A great subject overwhelmed by legal minutiae.
Who was the clever thief who snatched Goya’s portrait of the Duke of Wellington from the National Gallery in London in 1961?
He was well-read, if not learned, too clever by half, and clearly talented in the burglar’s arts. Hirsch (Chair, Justice and Law Studies Program/Williams Coll.) felt the deed and the perpetrator needed further investigation. The man who confessed, Kempton Bunton, was an elderly, unpublished author who had a difficult time maintaining any sort of employment. The author explores a host of questions that had puzzled London police, as well as some that didn’t occur to them. Why did the theft take place on Aug. 22, 1961, exactly 50 years after the Mona Lisa went missing from the Louvre? How could an older, overweight man possibly have entered the museum through a lavatory window after scaling walls topped with barbed wire? Why did he say he got in between 4 and 5 a.m. when the loss was first noticed at 10 p.m.? This story has all the potential of a great mystery and a thrilling crime story. Hirsch was the first to get his hands on an autobiography Bunton wrote just a few years after the fact, in which he explained how he stole the painting, stored it, wrote a series of letters trying to collect ransom, and eventually returned it. He turned himself in, claiming that, as he had no criminal intent and no intention of permanently keeping the painting, he could not be found guilty. Unfortunately, here the author’s legal side takes over the narrative. The details of the investigation, the trial with interminable prosecutorial repetition of questions, examining every aspect over and over, and the judge’s clear disbelief take a fun tale and drag it out. The author may have solved the case in the end, but by that time, interest is pretty well lost.
A great subject overwhelmed by legal minutiae.Pub Date: April 12, 2016
ISBN: 978-1-61902-591-2
Page Count: 256
Publisher: Counterpoint
Review Posted Online: Jan. 18, 2016
Kirkus Reviews Issue: Feb. 1, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A zesty, energetic history, not only of a building, but of more than a century of American culture.
A revealing biography of the fabled Manhattan hotel, in which generations of artists and writers found a haven.
Turn-of-the century New York did not lack either hotels or apartment buildings, writes Tippins (February House: The Story of W. H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, Under One Roof In Wartime America, 2005). But the Chelsea Hotel, from its very inception, was different. Architect Philip Hubert intended the elegantly designed Chelsea Association Building to reflect the utopian ideals of Charles Fourier, offering every amenity conducive to cooperative living: public spaces and gardens, a dining room, artists’ studios, and 80 apartments suitable for an economically diverse population of single workers, young couples, small families and wealthy residents who otherwise might choose to live in a private brownstone. Hubert especially wanted to attract creative types and made sure the building’s walls were extra thick so that each apartment was quiet enough for concentration. William Dean Howells, Edgar Lee Masters and artist John Sloan were early residents. Their friends (Mark Twain, for one) greeted one another in eight-foot-wide hallways intended for conversations. In its early years, the Chelsea quickly became legendary. By the 1930s, though, financial straits resulted in a “down-at-heel, bohemian atmosphere.” Later, with hard-drinking residents like Dylan Thomas and Brendan Behan, the ambience could be raucous. Arthur Miller scorned his free-wheeling, drug-taking, boozy neighbors, admitting, though, that the “great advantage” to living there “was that no one gave a damn what anyone else chose to do sexually.” No one passed judgment on creativity, either. But the art was not what made the Chelsea famous; its residents did. Allen Ginsberg, Bob Dylan, Andy Warhol, Janis Joplin, Leonard Cohen, Robert Mapplethorpe, Phil Ochs and Sid Vicious are only a few of the figures populating this entertaining book.
A zesty, energetic history, not only of a building, but of more than a century of American culture.Pub Date: Dec. 3, 2013
ISBN: 978-0-618-72634-9
Page Count: 448
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 18, 2013
Kirkus Reviews Issue: Oct. 1, 2013
BOOK REVIEW
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.
Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.
Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.Pub Date: Oct. 13, 2015
ISBN: 978-1-250-05890-4
Page Count: 432
Publisher: St. Martin's
Review Posted Online: July 27, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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