A welcome addition to the library of books for car buffs—but also to that for art students looking for models of industrial...
The history of the first generations of automobiles comes to life in popular advertising images, all clean lines and purring motors to set a collector’s heart to pounding.
Texas artist Harter (Early Farm Tractors: A History in Advertising Line Art, 2013, etc.), whose interests range from country rock music to early railroads, is clearly a close student of whatever takes his fancy. The text that opens this collection of images, just a few dozen pages in length, is wide-ranging and very nearly comprehensive, taking into account not just the technological advances from the first horseless carriages to the late 1920s, but also the players and the politics within the industry. As he notes, in 1903, an Association of Licensed Automobile Manufacturers was formed to secure a patent on the electric vehicle and to regulate the making of gasoline cars, an effort that found both Henry Ford and Ransom Olds edged out of the market. That resulted in both a long lawsuit and the decline of the electric vehicle, which took nearly a century to be revived. In much the same way, writes Harter, Chevrolet was almost axed early in its history, saved only when GM president Alfred P. Sloan “argued for saving it, as it was essential that GM offer a mass market car.” Production thus quadrupled within a few years in the mid-1920s. The bulk of the volume, though, is given over to advertising line art that Harter has chased down from various contemporary sources. This collection, comprising hundreds of mostly photoengraved images, has much value as clip art. There is a certain sameness to the drawings owing to the physical restrictions of the form, but each shows a great deal of detail and much of the dynamism of those early vehicles.
A welcome addition to the library of books for car buffs—but also to that for art students looking for models of industrial design–centered imagery.Pub Date: Oct. 1, 2015
ISBN: 978-1-60940-489-5
Page Count: 234
Publisher: Wings Press
Review Posted Online: Jan. 4, 2016
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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