Stunning design combines with an edgy, inspirational life story; let us see more.
Marrus’ debut chronicles her artistic development through allegorical paintings and anecdotes of living life to the fullest.
In her bid “to become the lead character of my own story,” Marrus moved to New York City for a comic book apprenticeship, where she worked in a small animation studio, doing background inking for Valiant and serving as creative director for Gor graphic novels. All along, she struggled with loneliness and insecurity, resenting the “Hammer of Financial Rationality,” aka the fact that artists need day jobs. She spent two years becoming a Microsoft Certified Systems Engineer, but that was her last brush with the real world. Finally, she boldly decided to wear an “avatar”—an “idealized fantasy” of herself (thus dropping her first name)—and earn a living through art by taking pieces on the road to sell at Renaissance festivals, where she also does body painting. Her memoir cleverly intersperses diary entries, dreams, poems and photographs with humorous yarns, such as trying to toilet-train kittens and tan a deer hide in her tiny apartment. A self-deprecating tone still makes room for sincere words of encouragement: “Happiness comes from living life now, being aware of what you have that brings you joy and peace, and focusing on that.” Most pages also feature a sample of the author’s striking, symbolic artwork, sketches and full-color reproductions, many of chimeras and hybrid creatures, with motifs of eyes, lips, hands, feathers, deer, dogs, cats, carousels or circuses, as well as vaginal and phallic imagery. Her titles for chapters (“Hey, I Needed the Money”) and paintings (“Chainpigs”) are equally intriguing. The most arresting piece, “When the Crotch Rules the Mind in the Quoilyn Garden of Lust, Narrated,” is a Bosch-like nightmare of sex and madness. These more provocative aspects of Marrus’ work—including photographs of her seminude modeling and descriptions of experimentation with drugs and S&M—may alienate some readers. As Marrus admits, “traditional galleries haven’t known what to do with me,” for her works are “visual metaphors for things that are difficult to put into words.”
Stunning design combines with an edgy, inspirational life story; let us see more.Pub Date: N/A
ISBN: N/A
Page Count: 162
Publisher: Kissena Park Press
Review Posted Online: May 19, 2014
Review Program: Kirkus Indie
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorkerstaff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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