A remarkable gathering of experimental scenes from a master photographer.




An overview of three decades of art photography, encompassing elegant black-and-white images, multiple-exposure manipulations, and bright, natural landscapes.

The digital realm may be the default medium of most contemporary photographers, but Miesch hardly needs it. As she describes in her introduction, film “accepts perfection or imperfection, cause or effect, and nature or nurture as inevitable elements of the human experience.” In the 229 images here, she begins with accomplished black-and-white street scenes from 1987 New Orleans, begins to experiment with text and in-camera manipulation, and, by the late ’90s, settles firmly into vividly colored landscape work with occasional portraits and figure studies. Miesch’s frequent manipulations follow a path first cut by Anton Giulio Bragaglia, which he called “photodynamism” in his 1911 book Fotodinamismo Futurista. Indeed, Miesch’s work is the future of Bragaglia’s dreams. The vortex of swirling stars in “It moves & I grow unsteady” and “…and I see double” recall Linda Connor’s images of trailing starlight, but in full color, with deepening scales of blue and a heavy frame of tree silhouettes. “Garage land” and “D & J Stor” pay homage to Ralph Eugene Meatyard’s frightening Halloween masks but create more urgent effects with images of arrows, grimaces, and a striking red door. Multiple exposures render Texas foliage hallucinogenic in “Hot Springs Canyon” and double the colors of Sonoma rocks in several series centering on an abandoned mine called The Cedars. At their least potent, these experiments can resemble wayward family snapshots, as in the raft trip of “Ladybird mind.” But at their best, these transpositions are surprising. By positioning her lens left and low for one exposure, right and high for the next, Miesch makes the Torre del Mangia—an old chestnut of a subject—into something eerie and mysterious, as a rising tower haunts another already risen. Readers may crave more street photography in the latter sections; Miesch’s early work in that genre is so intriguing that readers will be naturally curious to see what she’d do with it now. However, most of the later images are successful on their own terms.

A remarkable gathering of experimental scenes from a master photographer.

Pub Date: N/A

ISBN: 978-1-73217-730-7

Page Count: 232

Publisher: DNA Publishing

Review Posted Online: April 3, 2019

Kirkus Reviews Issue: May 1, 2019

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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.


New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    


Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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