A vivid, engaging portrait of a productive artistic partnership.
A dual biography of two British artists who created a powerful modernist aesthetic.
From 1922 to 1942, Cyril Power (1872-1951) and Sybil Andrews (1898-1992) worked together as artists, garnering acclaim for their strikingly dramatic linocuts. Award-winning biographer and historian Uglow creates a palpable sense of their nourishing relationship, the “energetic restlessness” of their artistic circles, and the changing world to which they responded. Viscerally attuned to “the dizzying mood and unease of the late 1920s and early 1930s,” at the same time, writes the author, they “looked back, to a dream of a pre-industrial life.” Though holding different religious convictions—Power was Catholic; Andrews was drawn to Christian Science—“both thought intensely about faith.” They met in Bury, England, where Power, married and the father of four, was an architect and teacher; Andrews, teaching at a local school, was an aspiring artist. Power, when he chanced upon her drawing, offered advice. In 1922, Andrews left Bury for art school in London. Soon, Power abandoned his family to follow her. For the next 20 years, they worked together, traveled together, shared a studio, and exhibited their work together. They also played period instruments in their own musical ensemble. Friends saw them as a couple, but Andrews insisted later that their relationship was entirely platonic. Whatever intimacy they may have shared, they spurred one another’s creativity. Both took up etching—London churches, colleges of Oxford and Cambridge—hoping to sell prints to academics, former students, and tourists. Both saw linocutting as an exciting technique that leant itself to the dynamism, action, and “radical simplicity” they sought to convey. “Lino itself,” Uglow writes, “was a modern, ‘democratic’ material, machine-made, efficient, cheap.” A generous selection of images reveals their aesthetic preoccupations: Power’s with railways and stations, light and shadow; Sybil’s swirling patterns often depicted physical labor, “part of her rebellion against prettiness.” A chronology of their exhibitions testifies to their renown.
A vivid, engaging portrait of a productive artistic partnership.Pub Date: Dec. 6, 2022
ISBN: 978-0-374-27212-8
Page Count: 416
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 28, 2022
Kirkus Reviews Issue: Nov. 1, 2022
A determined if self-regarding portrait of a candidate striving to define herself and her campaign on her own terms.
An insider’s chronicle of a pivotal presidential campaign.
Several months into the mounting political upheaval of Donald Trump’s second term and following a wave of bestselling political exposés, most notably Jake Tapper and Alex Thompson’s Original Sin on Joe Biden’s health and late decision to step down, former Vice President Harris offers her own account of the consequential months surrounding Biden’s withdrawal and her swift campaign for the presidency. Structured as brief chapters with countdown headers from 107 days to Election Day, the book recounts the campaign’s daily rigors: vetting a running mate, navigating back-to-back rallies, preparing for the convention and the debate with Trump, and deflecting obstacles in the form of both Trump’s camp and Biden’s faltering team. Harris aims to set the record straight on issues that have remained hotly debated. While acknowledging Biden’s advancing decline, she also highlights his foreign-policy steadiness: “His years of experience in foreign policy clearly showed….He was always focused, always commander in chief in that room.” More blame is placed on his inner circle, especially Jill Biden, whom Harris faults for pushing him beyond his limits—“the people who knew him best, should have realized that any campaign was a bridge too far.” Throughout, she highlights her own qualifications and dismisses suggestions that an open contest might have better served the party: “If they thought I was down with a mini primary or some other half-baked procedure, I was quick to disabuse them.” Facing Trump’s increasingly unhinged behavior, Harris never openly doubts her ability to confront him. Yet she doesn’t fully persuade the reader that she had the capacity to counter his dominance, suggesting instead that her defeat stemmed from a lack of time—a theme underscored by the urgency of the book’s title. If not entirely sanguine about the future, she maintains a clear-eyed view of the damage already done: “Perhaps so much damage that we will have to re-create our government…something leaner, swifter, and much more efficient.”
A determined if self-regarding portrait of a candidate striving to define herself and her campaign on her own terms.Pub Date: Sept. 23, 2025
ISBN: 9781668211656
Page Count: 320
Publisher: Simon & Schuster
Review Posted Online: Sept. 23, 2025
Kirkus Reviews Issue: Nov. 15, 2025
BOOK REVIEW
BOOK REVIEW
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.
A noted actor turns to verse: “Poems are a Saturday in the middle of the week.”
McConaughey, author of the gracefully written memoir Greenlights, has been writing poems since his teens, closing with one “written in an Australian bathtub” that reads just as a poem by an 18-year-old (Rimbaud excepted) should read: “Ignorant minds of the fortunate man / Blind of the fate shaping every land.” McConaughey is fearless in his commitment to the rhyme, no matter how slight the result (“Oops, took a quick peek at the sky before I got my glasses, / now I can’t see shit, sure hope this passes”). And, sad to say, the slight is what is most on display throughout, punctuated by some odd koanlike aperçus: “Eating all we can / at the all-we-can-eat buffet, / gives us a 3.8 education / and a 4.2 GPA.” “Never give up your right to do the next right thing. This is how we find our way home.” “Memory never forgets. Even though we do.” The prayer portion of the program is deeply felt, but it’s just as sentimental; only when he writes of life-changing events—a court appearance to file a restraining order against a stalker, his decision to quit smoking weed—do we catch a glimpse of the effortlessly fluent, effortlessly charming McConaughey as exemplified by the David Wooderson (“alright, alright, alright”) of Dazed and Confused. The rest is mostly a soufflé in verse. McConaughey’s heart is very clearly in the right place, but on the whole the book suggests an old saw: Don’t give up your day job.
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.Pub Date: Sept. 16, 2025
ISBN: 9781984862105
Page Count: 208
Publisher: Crown
Review Posted Online: Aug. 15, 2025
Kirkus Reviews Issue: Sept. 15, 2025
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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