuitous shock or quaint novelty. Like a photo whose power lies in having its focal point not in the middle of the picture but on its periphery, Gibson demonstrates that it's not about what you're seeing—it's about what you're ignoring. Mesmerized by skirmishing details, the reader is left to deduce, along with Gibson, that "truth is often what you at first don't trust." Recommended for public and academic libraries.—Chris Pusateri, Jefferson Cty. P.L., Lakewood, CO

Noted novelist Harrison (The English Major), also a fine poet, writes like a man reconciling the world at large with the natural world he knows well, one that still fascinates and inspires him. Many of his small gods are dogs, and many of them are fish or birds, that is, chickadees and hawks, willow flycatchers and hummingbirds: "Most birds own the ancient/ clock of north and south, a clock that never had hands, the god-time/ with which the universe began." He looks at them all with awe and ironic amusement. A group of prose poems centers this volume. Whether he imagines an Estonian World War II veteran who is fascinated by light or Vallejo in Paris, collecting empty wine bottles for small change, Harrison is heavily invested in narrative elements that range from the real to the surreal. One wondrous poem, "On Horseback in China," spins a tale filled with intriguing and magical turns. What joins these poems into a cohesive whole is the search for identity, still an important ritual for a man of any age: "I had become the moving water I already am." Highly recommended.—Karla Huston, Appleton Art Ctr., WI

Thematic collections of poetry can be tricky: will the poet be able to sustain an idea over the course of several dozen fragile, volatile poems? Poetry that addresses social or political issues head-on can also be tricky, as the message can overwhelm the art. But in an honest and affecting collection drawing on her experience working in an animal shelter, Salerno unfolds a story that we cannot stop reading—though we sometimes read glancingly, because the bare truth on the page hurts. Yes, Salerno introduces us to new-born kittens that must be dispatched and abandoned dogs kept for seven days before the euthanasia chamber greets them. But she does something a whole lot harder than uniting us in indignation against anyone who would throw an injured creature against a wall. Knowing exactly "the angle at which to piece the heart," Salerno brings us into the shelter and implicates us all, and she does so with calm specifics that let us know through her story exactly what we have wrought. This is not the self-congratulatory grandstanding of some engaged poetry but tight, moment-by-moment observations of what doing what we do to animals also does to us. Meanwhile, the animals themselves just dream "not solely of a sometime master." This first collection takes courage to read, but you can bet it took more courage to write, and we should be glad Salerno did it. For all poetry collections.—Barbara Hoffert, Library Journal

The late Irish Anglican classicist J.B. Bury wrote this biography in 1905 and titled it The Life of Saint Patrick and His Place in History, studying Patrick's life and mission for the light it could shed on the further reaches of the Roman Empire of his time. Bury's intent was to produce a study based on what could be known with a degree of certainty. In the process, he overturned much of what had been thought about Patrick's life. Since 1905, new information has come to light. Sweeney, who edited Francis Sabatier's 1894 biography of St. Francis of Assisi in much the same way, takes Bury's original text and fashions a contemporary English rendering from it, making the last chapter the first and also adding sidebars that highlight recent scholarship and provide new insights into Patrick's life and thought. While scholarly, this edition will also appeal to a popular audience. Libraries may have R.C.P. Hanson's Life and Writings of the Historical St. Patrick (1983) and Patrick's own The Confession of St. Patrick and Letter to Coroticus, available in translation. This edition of Bury is recommended for comprehensive collections, while Hanson is sufficient for other libraries.—Augustine J. Curley, Newark Abbey, Newark, NJ

Casey (Christian ethics, Wesley Theological Seminary) examines John F. Kennedy's 1960 presidential campaign in terms of America's evolution from a politically Protestant nation to a pluralistic one. His extensive research includes speeches, editorials, and other supporting archival documents in which Kennedy denied fanning sectarian flames in order to drum up Catholic support. Kennedy declared his independence from religious pressure in his 1960 address before the Greater Houston Ministerial Association, stating he would vote with his conscience in regards to the national interest and not according to church doctrine. But Nixon, with the support of Billy Graham, Norman Vincent Peale, and Harold Ockenga, lit the fuse on anti-Catholic sentiment and was defeated. Nixon did say that he would support federal funding for parochial schools, which turned groups like some Texas Baptists against him and may have cost him the election. Nixon's alliance with religious communities foreshadowed the rise of the Religious Right. This thorough examination of religious dimensions of the 1960 political campaign is recommended for academic collections.—L. Kriz, West Des Moines Lib., IA

Franco (columnist, Corriere della Sera, Italy) documents the diplomatic relationship between the U.S. government and the Vatican, whose history is not well known. It's a fascinating topic because the Vatican historically regards democracies as heretical, while the U.S. Constitution is committed to the separation of church and state. From 1797 to 1867, the United States had 11 consular officers in the Holy See, but American anti-Catholicism prevented the revival of full diplomatic relations for more than a century after 1867. Even though John F. Kennedy was a Catholic, efforts were made during his presidency to prevent resumption of diplomatic relations with the Vatican. It was President Reagan who, in seeking the aid of the Vatican in his fight against communism, was able to get Congress to approve an ambassador to the Vatican and accept one from the Vatican to Washington. In offering a detailed history of the relationships between these two "empires," Franco tends to favor the Vatican's viewpoint and downplay the issue of the separation of a secular state from the affairs of religion. Because Italy is now itself a secular state, his approach to the topic becomes even more curious. Nevertheless, the book is a valuable contribution to a little-known story. Recommended for academic libraries.—James A. Overbeck, Atlanta

Freeman's exceptional book is a continuation and refinement of his The Closing of the Western Mind: The Rise of Faith and the Fall of Reason, in which he argued that the alliance of the Roman Empire with the Christian Church in the fourth century C.E. closed down a vibrant tradition of intellectual and religious toleration. The critical point was in the titular year when Emperor Theodosius I banned disagreement over the nature of the Trinity, making religious dissent a state crime for the first time. Theodosius's action was unfortunate, argues Freeman: proponents of the Nicene Creed (i.e., that the three parts of the Trinity were coequal in substance) could find little support in the Bible for their position; debate on the question was still lively. In the next century, Augustine nailed the lid on discussion with his forceful dismissal of reason: all articles of faith were above discussion. A.D. 381 is a well-argued and -documented study of the rise of the monotheistic state in the late Roman Empire and its aftereffects. Of the many excellences in Freeman's book, not least are the eloquence, grace, and subtlety of argument with which he presents his case. Invaluable for all academic collections and of interest for larger public collections as well.—David Keymer, Modesto, CA

In contrast to recent highly specialized and geographically targeted works, Green's detailed and episodic history of the Inquisition paints a broad picture of religious persecution in Spain, Portugal, and their colonies in Africa and the New World. Moving from continent to continent, Green (Saddled with Darwin) focuses on the role of fear in advancing the reach of inquisitorial power: "Fear spread through society with the power of the Inquisition to deliver social and financial ruin." Using examples drawn from archival research, the author looks at the psychological issues involved, such as envy, the use of informers, the spread of paranoia, and the application of terror tactics. Green asks if the attitudes and actions of the Inquisition are "an inevitable precursor to the modern human condition" that created such phenomena as the East German Stasi's network of informers. But just as the Inquisition contributed to the decline of Spanish and Portuguese power, Green believes that the contemporary use of fear and terror tactics will inevitably destroy their perpetrators. This complex work is recommended for academic libraries.—Diane Harvey, Duke Univ. Libs., Durham, NC

Gubar (English, Indiana Univ.), whose The Madwoman in the Attic, coauthored with Sandra M. Gilbert, changed the landscape of literary and feminist studies when published in 1979, applies her considerable powers to the embattled figure of the apostle who betrayed Jesus. Gubar's approach sidesteps questions of religious truth to focus on the figure of Judas as a mirror for the ever-shifting cultures that used him as a symbol of everything from evil to love to heroism. She brings her penetrating analysis to the dozens of poets, writers, artists, theologians, mystics, and filmmakers who have expressed our ambivalent fascination with Judas. As Gubar reminds us, Judas, as an unredeemed and guilty Jew, gave strength to ancient and modern anti-Semitism, up to and including the nightmare of the Holocaust, while the storm of excited controversy that erupted first around Dan Brown's The Da Vinci Code and then the rediscovery of the "lost" Gospel of Judas demonstrates our continuing hunger for new ideas about one of our oldest shared stories. An exhaustive, beautifully written cultural history of our favorite wrongdoer, Gubar's work is an immensely rewarding and crucially important book. Highly recommended. [For a Q&A with Gubar, see p. 88.]—Graham Christian, formerly with Andover-Harvard Theological Lib., Cambridge, MA

Like many young Americans, Hasan wrestled to balance her family's religious tradition with broader American cultural forces. In Hasan's case, this meant maturing in the turmoil after 9/11 as a wealthy Pakistani American. Hasan wrote two books to clarify and defend her identity: American Muslims: The New Generation (2000) and Why I Am a Muslim (2004). Now she has moved to mysticism. Introduced to Sufism in a Wellesley College class, Hasan was smitten by this faith, which is (arguably) Islamic but also individualistic, flexible about external disciplines (such as dress), and open-minded about other creeds. Just as some Americans turn to New Age beliefs or to Kabbalah, Hasan has found a way to be spiritual without following rigid traditions associated with particular religions. Unfortunately, Hasan seems unaware of the significance of her conversion. The book also suffers from disjointed chapters and a jerky, juvenile style. For broader understanding of Muslim Americans, try books by Yvonne Yazbeck Haddad and/or Azadeh Moaveni. Recommended only for large public libraries or those with special interests in Islam.—Lisa Klopfer, Eastern Michigan Univ., Ypsilanti

If any religious movement badly needs critiquing, the self-titled Quiverfull movement does, because its Christian patriarchy seeks to reverse the advances in equality women have made in the last 150 years or so. In this movement of the Christian Right, the author, a journalist, tells us, women are subordinate to men, and their sole God-given task is to be mothers and nurturers. Women have no authority outside the home and never any authority over men. All family planning is forbidden; women must have all the babies they can because the Bible tells us so. Joyce discusses the origins and expansion of the movement in Protestant fundamentalist and evangelical circles. She writes in a readable style and has a respectful approach that will appeal to most readers. She doesn't hesitate to highlight the social and personal damage caused by the movement to women's physical and mental health and to large and poor families struggling to survive on one paternal income. A modest complaint is that she doesn't critique the doctrinal roots of the movement in either biblical inerrancy or the authoritarianism of male leaders. Recommended for academic and public collections.—James F. DeRoche, Alexandria, VA

Warren (founder, Saddleback Church, Lake Forest, CA; The Purpose Driven Life) has written a warm and fuzzy holiday book commemorating what he sees as the three purposes of Christmas: to celebrate the Christian God's love for you, to seek salvation through Jesus Christ, and to strive for reconciliation with Jesus Christ and God. This is neither a scholarly exposition on the meanings of Christmas nor a deeply theological meditation on questions of faith and divinity. The wisdom in this book does not rise above Warren's closing advice: "Hold a birthday party for Jesus this Christmas." Warren's book does well what it is supposed to do—it gives noncontroversial, unblemished, feel-good holiday cheer to the believer. There are books written to add to the intellectual and spiritual wealth of the public, and there are books written to be personal gifts given with a whole heart from one evangelical Christian to another. This is a gift book, and it's not recommended for library collections.—Glenn Masuchika, Pennsylvania State Univ. Libs., University Park

Levy's (history, Slippery Rock Univ.) wonderfully written book is the first full biography of the man who was the youngest world heavyweight champion in boxing history as well as the first boxer to regain the championship after losing it. Growing up poor, Patterson felt guilty that he could not contribute financially to his family. As a youth, he stole food and other items in an attempt to help out, which landed him in reform school—the Wiltwyck School for Boys north of New York City. Patterson credited the school for turning his life around; he supported the school after he gained wealth as a highly successful boxer. His gold-medal performance in the 1952 Olympics in Helsinki accelerated his accession to a professional boxing career that, over 20 years, overlapped with a Who's Who of boxers that includes Archie Moore, Sonny Liston, Muhammad Ali, and Joe Frazier. Levy makes numerous references to Patterson's displays of sportsmanship and gentlemanly behavior. This book is not only an excellent study of Patterson but a superior source on professional boxing from the mid-1950s through the mid-1970s. Highly recommended for all sports collections.—Tim Delaney, SUNY at Oswego

This book attempts to profile the top 50 stars of the last 50 years of professional football, as chosen by a 25-year veteran sportswriter from Canada. The 50 selections are divided into two sections, Top 20 and Next 30, and are arranged alphabetically within those groupings. Of the Top 20, eight are quarterbacks, five are running backs, and only five are defensive players; the proportions for the Next 30 are similar. The profiles themselves are knowledgably written but take a back seat to the well-chosen illustrations—135 color photographs mixed with scores of black-and-white ones in a very striking layout. The book also features, e.g., "Legends in the Making" and "Franchises" (one-page summaries of all 32 teams). In short, a beautiful if not essential book that would be at home in any public library.—John Maxymuk, Rutgers Univ. Lib., Camden, NJ

This book falls short of being a good read on several levels, not least of which is the title. With over half of the 13 stories concerning the South Pole—and with humans and animals perishing left and right—it could have been called "Death in the Antarctic." Basically, editor Kuhne, whose series has already covered the "High Seas" and the "Mountains," needs more context here. Each selection opens with a brief explanation and ends with a postscript, which are both inadequate and leave the reader with questions. Take, for example, the chapter "Alone," excerpts from Richard Byrd's account of being at the South Pole's Advance Base for five winter months. Why is he there alone? Who left him there? How did the tunnel collapse referred to happen? The pieces by Helen Thayer, Robert Falcon Scott, Ernest Shackleton, and Frank Arthur Worsley are compelling, but serious polar reader will have encountered them in the full works. And, at some 450 pages, this is simply too long. General readers may soon tire of the essays' similarities (it's bitterly cold and dangerous). Not an essential purchase.—Lee Arnold, Historical Society of Pennsylvania, Philadelphia

During the writer's strike, TV writer Smiley persuaded ESPN.com to allow him to write a humor column on golf as a freelancer. This morphed into the goal of following Tiger Woods on every hole during the 2008 golf season. Smiley financed the project himself, which is significant because he was without other income. He shares some behind-the-scenes stories from Dubai, the Masters, and the U.S. Open. As golf quests go, this is interesting but not nearly as remarkable as, say, Andre Tolme's I Golfed Across Mongolia. The most notable book of many written about individuals' golfing quests is perhaps Tom Coyne's Paper Tiger; Turk Pipkin wrote of his strivings in The Old Man and the Tee. Smiley's coverage of the Tavistock Cup (a neighborhood competition by the PGA from Lake Nona and Isleworth—with a purse of over $3 million) trumps the televised version, which misses the full flavor of the event. Still, while this may be of interest to die-hard Tiger Woods fans, it will have a short shelf life. An optional purchase.—Steven Silkunas, North Wales, PA

St. John (Rammer Jammer Yellow Hammer: A Road Trip into the Heart of Fan Mania) tells the tale of the Fugees soccer team and their enigmatic coach, Luma Mufleh. The members of the Fugees were refugees from all over the globe, rescued by the UN's High Commission for Refugees, living together in a crime-riddled settlement center in Clarkston, GA. The stories of their escapes are harrowing. For example, Paula Balegamire and her five children fled civil war in Kivu through Rwanda, Tanzania, and Congo before accepting resettlement in Clarkston six years later. Her husband was jailed along the way. Not merely about soccer, St. John's book teaches readers about the social and economic difficulties of adapting to a new culture and the challenges facing a town with a new and disparate population. Despite their cultural and religious differences and the difficulty of adaptation, the Fugees came together to play soccer. This wonderful, poignant book is highly recommended for libraries collecting on the role of sport in people's lives and for those with an interest in immigration.—Todd Spires, Bradley Univ. Lib., Peoria, IL