Caustic, strident, and trite.



A collection of political cartoons that lampoon President Donald Trump’s policies, character, and physique.

In these satirical images, cartoonist Fintan presents a corpulent Trump in a pendulous red tie and with a pouty-lipped gape. The artist harps on familiar anti-Trump themes, portraying the president as a racist who has “a lot in common” with a Klan-robed, swastika-emblazoned alt-righter and as a lecherous creep to whom former U.K. Prime Minister Theresa May must say, “do not grab the Queen by her p___y.” Trump is depicted as a venal grifter who cheats at golf and accepts bags of cash from lobbyists and Arab sheikhs. He’s shown to be the puppet of a bare-chested Russian President Vladimir Putin in two cartoons and the punching bag and giddy waltz partner of North Korean leader Kim Jong Un. The artist personifies Trump’s immigration policies as a U.S. Border Patrol agent shrieking “Incoming!” at a little girl clutching a teddy bear. Former Justice Department Special Counsel Robert Mueller’s probe is represented as a wrecking ball that’s about to smash into an oblivious Trump, and the probe’s aftermath is envisioned as Trump asking first lady Melania Trump if he should wear orange prison fatigues or striped ones. Fintan is an equal-opportunity politico-basher, showing U.S. Sen. Bernie Sanders proclaiming that “banks will break themselves up once I crash the international and domestic economies” and dressing former U.S. Secretary of State Hillary Clinton in a pantsuit stuffed with cash. Overall, though, the cartoons are somewhat cruder than standard op-ed page fare—one features a nude Trump with “GOP” stamped across his anatomically detailed derriere—although they display the genre’s weakness for plodding literal-mindedness. One didactic tableau, for example, has a boy inflating a balloon labeled “Russia” while deflating balloons labeled “NATO” and “Paris Accord,” with a caption reading, “Trump reveals world view at first G7 summit.” Often, the imagery is colorful and even striking. However, Fintan isn’t a superb caricaturist; indeed, it’s sometimes hard to ascertain the identity of the non-Trump figures. There’s plenty of red meat for politically like-minded readers here, but it’s neither a subtle nor imaginative take on politics.

Caustic, strident, and trite.

Pub Date: July 26, 2019

ISBN: 978-1-5320-7790-6

Page Count: 104

Publisher: iUniverse

Review Posted Online: Jan. 31, 2020

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A dazzling visual homage to a music icon gone too soon.


A Los Angeles–based photographer pays tribute to a legendary musician with anecdotes and previously unseen images collected from their 25-year collaboration.

St. Nicholas (co-author: Whitney: Tribute to an Icon, 2012, etc.) first met Prince in 1991 at a prearranged photo shoot. “The dance between photographer and subject carried us away into hours of inspired photographs…and the beginning of a friendship that would last a lifetime.” In this book, the author fondly remembers their many professional encounters in the 25 years that followed. Many would be portrait sessions but done on impulse, like those in a burned-out Los Angeles building in 1994 and on the Charles Bridge in Prague in 2007. Both times, the author and Prince came together through serendipity to create playfully expressive images that came to represent the singer’s “unorthodox ability to truly live life in the moment.” Other encounters took place while Prince was performing at Paisley Park, his Minneapolis studio, or at venues in LA, New York, Tokyo, and London. One in particular came about after the 1991 release of Prince’s Diamonds and Pearls album and led to the start of St. Nicholas’ career as a video director. Prince, who nurtured young artists throughout his career, pushed the author to “trust my instincts…expand myself creatively.” What is most striking about even the most intimate of these photographs—even those shot with Mayte Garcia, the fan-turned–backup dancer who became Prince’s wife in 1996—is the brilliantly theatrical quality of the images. As the author observes, the singer was never not the self-conscious artist: “Prince was Prince 24/7.” Nostalgic and reverential, this book—the second St. Nicholas produced with/for Prince—is a celebration of friendship and artistry. Prince fans are sure to appreciate the book, and those interested in art photography will also find the collection highly appealing.

A dazzling visual homage to a music icon gone too soon.

Pub Date: Nov. 19, 2019

ISBN: 978-0-06-293923-4

Page Count: 384

Publisher: Amistad/HarperCollins

Review Posted Online: July 28, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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Clear journalistic prose makes sense of the befuddling legal entanglements in an ongoing battle that has become notorious in...



American Lawyer deputy editor Anderson chronicles the legal contests over the administration of America’s largest private art collection.

The author begins with a fair portrait of Dr. Albert C. Barnes, amasser of the famous Barnes Collection and creator of the eponymous foundation charged with its preservation. Barnes received his medical degree at 20 and went on to wrest control of a pharmaceutical company that owned exclusive rights to manufacture an internationally prescribed gonorrhea medicine. (His signature style throughout his life was to hire first-rate legal counsel and pursue his litigious course until he got what he wanted.) Barnes’s fortune, preserved through the Depression, permitted the assembly of a fabulous collection that included 180 Renoirs; it’s currently valued at six billion dollars. Just before his death in 1951, the doctor changed the terms of the foundation’s indenture, granting control to the trustees of Lincoln College, the oldest black college in America, setting the stage for a long round of disputes. While the collection gained tremendously in value over the next four decades, the size of the endowment that paid for the upkeep of the French Renaissance palace that housed it dwindled through mismanagement. In the 1990s, foundation president Richard H. Glanton, a high-profile African-American lawyer, oversaw the galleries’ renovation and undertook the expensive litigation responsible for bringing the foundation to the edge of ruin. Anderson describes these conflicts in a work that by his own admission is “a legal tale” rather than a scholarly biography or a work of art history. The absence of footnotes, he explains, springs from the desire of his best sources to remain anonymous. That’s not surprising, considering the rancor all this legal wrangling has generated, including a lawsuit over a parking lot instituted in federal court that invoked the Ku Klux Klan Act.

Clear journalistic prose makes sense of the befuddling legal entanglements in an ongoing battle that has become notorious in the art world and beyond. (16 illustrations)

Pub Date: May 1, 2003

ISBN: 0-393-04889-6

Page Count: 288

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 2003

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