Schofield's first novel (Refugio, They Named You Wrong, 1991) was set in 1880's Texas; this powerful second book begins a decade earlier—in the rich, muddy boomtown where a lonely gold-miner's daughter and her lover, an itinerant blaster, are forced to face off against the Machiavellian owner of two local mines. No one ever knew why gold-miner Zachary Coleman married his blue-eyed, coldhearted German wife, Anne—certainly not his two children, who suffered from her lack of maternal affection—but when she died, the family living in a valley outside Telluride fell apart. Young Zachary, Jr. (called Cole), rejected by his true love, Catharine DuBois, a local saloonkeeper's daughter, left for Texas to become a hired gun, and nine-year-old Gretel never forgave her brother for leaving her behind. Thirteen years later, Johnny Torres, the prodigal son of a Spanish gold-mine owner, wanders into town, takes a job in the Bonne Chance mine alongside the elder Coleman, and soon falls in love with Gretel—falls despite her solitary habits, her tendency to wear men's clothing, and her refusal to leave her isolated valley cabin for Telluride except in dire emergency. Shortly after the two become lovers, Gretel's father strikes gold and is almost immediately killed in a very suspicious-looking mine explosion. His death brings Cole home; Zachary's murderers, assuming that Cole plans to avenge his father's murder, attempt to kill him, too. As Gretel nurses her brother back to health, the Colemans and Torres try to identify the murderer—coolheaded Heinrich Braunn, the owner of the Bonne Chance mine, who married Catharine DuBois; or Buck Daunt, Zachary's closest friend and self-styled rival. Much gunplay, drinking, and lovemaking must occur in the mansions, whorehouses, and isolated cabins of Telluride before the culprits are revealed and destroyed. Stark, unadorned prose—a pleasure to read and a perfect match for this western's captivating setting.

Pub Date: Sept. 26, 1993

ISBN: 0-945575-93-6

Page Count: 328

Publisher: Algonquin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 1993

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A succinct, passionate guide to fostering creativity.


A noted critic advises us to dance to the music of art.

Senior art critic at New York Magazine and winner of the 2018 Pulitzer Prize in Criticism, Saltz (Seeing Out Louder, 2009, etc.) became a writer only after a decadeslong battle with “demons who preached defeat.” Hoping to spare others the struggle that he experienced, he offers ebullient, practical, and wise counsel to those who wonder, “How can I be an artist?” and who “take that leap of faith to rise above the cacophony of external messages and internal fears.” In a slim volume profusely illustrated with works by a wide range of artists, Saltz encourages readers to think, work, and see like an artist. He urges would-be artists to hone their power of perception: “Looking hard isn’t just about looking long; it’s about allowing yourself to be rapt.” Looking hard yields rich sources of visual interest and also illuminates “the mysteries of your taste and eye.” The author urges artists to work consistently and early, “within the first two hours of the day,” before “the pesky demons of daily life” exert their negative influence. Thoughtful exercises underscore his assertions. To get readers thinking about genre and convention, for example, Saltz presents illustrations of nudes by artists including Goya, Matisse, Florine Stettheimer, and Manet. “Forget the subject matter,” he writes, “what is each of these paintings actually saying?” One exercise instructs readers to make a simple drawing and then remake it in an entirely different style: Egyptian, Chinese ink-drawing, cave painting, and the styles of other artists, like Keith Haring and Georgia O’Keeffe. Freely experiment with “different sizes, tools, materials, subjects, anything,” he writes. “Don’t resist something if you’re afraid it’s taking you far afield of your usual direction. That’s the wild animal in you, feeding.” Although much of his advice is pertinent to amateur artists, Saltz also rings in on how to navigate the art world, compose an artist’s statement, deal with rejection, find a community of artists, and beat back demons. Above all, he advises, “Work, Work, Work.”

A succinct, passionate guide to fostering creativity.

Pub Date: March 17, 2020

ISBN: 978-0-593-08646-9

Page Count: 144

Publisher: Riverhead

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.



Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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