A mostly engaging analysis of the resilience of female artists throughout modern history.

THE MIRROR AND THE PALETTE

An art critic examines female self-portraits and identity over the course of five centuries.

As editor at large of frieze magazine and the presenter of Bow Down, a podcast about women in art history, Higgie has an extensive knowledge of the works of women artists, most of whom have struggled historically with being accepted as serious artists. They have been excluded from artistic training, denied access to materials, underrepresented in commercial galleries and by art critics, and have faced physical and emotional abuse. However, as the author contends, “If she had access to a mirror, a palette, an easel and paint, a woman could endlessly reflect on her face, and, by extension, her place in the world.” Focusing primarily yet not exclusively on self-portraits, Higgie explores various aspects of the lives and times of numerous painters, including Artemisia Gentileschi, Frida Kahlo, Rita Angus, Amrita Sher-Gil, and Suzanne Valadon. The author does not follow a linear pattern; rather, she groups her minibiographies by categories such as Allegory, Hallucination, Solitude, Translation, and Naked, moving back and forth across time and genre. While her book is well researched and provides wonderful descriptions of the selected works to which she refers, at times, Higgie appears to struggle with a desire to find a stronger connection between the artists than exists. Frequently, she ponders if the artists may have met or known of each other’s work, followed by the reluctant answer that we do not know. This pattern feels stilted and detracts from the flow of the book. While the text initially feels dry and academic, perhaps due to limited information being available related to the early artists, Higgie finds her stride around the midpoint, creating an overall fascinating commentary about the identity of female artists. The book includes color photos of many of the works discussed.

A mostly engaging analysis of the resilience of female artists throughout modern history.

Pub Date: Oct. 5, 2021

ISBN: 978-1-64313-803-9

Page Count: 336

Publisher: Pegasus

Review Posted Online: Aug. 17, 2021

Kirkus Reviews Issue: Sept. 1, 2021

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A sweet-and-sour set of pieces on loss, absurdity, and places they intersect.

HAPPY-GO-LUCKY

Sedaris remains stubbornly irreverent even in the face of pandemic lockdowns and social upheaval.

In his previous collection of original essays, Calypso (2018), the author was unusually downbeat, fixated on aging and the deaths of his mother and sister. There’s bad news in this book, too—most notably, the death of his problematic and seemingly indestructible father at 96—but Sedaris generally carries himself more lightly. On a trip to a gun range, he’s puzzled by boxer shorts with a holster feature, which he wishes were called “gunderpants.” He plays along with nursing-home staffers who, hearing a funnyman named David is on the premises, think he’s Dave Chappelle. He’s bemused by his sister Amy’s landing a new apartment to escape her territorial pet rabbit. On tour, he collects sheaves of off-color jokes and tales of sexual self-gratification gone wrong. His relationship with his partner, Hugh, remains contentious, but it’s mellowing. (“After thirty years, sleeping is the new having sex.”) Even more serious stuff rolls off him. Of Covid-19, he writes that “more than eight hundred thousand people have died to date, and I didn’t get to choose a one of them.” The author’s support of Black Lives Matter is tempered by his interest in the earnest conscientiousness of organizers ensuring everyone is fed and hydrated. (He refers to one such person as a “snacktivist.”) Such impolitic material, though, puts serious essays in sharper, more powerful relief. He recalls fending off the flirtations of a 12-year-old boy in France, frustrated by the language barrier and other factors that kept him from supporting a young gay man. His father’s death unlocks a crushing piece about dad’s inappropriate, sexualizing treatment of his children. For years—chronicled in many books—Sedaris labored to elude his father’s criticism. Even in death, though, it proves hard to escape or laugh off.

A sweet-and-sour set of pieces on loss, absurdity, and places they intersect.

Pub Date: May 31, 2022

ISBN: 978-0-316-39245-7

Page Count: 272

Publisher: Little, Brown

Review Posted Online: March 11, 2022

Kirkus Reviews Issue: April 1, 2022

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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