edited by Charles Sullivan ‧ RELEASE DATE: Nov. 1, 1991
Though the intention here is admirable, the subtitle is misleading at best. An introduction by Mary Schmidt Campbell remarks that the book ``lets us hear...voices from the American past—Black and White—who bear the evidence of a country striving toward the reconciliation between the real and the ideal'': a more accurate summary of the content. There are plenty of white representations of African Americans—or even, like a photo of a white child at work in a cotton mill, representations of those only tangentially related to the black experience; other illustrations are simply journalistic photos of political figures. The ``literature'' consists of spirituals, poems familiar and unfamiliar, and excerpts from many sources, including Hansberry's A Raisin in the Sun (a page), The Adventures of Huckleberry Finn (a paragraph), a speech by Booker T. Washington (three sentences), and the 23rd Psalm. Much of the art is powerful (e.g., several paintings by Jacob Lawrence), and some of the pairings are inspired (two sonnets about New York, by the contemporaneous Claude McKay and James Weldon Johnson, with similar themes and very different styles). There's much of value, then, but the whole is little more than a pastiche of ideas and images of varying quality. Biographical notes are brief; many include no clue to the race of the author or artist. Credits, but no index to the artists; the ``Poetry Title and Author Index,'' fortunately, includes prose. (Nonfiction. 8+)
Pub Date: Nov. 1, 1991
ISBN: 0-8109-3170-2
Page Count: 126
Publisher: Abrams
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1991
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adapted by Charles Sullivan & illustrated by Warren Infield
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edited by Charles Sullivan
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by Robert Macfarlane ; illustrated by Jackie Morris ‧ RELEASE DATE: Oct. 2, 2018
A sumptuous, nostalgic ode to a disappearing landscape
An oversized album compiled in response to the recent omission by the Oxford Junior Dictionary of many natural-science words, including several common European bird, plant, and animal species, in favor of more current technological terms.
In his introduction, Macfarlane laments this loss, announcing his intention to create “a spellbook for conjuring back these lost words.” Each lost word is afforded three double-page spreads. First, the letters of each lost word are sprinkled randomly among other letters and an impressionistic sketch in a visual puzzle. This is followed by an acrostic poem or riddle describing essential qualities of the object, accompanied by a close-up view. A two-page spread depicting the object in context follows. Morris’ strong, dynamic watercolors are a pleasure to look at, accurate in every detail, vibrant and full of life. The book is beautifully produced and executed, but anyone looking for definitions of the “lost words” will be disappointed. The acrostic poems are subjective, sophisticated impressions of the birds and animals depicted, redolent with alliteration and wordplay, perhaps more appropriate for creative writing prompts than for science exploration. This book is firmly rooted in the English countryside, celebrating such words as “conker,” “bramble,” and “starling” (invasive in North America), but many will cross over for North American readers. A free “Explorer’s Guide” is available online.
A sumptuous, nostalgic ode to a disappearing landscape . (Picture book/poetry. 10-adult)Pub Date: Oct. 2, 2018
ISBN: 978-1-4870-0538-2
Page Count: 128
Publisher: Anansi Press
Review Posted Online: Sept. 22, 2018
Kirkus Reviews Issue: Oct. 1, 2018
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by Robert Macfarlane ; illustrated by Jackie Morris
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by Sherill Tippins ‧ RELEASE DATE: Dec. 3, 2013
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
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