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DOING DOCUMENTARY WORK

A challenging exploration of documentary writing and photography, focusing on the ways in which researchers can affect, reshape, or misrepresent what they see. Coles, the noted psychiatrist and Harvard ethicist (The Moral Intelligence of Children, 1997, etc.), notes in the introduction that he has been preparing to write this book ``for over 35 years''—ever since he and his wife, while studying the integration of schools in Louisiana in 1960, first tried to make sense of what it meant to be witnesses, researchers, and onlookers. A fascination with the moral and practical consequences that arise when observers (journalists, academics, or social activists) probe the lives of a class of people— whether coal miners (George Orwell), migrant workers (Dorothea Lange), or Mississippi farmers (James Agee and Walker Evans)—led Coles to become one of the founders of Duke University's Center of Documentary Studies. Poet/doctor William Carlos Williams and biographer/therapist Erik Erikson are Coles's heroes, and from them and others he draws his theme: ``We notice what we notice in accordance with who we are.'' Coles offers striking examples of the way in which preconceptions can alter what is seen, including Lange's famous ``Migrant Mother'' photograph: That seminal Depression-era picture was selected from a series of shots and then cropped for dramatic impact, in accordance with Lange's personal vision, with who she was, with what she wanted to communicate about poverty in the South. Also examined, in sometimes rambling, verbose passages, are the impact the observer makes on those being observed and the tendency by writers like Agee and Orwell, for instance, to put on a pedestal the farmworkers and coal miners who helped make them famous. Journalists, social workers, and therapists, as well as producers of print or film documentaries, will find this ruminative volume of special use, reminding them of the questions they should ask themselves before they invade schools, workplaces, and private lives. (18 b&w photos, not seen)

Pub Date: April 1, 1997

ISBN: 0-19-511629-1

Page Count: 256

Publisher: Oxford Univ.

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1997

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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