Books
Mario Vargas Llosa’s final novel is a sweet, light story about art and idealism—and its ever-present opposite, cynicism.
What you’ll think of this book will likely rest on what you make of the writer’s definition of Black digital Art.
Along with its slew of images — photos, sketches, and ephemera as well as album covers — WAIL offers what amounts to a compelling oral history of the mid-century explosion, not only of recorded jazz but of graphic design and, by extension, a burgeoning New York cultural scene.
The poems in :World on a String” set an example for us all of how to live, to love, to release, and to remember.
What stands out for this reader is the humor Daniel Poppick mines from the quotidian.
Yusef Komunyakaa and Laren McClung’s goal — achieved through tag-team lyric utterance — is a noble spirituality.
While I heartily recommend “Sixties Surreal” as a provocative revisionist compendium or almanac, I know the volume will frustrate those who expect to find a conventional survey.
The book argues, convincingly, that Sid Caesar’s genius wasn’t in what he did or said so much as in the anarchistic energy he encouraged his writers to unleash and harness.
Mary Helen Washington’s biography of Paule Marshall provides a thorough consideration of the writer’s achievement and a convincing case that her fiction and her public speeches deserve continuing attention and respect.
Backbeats is a detailed and informative story. Each profile functions as an entry point into a selective but substantial survey of roughly seventy-five years of rock history.
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