History & Criticism Books - Page 2

The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America

David Hajdu

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Customer Reviews:
Total reviews: 29 Average rating: 4.5 of 5

Editorial Review:

In the years between World War II and the emergence of television as a mass medium, American popular culture as we know it was first created—in the pulpy, boldly illustrated pages of comic books. No sooner had this new culture emerged than it was beaten down by church groups, community bluestockings, and a McCarthyish Congress—only to resurface with a crooked smile on its face in Mad magazine.

The story of the rise and fall of those comic books has never been fully told—until The Ten-Cent Plague. David Hajdu’s remarkable new book vividly opens up the lost world of comic books, its creativity, irreverence, and suspicion of authority.

When we picture the 1950s, we hear the sound of early rock and roll. The Ten-Cent Plague shows how—years before music—comics brought on a clash between children and their parents, between prewar and postwar standards. Created by outsiders from the tenements, garish, shameless, and often shocking, comics spoke to young people and provided the guardians of mainstream culture with a big target. Parents, teachers, and complicit kids burned comics in public bonfires. Cities passed laws to outlaw comics. Congress took action with televised hearings that nearly destroyed the careers of hundreds of artists and writers.
The Ten-Cent Plague radically revises common notions of popular culture, the generation gap, and the divide between “high” and “low” art. As he did with the lives of Billy Strayhorn and Duke Ellington (in Lush Life) and Bob Dylan and his circle (in Positively 4th Street), Hajdu brings a place, a time, and a milieu unforgettably back to life.

Spectrum 15: The Best in Contemporary Fantastic Art (Spectrum (Underwood Books))

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Customer Reviews:
Total reviews: 4 Average rating: 4.0 of 5

Every Year 5 out of 5 stars.
5 of 5 people found this review helpful.

Every year, I pre-order the Spectrum annual, and every year I enjoy it from cover to cover. Some of the most mind blowing artists work is presented in this book every single year. You will not be disappointed.

Another Mind-Blower 5 out of 5 stars.
4 of 4 people found this review helpful.

What can you say at this point? These annuals are an inspiration, a resource, and an accurate read on where the bar is in fantasy, sci-fi, and concept art. A total feast, once again.

Spectrum 15 5 out of 5 stars.
2 of 2 people found this review helpful.

This series gets better every year. My favorite artists always appear in each issue, and new artists make the cut, too. As an artist myself interested in fantasy art I find this annual absolutely essential. The color quality of the entries is top notch. SPECTRUM is always inspiring! It makes me work harder!

Editorial Review:

With art drawn from a wide variety of sources — books, graphic novels, video games, films, galleries, and advertising — Spectrum 15 reinforces both the importance and prevalence of fantasy art in today’s culture. Featuring over 300 exceptional works by artists from around the globe, this gorgeous full-color collection celebrates a cadre of creators working in every style and medium. Included are luminaries such as Brom, James Gurney, Marc Gabanna, Shaun Tan, and 2008’s Grand Master Award winner, John Jude Palencar.

The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren

Jonathan Lopez

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Customer Reviews:
Total reviews: 14 Average rating: 5.0 of 5

Editorial Review:

It's a story that made Dutch painter Han van Meegeren famous worldwide when it broke at the end of World War II: A lifetime of disappointment drove him to forge Vermeers, one of which he sold to Hermann Goering, making a mockery of the Nazis. And it's a story that's been believed ever since. Too bad it isn't true.

Jonathan Lopez has drawn on never-before-seen documents from dozens of archives to write a revelatory new biography of the world’s most famous forger. Neither unappreciated artist nor antifascist hero, Van Meegeren emerges as an ingenious, dyed-in-the-wool crook who plied the forger's trade far longer than he ever admitted—a talented Mr. Ripley armed with a paintbrush. Lopez also explores a network of illicit commerce that operated across Europe: Not only was Van Meegeren a key player in that high-stakes game in the 1920s and '30s, landing fakes with powerful dealers and famous collectors such as Andrew Mellon, but he and his associates later offered a case study in wartime opportunism as they cashed in on the Nazi occupation.

The Man Who Made Vermeers is a long-overdue unvarnishing of Van Meegeren’s legend and a deliciously detailed story of deceit in the art world.

Attack of the Deranged Mutant Killer Monster Snow Goons

Bill Watterson

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Customer Reviews:
Total reviews: 73 Average rating: 5.0 of 5

The Perfect Way To Enjoy Calvin And Hobbes 5 out of 5 stars.
5 of 6 people found this review helpful.

I suppose this could apply to any Calvin and Hobbes collection (not just Attack of the Deranged..., but let me share my favorite way to read Calvin and Hobbes.

If possible, I like to pick a rainy Saturday or Sunday. I'm usually already bored and wandering around the cold house. I catch sight of a Calvin and Hobbes book and read a few pages, but my fingers are cold and I can't concentrate.

So I make a steaming cup of my favorite tea and a piece of toast with lots of butter, wrap up in a blanket on the couch, and sit and read straight through.

It's so comforting to listen to the rain and read Calvin and Hobbes. There's just something about it.

Er, see other reviews for information about this actual book.

Brilliant, as usual 5 out of 5 stars.
2 of 2 people found this review helpful.

The Calvin and Hobbes collection is filled with all the usual inventions and wild imagination as Calvin hurtles through the forest on his cart or sled, torments neighbor Suzie or drives his parents up the wall. The title comes from the hilarious serialised strips where Calvin's snowmen come alive and chase after him. It's absolutely a must-have, must-read!

And I DO believe that Hobbes comes alive when no one else is around.

Editorial Review:

A collection of comic cartoons starring the Calvin and Hobbes pair.

Mary Engelbreit's Each Day Is A Gift: 2009 Desk Calendar

Mary Engelbreit

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Customer Reviews:
Total reviews: 6 Average rating: 3.5 of 5

Disappointed This Year 3 out of 5 stars.
9 of 9 people found this review helpful.

Space for writing appointments is 1/2 the size compared to all previous years. It does not meet my needs. Very disappointing... This will become a holiday gift instead of my desk personal calendar. Illustrations, as always, are beautiful.

Editorial Review:

People magazine has dubbed Mary Engelbreit a Norman Rockwell for our times. For 2009, let Mary Engelbreit's calendar brighten your day, every day.

Each day is a gift; all we have to do is untie the ribbons. Whether it's watching a sunset, spending time with family, catching up with a friend, or simply enjoying quiet time at home, Mary Engelbreit's calendar, Each Day Is a Gift, helps us realize that even the simplest moments should be cherished. This new, family-friendly version offers plenty of planning space and weekly calendar grids to keep busy schedules organized. Flip to the back, and you'll find space for recording birthdays and anniversaries, names and numbers, babysitters, children's friends, services, restaurants, notes, even emergency contacts. The pocket in the back allows you to store appointment cards, invitations, photos, or whatever you wish.

The Art of War

Sun Tzu

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Total reviews: 281 Average rating: 4.5 of 5

Editorial Review:

"All warfare is based on deception. Thus, when able to attack, we must seem unable. Hold out bait to entice the enemy. Feign disorder, and crush him. If he is in superior strength, evade him. If your opponent is quick to anger, seek to irritate him. Pretend to be weak, that he may grow arrogant."
Written before Alexander the Great was born, this Chinese treatise on war has become one of the most influential works on the subject. Read widely in the east since its appearance 2500 years ago, The Art of War first came to the west with a French Jesuit in1782. It has been studied by generals from Napoleon to Rommel and it is still required reading in most military academies of the world.
Although it was meant to be a practical guide to warfare in the age of chariots, many corporate and government leaders have successfully applied its lessons to battles in the modern dog-eat-dog world. Sun Tzu covers all aspects of war in his time, from strategy and tactics to the proper use of terrain and spies. In this version, Sun Tzu's lessons are brought to life with commentaries from ancient Chinese history, which illustrate both the philosophy and the principles of his teachings.

How to Draw What You See (Practical Art Books)

Rudy De Reyna

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Customer Reviews:
Total reviews: 27 Average rating: 4.0 of 5

Don't be deceived by the title 2 out of 5 stars.
4 of 6 people found this review helpful.

This book is not for novice artists. I'm a Middle School art teacher and was looking for some new ways to TEACH drawing. I have "Drawing on the right side of the brain" and use many of the exercises in it with my students. This book doesn't even come close in my opinion. I didn't take anything from it that I could remotely use in the classroom. Reminded me of my college level drawing classes with professors that just threw a bunch of concepts out without *teaching* how to actually DO.

Editorial Review:

•A best-seller for 35 years

• A timeless classic that has taught generations of artists—and will teach generations more

When it was originally published in 1970, How to Draw What You See zoomed to the top of the publisher’s best-seller list—and it has remained there ever since. "I believe that you must be able to draw things as you see them—realistically," wrote Rudy de Reyna in this introduction. Today, generations of artists have learned to draw what they see, to truly capture the world around them, using de Reyna’s methods. How to Draw What You See shows artists how to recognize the basic shape to draw the object, no matter how much detail it contains.

STARDUST

Charles and Neil Gaiman VESS

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Customer Reviews:
Total reviews: 349 Average rating: 4.0 of 5

"Go, And Catch a Falling Star..." 5 out of 5 stars.
0 of 0 people found this review helpful.

If you like fantasy stories filled with magic, adventure and romance, but are getting sick and tired of boring, long-winded fantasy epics, then look no further than "Stardust." There are no long histories, family trees or endless descriptions of culture, landscapes and back-story. This is just a sweet, simple fairytale told by a great storyteller. Though be warned - the original fairytales were not written for children, and "Stardust" follows in their literary footsteps, by including several violent, sensual and bittersweet scenes. It might be tempting to read this book aloud to children (particularly if you've seen the recent movie adaptation), but this is something I would strongly advise against!

Set in the Victorian Era out in the English countryside, the town of Wall is named so because of the simple-looking wall that divides our world from the realm of Faerie. The two worlds are kept strictly separate (or so the town officials would like to believe) except for a few days every nine years when a faerie marketplace crosses the wall, and Wall itself is turned into a bustling metropolis as travelers from around the world arrive to consort with the fey-folk. Gaiman pours delicious detail into this mingling of two worlds, describing the fairy markets with such obvious relish that you'll be surprised how long the book takes to get to the "meat" of the story in the quest narrative (not that this is a bad thing).

It is at one such meeting of worlds that young Tristian Thorn is conceived. Eighteen years later (and unaware of his faerie-heritage) Tristian has been raised by his father Dunstan Thorn and fallen in love with Victoria Forester, a girl hopelessly out of his league. However, he manages to wrangle an agreement with her: for her hand in marriage, he will fetch her the falling star that they've both just seen fall from the sky.

Little does he know, that the falling star has been witnessed by several others in Faerie: a witch that desires the star to rejuvenate her and her sisters to their youth, and the princely sons of the realm of Stormhold, who are after a gemstone to solidify their claim to the throne, which is currently worn around the star's neck. These various story threads gradually converge as the story goes on, though the tale mainly focuses on the tempestuous relationship that forms between Tristian and Yvaine the star (who naturally takes the form of a beautiful young woman).

There are little subplots and threads of other stories strewn throughout the book, quite reminiscent of Michael Ende's use of the phrase: "that is another story and shall be told another time," in The Neverending Story, or of the collected fairytales of the Brothers Grimm, whose stories have a variety of characters who pop in and out of their tales, seemingly at random. But Gaiman's range of characters and little "plot tangents" serve to give one the sense that there is more going on in the world than the trials and tribulations of our two main characters.

If anything, the ending is a little anti-climactic (especially when compared to the aforementioned movie version) and the final line of the book doesn't pack *quite* the bittersweet punch that I think Gaiman intended, but ultimately this is a lovely little story that wouldn't feel out of place next to Christina Rossetti's Goblin Market and Other Poems (Dover Thrift Editions) or the works of Lord Dunsany. If you've read anything by Lord Dunsany (a forerunner to Tolkien himself) then there's no reason not to enjoy "Stardust" - in fact Neil Gaiman himself pays homage to this early fantasy-author by quoting his famous "beyond the fields we know" phrase from The King of Elfland's Daughter (Del Rey Impact) (and mentions the author in his dedication).

"Stardust" has recently been adapted into a movie, which in many ways improves on several aspects of its source material, particularly in a more climactic finish and the fleshing out of minor characters (although others suffer, such as Victoria, who really isn't such a bad sort in the book, but is portrayed as a spoilt little snot in the film). But Stardust (Widescreen Edition) was filmed with a more tongue-in-cheek air, in the tradition of The Princess Bride (20th Anniversary Edition), and looses some of the mystery and delicacy that Gaiman infuses his story with: let's call it the "fey quality." And though the ending of the film was more satisfying, it's not quite as poignant or thought-provoking. In any case, I recommend both book and movie, and can attest that I own and enjoy both!

The Complete Maus

Art Spiegelman

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Total reviews: 192 Average rating: 4.5 of 5

Yes. 5 out of 5 stars.
1 of 1 people found this review helpful.

I went to a exhibition on the history of comics a couple of years ago. They had all kinds, from Little Nemo to Jack Kirby, and many things in between. One of the things featured was several pages from Art Speigelman's Maus. I was so intrigued by what I saw that I had to buy it off Amazon, and I have not regretted it. Don't be fooled by Speigelman's seemingly simplistic black and white work. His storytelling is powerful stuff, I tell you.

For any who doubt what graphic fiction can do, this is the revelation. 5 out of 5 stars.
0 of 0 people found this review helpful.

The Holocaust hangs over western society in the second half of the twentieth century. One man said that poetry was impossible after Auschwitz, but great artists in numerous mediums have dedicated themselves ot proving this wrong. The great crime has provided a great canvas for stories of humanity in the face of evil, such as Steven Spielberg's film "Schindler's List". "Maus" is the comics world's prime entry in this difficult field of literature. Writer and artist Art Spiegelman brings us the story of his father (and mother, by times), two Polish Jews who narrowly survived the war. Having already chosen to tell his story in the form of a comic, a medium often looked down upon as inherently childish by those who don't know any better, he further chooses to cast his characters as anthropomorphic animal, in the manner of an animal fable.

This choice has attracted some controversy (on display in many of the reviews on this site), in some cases because they believe it trivializes the subject-matter (to which I would say "Animal Farm"), or, more commonly, because they take issue with the seeming racialist use of different animals for different nationalities (Jews are mice, regardless of nationality, other Poles are pigs; Germans cats, the French frogs, Americans dogs, etc.). Spiegelman actually discusses the implications of the latter thing within the narrative, which includes an extensive b-story set in the then-present (from the 70s to the 80s), following Art, his wife Francoise, and his elderly father as Art writes "Maus". Francoise is a French Christian who converted to Judaism, and wonders what animal she should be cast as (he chooses a mouse, for the record). Spiegelman never casts all of one group as behaving the same way.

"Maus" reminds me a bit of Paul Verhoeven's "Black Book" in its depiction of wartime Europe's complexity, including the now-uncomfortable degree of collaboration or prejudice found in the occupied countries. Vladek and Anja encounter everything but solidarity with their fellow Poles on the journey through the war; fellow Jews rat them out to the Nazis, others require payment to help Jews avoid death, something that Art expresses amazement at, but Vladek seems to see as very reasonable. Spiegelman doesn't paint his father as a saint, indeed, expressing concern that his father comes across as a stereotypical miserly Jew; at one point, Vladek is shown to be strongly racist against blacks, again to Art and Francoise's amazement. The animal characterizations are never binding; for all Spiegelman's concern over France's history of anti-Semitism, the one French frog we see is an amiable fellow-inimate of Vladek's; even among the German cats we find a Polish Jew married to a German woman, the product of this union being peculiar cat/mouse hybrids.

"Maus" is ultimately a very affecting, personal work from Art Spiegelman, and does a fantastic job of communicating the life story of his father. it is a shining example of what the graphic novel form is capable of achieving.

Editorial Review:

Combined for the first time here are Maus I: A Survivor's Tale and Maus II - the complete story of Vladek Spiegelman and his wife, living and surviving in Hitler's Europe. By addressing the horror of the Holocaust through cartoons, the author captures the everyday reality of fear and is able to explore the guilt, relief and extraordinary sensation of survival - and how the children of survivors are in their own way affected by the trials of their parents. A contemporary classic of immeasurable significance.

Scrapbooks: An American History

Jessica Helfand

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Total reviews: 4 Average rating: 4.5 of 5

Editorial Review:

Combining pictures, words, and a wealth of personal ephemera, scrapbook makers preserve on the pages of their books a moment, a day, or a lifetime. Highly subjective and rich in emotional content, the scrapbook is a unique and often quirky form of expression in which a person gathers and arranges meaningful materials to create a personal narrative. This lavishly illustrated book is the first to focus attention on the history of American scrapbooks—their origins, their makers, their diverse forms, the reasons for their popularity, and their place in American culture.

 

Jessica Helfand, a graphic designer and scrapbook collector, examines the evolution of scrapbooks from the beginning of the nineteenth century to the present, concentrating on the first half of the twentieth century. She includes color photographs from more than two hundred scrapbooks, some made by private individuals and others by the famous, including Zelda Fitzgerald, Lillian Hellman, Anne Sexton, Hilda Doolittle, and Carl Van Vechten. Scrapbooks, while generally made by amateurs, represent a striking and authoritative form of visual autobiography, Helfand finds, and when viewed collectively they offer a unique perspective on the changing pulses of American cultural life.

 

Published with assistance from Furthermore: a program of the J. M. Kaplan Fund