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For that car-enthusiast guy, Dennis Adler’s Porsche: The Road from Zuffenhausen serves as an example of distinguished book-making and automotive history at its detailed finest. Adler is a leading car journalist and photographer. Besides serving as editor-in-chief of Car Collector magazine, he has contributed to high-profile business and auto publications and written numerous books on all manner of car makes and models. Here he turns his attention to the fabulous Porsche and the amazing family that has been producing this classic touring and racing car since the post-World War II era. Adler spares no verbiage in his profiles of people including paterfamilias Ferdinand Porsche, who designed the Volkswagen under the direction of Adolf Hitler prior to launching the Porsche line and in his narrative concerning the manufacturing and marketing of what is possibly the world’s most distinctive sports car. Rare archival photos of the Porsche in development (including technical views of its unique rear-mounted, air-cooled engine), as portrayed in advertising, and in competition on international racetracks help to fully relate this ongoing success story of commitment to automotive innovation and sleek stylishness.

For that car-enthusiast guy, Dennis Adler's Porsche: The Road from Zuffenhausen serves as an example of distinguished book-making and automotive history at its detailed finest. Adler is a leading car journalist and photographer. Besides serving as editor-in-chief of Car Collector magazine, he has contributed to…
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On . . . December 13 [2003], Alan and I were going to a holiday party at the Rumsfelds’, writes NBC-TV reporter Andrea Mitchell. [There], everyone seemed especially jolly. The defense secretary was almost bouncing on his heels. The vice president [of the U. S.] and my husband huddled in a corner. George Tenet was cracking jokes. At one point, [fellow reporter] Tim Russert told the CIA director that he’d dreamed Saddam had been captured. Tenet looked startled, but laughed it off. The next day brought the announcement that Saddam Hussein had indeed been taken prisoner; but Mitchell says her husband, Federal Reserve chairman Alan Greenspan, refused to tell her if that was what he and Cheney had been talking about. Such are the hazards of insider reporting.

Mitchell’s aim in Talking Back . . . to Presidents, Dictators, and Assorted Scoundrels is to chronicle her rise from local TV reporter in Philadelphia to her current eminence as one of the most familiar faces on American TV news. As part of this account, she also touches on the struggles of fellow women journalists. But her biggest service here is showing how closely big name reporters are involved with the politicians they cover. This intimacy, as Mitchell demonstrates, has its ups and downs. On the plus side, it alerts her to breaking news before it is filtered through public relations. On the minus, it puts her in a position of imposing her own filters. That’s because the objects of her reporting are often friends or close acquaintances and, thus, a cause for hesitation. Moreover, she has a strong sense of social propriety: Early on, she says, I decided to play by a very strict set of rules at social occasions: everything said was off the record. Good manners do not always make good journalism.

But Mitchell can be tough, both on herself and her subjects. She recites a series of situations in which she froze in front of the camera, derailed an important interview or otherwise screwed up. And, beginning with her reportorial clashes with Philadelphia’s tough-guy mayor, Frank Rizzo, she illustrates how she gained a reputation for pushiness. It is with a certain wistfulness that Mitchell leaves her readers with this assessment of the profession she has reveled in since the mid-1960s: In a nation of people increasingly informed by talk show rants on the right and the left, facts are incinerated in a blaze of rumor and accusation. . . . For an anxious nation in a post 9/11 world, the media have become an echo chamber, reinforcing our misconceptions and exaggerating our differences, real and imagined. Even so, she says, there are still stories she’s eager to report.

Edward Morris writes from Nashville.

On . . . December 13 [2003], Alan and I were going to a holiday party at the Rumsfelds', writes NBC-TV reporter Andrea Mitchell. [There], everyone seemed especially jolly. The defense secretary was almost bouncing on his heels. The vice president [of the U. S.]…
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A collection of seasonal miscellanea from America’s wittiest weekly, Christmas at The New Yorker: Stories, Poems, Humor, and Art from the Editors of The New Yorker is a timeless treasury of literary delights. This jolly volume is the latest entry in a best-selling series of anthologies from the magazine. Offering antics aplenty, both visual and verbal, it spans 75 years and features classic, holiday-themed selections cartoons and covers, prose and verse drawn from the publication’s extensive archives.

Contributors to this twinkling collection include William Steig, James Thurber, John Updike, Ann Beattie and Alice Munro, all sharing their singular visions of Christmas. Stand-out offerings from Roger Angell, whose poem “Greetings Friends” is an extended exercise in holiday hilarity, and John Cheever, whose story “Christmas Is a Sad Season for the Poor” will awaken the spirit of giving in readers, are among the many funny and poignant pieces capturing the essence of the season. Choice extracts from the magazine’s “Talk of the Town” feature are sprinkled throughout the volume. There are newer offerings from the likes of Ken Kesey and Richard Ford, as well as gems from E.B. White and H.L. Mencken. There’s nothing humbug about it: when it comes to spreading Christmas cheer, The New Yorker has the best in holiday humor.

 

A collection of seasonal miscellanea from America's wittiest weekly, Christmas at The New Yorker: Stories, Poems, Humor, and Art from the Editors of The New Yorker is a timeless treasury of literary delights. This jolly volume is the latest entry in a best-selling series…

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A cunning literary creation from cover to cover, The Genealogy of Greek Mythology: An Illustrated Family Tree of Greek Myth from the First Gods to the Founders of Rome isn’t the hefty tome you might imagine. Surprisingly streamlined thanks to its clever fold-out format, this ingenious volume presents the complete history of the Greek gods, untangling their complex backgrounds through an easy-to-follow family tree that’s enhanced by maps, biographies of major mythological figures and synopses of important events. The volume is printed on durable card stock and folds up neatly, accordion-style, to fit into an attractive, sturdy storage box. Read it one panel at a time, or fan it out to its full length of 17 feet for a complete picture of an ancient civilization. The mastermind behind this innovative project is Vanessa James, a professor of theater at Mount Holyoke College. Featuring a multitude of visuals, including more than 100 color photographs of Greek and Roman paintings, mosaics and sculptures, The Genealogy represents 18 years of research on her behalf and draws on the works of Hesiod, Sophocles and Homer, as well as other sources. With more than 3,000 listings for lofty deities, abominable monsters and humble humans, it’s a perfectly heavenly gift.

A cunning literary creation from cover to cover, The Genealogy of Greek Mythology: An Illustrated Family Tree of Greek Myth from the First Gods to the Founders of Rome isn't the hefty tome you might imagine. Surprisingly streamlined thanks to its clever fold-out format,…
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Because the aim of most photographers is to renew a viewer’s sense of wonder, they tend to render the world in ways that challenge the eye, unsettle the mind and stir the spirit. Just in time for the holidays, three large-scale, lavish photography books featuring both cutting-edge and classic images have arrived to test our sensibilities and make us re-view reality. If you’re buying for an art lover this season, put these handsome volumes at the top of your shopping list.

Re-envisioning the everyday as the exotic, turning common moments into milestones, the camera revises customary existence, makes it seem mysterious. In Diane Arbus: Revelations (Random House, $50, 351 pages, ISBN 0812972201), the transformative effects of this little device are amply represented. Providing a thorough overview of the career of Arbus, a ground-breaking photographer who got her start in the fashion industry in the 1940s, Revelations covers three decades and features 200 full-page reproductions of her work. Arbus brought a singularly honest way of seeing to the picture-taking process, offering fresh perspectives on the familiar world, depicting humanity in all its varied shades. From bench-sitters in Central Park to sideshow freaks, female impersonators and frosty debutantes, the black-and-white photos in Revelations expose the drama inherent in the mundane, the theatricality simmering beneath the surface of normal life. With selections from her famous Untitled series, shot at homes for the mentally retarded, Revelations is the most comprehensive treatment of Arbus’ photography ever to appear. Published to coincide with an international retrospective of her work, these smoky photos, all classic Arbus, are a wonderful document of American culture.

Visual excavations After police chased and gunned down a dangerous fugitive on her Virginia property, photographer Sally Mann took pictures of the tire tracks and torn trees, the residual marks of a pursuit that, regardless of its impermanence, altered her home forever. The imprint of the past upon the present is a recurring theme in her luminous new book, What Remains (Bulfinch, $50, 132 pages, ISBN 0821228439), and Mann seeks and captures this quality in places where history is etched upon the landscape, in locales as varied as Antietam, where some of the Civil War’s fiercest fighting occurred, and a forensics study site, where bodies decompose in the woods.

Suspended between two states of being, Mann’s oddly picturesque corpses and bones, which she imbued with a gray-green hue, are not quite matter, not yet spirit. Her ghostly vistas otherworldly and insubstantial seem to be forever dissolving. Using glass plates and the old-fashioned collodion method of photography, she achieved the gorgeous golden patina that makes the portraits of her children look aged and hazy, eternally antiquated. An artist of international acclaim, Mann was voted America’s best photographer by Time magazine in 2001. The boldness of her vision has earned her a reputation as a controversial artist unafraid of provoking viewers. Her extraordinary new book does just that. A photographic feast The ultimate picture book, Through the Lens: National Geographic Greatest Photographs is a classic compilation of the Society’s greatest visuals. Spanning a century, the pictures collected in this splendid volume represent some of the biggest names in photography, including Sam Abell, William Albert Allard and Jodi Cobb.

From Asia and South America to outer space, each chapter in Through the Lens is dedicated to a different geographical area, covering culture, nature and wildlife in photos that are, by turns, marvelous in their simplicity and breathtaking in their complexity. In Sicily, a line of laundry strung between fire escapes billows in the breeze. An Islamic woman, enveloped in white, waits in a Tripoli airport. International in its vision, vast in its scope, Through the Lens is a generous and memorable tribute to the world.

Because the aim of most photographers is to renew a viewer's sense of wonder, they tend to render the world in ways that challenge the eye, unsettle the mind and stir the spirit. Just in time for the holidays, three large-scale, lavish photography books featuring…
Review by

Because the aim of most photographers is to renew a viewer’s sense of wonder, they tend to render the world in ways that challenge the eye, unsettle the mind and stir the spirit. Just in time for the holidays, three large-scale, lavish photography books featuring both cutting-edge and classic images have arrived to test our sensibilities and make us re-view reality. If you’re buying for an art lover this season, put these handsome volumes at the top of your shopping list.

Re-envisioning the everyday as the exotic, turning common moments into milestones, the camera revises customary existence, makes it seem mysterious. In Diane Arbus: Revelations (Random House, $50, 351 pages, ISBN 0812972201), the transformative effects of this little device are amply represented. Providing a thorough overview of the career of Arbus, a ground-breaking photographer who got her start in the fashion industry in the 1940s, Revelations covers three decades and features 200 full-page reproductions of her work. Arbus brought a singularly honest way of seeing to the picture-taking process, offering fresh perspectives on the familiar world, depicting humanity in all its varied shades. From bench-sitters in Central Park to sideshow freaks, female impersonators and frosty debutantes, the black-and-white photos in Revelations expose the drama inherent in the mundane, the theatricality simmering beneath the surface of normal life. With selections from her famous Untitled series, shot at homes for the mentally retarded, Revelations is the most comprehensive treatment of Arbus’ photography ever to appear. Published to coincide with an international retrospective of her work, these smoky photos, all classic Arbus, are a wonderful document of American culture.

Visual excavations After police chased and gunned down a dangerous fugitive on her Virginia property, photographer Sally Mann took pictures of the tire tracks and torn trees, the residual marks of a pursuit that, regardless of its impermanence, altered her home forever. The imprint of the past upon the present is a recurring theme in her luminous new book, What Remains, and Mann seeks and captures this quality in places where history is etched upon the landscape, in locales as varied as Antietam, where some of the Civil War’s fiercest fighting occurred, and a forensics study site, where bodies decompose in the woods.

Suspended between two states of being, Mann’s oddly picturesque corpses and bones, which she imbued with a gray-green hue, are not quite matter, not yet spirit. Her ghostly vistas otherworldly and insubstantial seem to be forever dissolving. Using glass plates and the old-fashioned collodion method of photography, she achieved the gorgeous golden patina that makes the portraits of her children look aged and hazy, eternally antiquated. An artist of international acclaim, Mann was voted America’s best photographer by Time magazine in 2001. The boldness of her vision has earned her a reputation as a controversial artist unafraid of provoking viewers. Her extraordinary new book does just that. A photographic feast The ultimate picture book, Through the Lens: National Geographic Greatest Photographs (National Geographic, $30, 504 pages, ISBN 079226164X) is a classic compilation of the Society’s greatest visuals. Spanning a century, the pictures collected in this splendid volume represent some of the biggest names in photography, including Sam Abell, William Albert Allard and Jodi Cobb.

From Asia and South America to outer space, each chapter in Through the Lens is dedicated to a different geographical area, covering culture, nature and wildlife in photos that are, by turns, marvelous in their simplicity and breathtaking in their complexity. In Sicily, a line of laundry strung between fire escapes billows in the breeze. An Islamic woman, enveloped in white, waits in a Tripoli airport. International in its vision, vast in its scope, Through the Lens is a generous and memorable tribute to the world.

Because the aim of most photographers is to renew a viewer's sense of wonder, they tend to render the world in ways that challenge the eye, unsettle the mind and stir the spirit. Just in time for the holidays, three large-scale, lavish photography books featuring…
Review by

Because the aim of most photographers is to renew a viewer’s sense of wonder, they tend to render the world in ways that challenge the eye, unsettle the mind and stir the spirit. Just in time for the holidays, three large-scale, lavish photography books featuring both cutting-edge and classic images have arrived to test our sensibilities and make us re-view reality. If you’re buying for an art lover this season, put these handsome volumes at the top of your shopping list.

Re-envisioning the everyday as the exotic, turning common moments into milestones, the camera revises customary existence, makes it seem mysterious. In Diane Arbus: Revelations, the transformative effects of this little device are amply represented. Providing a thorough overview of the career of Arbus, a ground-breaking photographer who got her start in the fashion industry in the 1940s, Revelations covers three decades and features 200 full-page reproductions of her work. Arbus brought a singularly honest way of seeing to the picture-taking process, offering fresh perspectives on the familiar world, depicting humanity in all its varied shades. From bench-sitters in Central Park to sideshow freaks, female impersonators and frosty debutantes, the black-and-white photos in Revelations expose the drama inherent in the mundane, the theatricality simmering beneath the surface of normal life. With selections from her famous Untitled series, shot at homes for the mentally retarded, Revelations is the most comprehensive treatment of Arbus’ photography ever to appear. Published to coincide with an international retrospective of her work, these smoky photos, all classic Arbus, are a wonderful document of American culture.

Visual excavations After police chased and gunned down a dangerous fugitive on her Virginia property, photographer Sally Mann took pictures of the tire tracks and torn trees, the residual marks of a pursuit that, regardless of its impermanence, altered her home forever. The imprint of the past upon the present is a recurring theme in her luminous new book, What Remains (Bulfinch, $50, 132 pages, ISBN 0821228439), and Mann seeks and captures this quality in places where history is etched upon the landscape, in locales as varied as Antietam, where some of the Civil War’s fiercest fighting occurred, and a forensics study site, where bodies decompose in the woods.

Suspended between two states of being, Mann’s oddly picturesque corpses and bones, which she imbued with a gray-green hue, are not quite matter, not yet spirit. Her ghostly vistas otherworldly and insubstantial seem to be forever dissolving. Using glass plates and the old-fashioned collodion method of photography, she achieved the gorgeous golden patina that makes the portraits of her children look aged and hazy, eternally antiquated. An artist of international acclaim, Mann was voted America’s best photographer by Time magazine in 2001. The boldness of her vision has earned her a reputation as a controversial artist unafraid of provoking viewers. Her extraordinary new book does just that. A photographic feast The ultimate picture book, Through the Lens: National Geographic Greatest Photographs (National Geographic, $30, 504 pages, ISBN 079226164X) is a classic compilation of the Society’s greatest visuals. Spanning a century, the pictures collected in this splendid volume represent some of the biggest names in photography, including Sam Abell, William Albert Allard and Jodi Cobb.

From Asia and South America to outer space, each chapter in Through the Lens is dedicated to a different geographical area, covering culture, nature and wildlife in photos that are, by turns, marvelous in their simplicity and breathtaking in their complexity. In Sicily, a line of laundry strung between fire escapes billows in the breeze. An Islamic woman, enveloped in white, waits in a Tripoli airport. International in its vision, vast in its scope, Through the Lens is a generous and memorable tribute to the world.

Because the aim of most photographers is to renew a viewer's sense of wonder, they tend to render the world in ways that challenge the eye, unsettle the mind and stir the spirit. Just in time for the holidays, three large-scale, lavish photography books featuring…
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In his latest work of nonfiction, Ron Powers returns to his hometown of Hannibal, Missouri, to investigate two senseless killings committed in the span of six weeks by two pairs of disaffected teenagers. Could the violence have been prompted by the social changes taking place in this most American of cities? Hannibal is, after all, the idyllic birthplace of Mark Twain’s mischievous-but-moral duo, Tom Sawyer and Huck Finn. How could the savagery manifested in the killings, Powers wonders, be nourished and countenanced here? The co-author of Flags of Our Fathers inspects the fabled town on several levels (and with a news photographer’s eye for detail) in Tom and Huck Don’t Live Here Anymore. First, Hannibal is a crime scene with victims and perpetrators to be interviewed and trials to be attended and reported on. Then, there are the town’s historical stages to consider: Hannibal as it is today, as it was in the 1950s when Powers was growing up, and its history as a frontier settlement in Twain’s youth and as a bustling trade center when he returned many years later an established literary lion.

But Powers is more than a visiting sociologist. He brings with him his own variously shaded memories. While he recalls many sunny moments, he dwells on his emotionally distant father and returns time and again to his ill-fated younger brother, with whom he was never able to form a warm bond. The persisting dark spot in the book is the alteration of the American family as is clearly evident in Hannibal with children being raised in dawn-to-dark daycare centers and parents divorcing and pursuing their own frantic personal agendas.

It should surprise no one that Powers fails to come up with any satisfying answers to his queries about cause and effect. They are simply too cosmic for neat resolution. The value of his book lies in the fact that, by posing these questions, he nudges us toward assessing our own Hannibals and the latter-day Toms and Hucks playing videogames or assembling arsenals in the next room.

Edward Morris writes from Nashville.

In his latest work of nonfiction, Ron Powers returns to his hometown of Hannibal, Missouri, to investigate two senseless killings committed in the span of six weeks by two pairs of disaffected teenagers. Could the violence have been prompted by the social changes taking place…

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Edward Dolnick's The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece is a romp of a read: it's as fast-paced as the best suspense thriller, with vividly drawn characters and a lively lick of humor throughout. Starring the brilliant and irascible Scotland Yard art detective Charley Hill, this astonishing true-crime story details his daring rescue of Edvard Munch's The Scream after it was stolen from Norway's National Art Museum in Oslo in 1994. Even more amazing than its recovery, however, was the appalling ease with which the deed was done: all it took was two clumsy men, a ladder, a hammer and a pair of wire snips.

Forget the flash and glam of The Thomas Crown Affair. Former Boston Globe journalist Dolnick, through the voice of the hard-boiled but erudite Hill, sets the world straight about the real-life thugs and loonies that people the world of big-time art crime, their motivations for high-class thievery and the almost comical lack of security measures in the world's finest art museums and private collections.

In riveting style, Dolnick tells the primary tale, the theft of The Scream, in increments, interpolating the rising action with other escapades from Charley Hill's real-life dossier. An additional bonus is a peek into the tortured life of artist Edvard Munch, a haunted man who wrote of his art, "[It] is rooted in a single reflection: Why am I not as others are? Why was there a curse on my cradle?"

Edward Dolnick's The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece is a romp of a read: it's as fast-paced as the best suspense thriller, with vividly drawn characters and a lively lick of humor throughout. Starring the brilliant…

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“I can not live without books,” Thomas Jefferson once wrote. Avid readers Sara Nelson, Nancy Pearl and Michael Dirda happily share the celebrated statesman’s sentiment. From tales of childhood to thoughts on Tolstoy and Twain, a trio of new books by these literature lovers reflects the perks and quirks of their page-turning obsession. Recreation for some, therapy for others, books can enrapture, enrage, envelop and amaze as these talented authors demonstrate.

“Books get to me personally,” says New York Observer publishing columnist and self-proclaimed readaholic Sara Nelson. “When things go right, I read. When things go wrong, I read more.” In her new book, So Many Books, So Little Time: A Year of Passionate Reading, Nelson takes the reader along for a year’s worth of literature and life, offering funny, wise commentary on the ways in which the two intersect. Nelson, who had originally intended to select 52 books for 52 weeks of reading, says her plan fell apart almost immediately. “In reading, as in life, even if you know what you’re doing, you really kind of don’t,” she says. In week one, she set out to read Ted Heller’s Funnymen, a book about stand-up comics, while staying in a Vermont home once owned by Alexander Solzhenitsyn. But Heller’s gags didn’t play well in the snowy, somber setting, says Nelson. From that point forward, she says, books seemed to choose her as much as she chose them. So Many Books, So Little Time is jam-packed with memorable moments, including the unlikely writing lessons gleaned from culinary bad boy and Kitchen Confidential author Anthony Bourdain. Perhaps most memorable of all are Nelson’s musings on a reader’s right to stop reading a book he or she doesn’t like: “It’s the literary equivalent of a bar mitzvah or a communion,” says the author. “The moment at which you look at yourself and announce: Today I am an adult. I can make my own decisions.'” For the record: Nelson now allows herself to toss disappointing tomes at page 20 or 200.

For many, reading is escapism. For writer and Seattle librarian Nancy Pearl, books were nothing short of salvation. Raised in a lower-middle class neighborhood in Detroit, Pearl says her family defined dysfunction long before the label came to be. “All I knew then was that I was deeply and fatally unhappy,” says Pearl, author of Book Lust: Recommended Reading for Every Mood, Moment and Reason (Sasquatch, $16.95, 304 pages, ISBN 1570613818). During childhood and early adolescence, Pearl sought refuge at the Parkman Branch Library, where friendly librarians introduced her to books resonating with realities far brighter than her own. “It is not too much an exaggeration if it’s one at all to say that reading saved my life,” she says. Providing recommendations and revelations for more than 100 categories of books, from “Road Novels” and “Russian Heavies” to “Fabulous First Lines” and “Food for Thought,” Pearl’s approach is direct. The author of several professional books for librarians, including Now Read This, she highlights some of her favorite scribes in the category “Too Good to Miss,” offering an eclectic assortment of authors, including Robert Heinlein and Jonathan Lethem. With its short, snappy chapters, Book Lust is a must for any serious reader’s bedside table, a literary nightcap sure to prompt sweet dreams. “All that kid wants to do is stick his nose in a book,” lamented steelworker Eugene Dirda about his son Michael, a shy, bespectacled boy who preferred the pages of Thoreau to dating or sports. From humble beginnings in the Ohio rust belt town of Lorain to a top post at one of the nation’s most prestigious newspapers, Dirda’s world has always percolated with words. Both witty and wistful, An Open Book: Coming of Age in the Heartland (Norton, $24.95, 320 pages, ISBN 0393057569) pays homage to a bookish youth spent in small-town America. Woven throughout the text are references to books and authors who inspired, intrigued and rankled Dirda, who is now Senior Editor for The Washington Post Book World.

Dirda gives a grateful nod to the educators and friends who influenced him in his early adult years. The Pulitzer Prize-winning columnist also makes peace with the man he considered impossible to please: “I forgave my father everything: He could be overbearing and worse, but his soul-deadening labor gave me the time to read and to know that my life would be privileged compared to his.” Books, it seems, can also offer redemption. Allison Block writes from La Jolla, California.

"I can not live without books," Thomas Jefferson once wrote. Avid readers Sara Nelson, Nancy Pearl and Michael Dirda happily share the celebrated statesman's sentiment. From tales of childhood to thoughts on Tolstoy and Twain, a trio of new books by these literature lovers reflects…
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War reporters are a breed apart. Armed with guts and a notebook, they seek out the action, eagerly ignoring bullets and bombs for a story. Picture Ernie Pyle in World War II, slogging through the frontlines of Europe. Imagine the ruggedly handsome Robert Capa photographing the violence of French Indochina. These are the men we think of as, if not fearless, at least undaunted. Chris Ayres of The London Times wants it to be known that he is not one of those men. In fact, he unabashedly admits, he is one of those who find themselves running in the opposite direction of the action, in short, a coward.

War Reporting for Cowards follows the extremely reluctant British journalist from a cushy assignment covering balmy Hollywood to the muddy frontlines of Iraq. Leaving his air-conditioned apartment in L.A., Ayres travels across the world to sleep crammed in a Humvee with three U.S. Marines. Their job, aside from keeping their grudgingly accepted embed alive, is to race along the near edge of enemy lines, looking for base sites for long-range artillery. Front lines don’t come much fronter. Ayres’ book is exciting, revealing and very, very, funny. Ayres knows his own limitations and never tries to paint his adventure as anything other than it is: a harrowing yet empowering journey for a young man learning he has more about him than he thinks. Ayres makes no attempts to protest or proselytize, and the book is all the better for it. He simply tells his experiences, and tells them delightfully well.

And while the book is humorous, Ayres doesn’t dodge reality. His experiences at Ground Zero on 9/11 are suitably horrifying and unashamedly gripping. Even the comic absurdity of Ayres’s presence on the battlefield (a fleshy young man in a bright blue Kevlar vest a natural target, his military handlers gleefully point out) does not lessen the severe reality of the war. War, like life, is full of contradictions. Gung-ho marines can come to appreciate nervous journalists, and a self-professed coward can find within himself his own measure of courage.

 

War reporters are a breed apart. Armed with guts and a notebook, they seek out the action, eagerly ignoring bullets and bombs for a story. Picture Ernie Pyle in World War II, slogging through the frontlines of Europe. Imagine the ruggedly handsome Robert Capa…

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Photographers oftentimes needn’t look far to find their subjects: the sidewalk, the playground, any place with faces will do a locale where the human condition becomes fair game for the camera. But it takes a skilled eye to make the mundane appear mysterious, the commonplace seem transcendent.

This month’s gift books feature photographers who have done these things and more, proving that sometimes everyday reality renders the best art.

After a 15-year collaboration, Colin Westerbeck, curator of photography at the Art Institute of Chicago, and acclaimed photographer Joel Meyerowitz produced Bystander: A History of Street Photography, a masterful look at the medium that was first published in 1994. Reissued recently in paperback with an additional chapter covering current photographers, a new edition of Bystander the first-ever history of the genre is available from Bulfinch. As hefty and handsome as the first, the new book has ample examples of classic black-and-white street photography and authoritative chapters that provide a context for the pictures as well as their takers, photographers who, in a manner of speaking, eavesdropped with their eyes on couples kissing in parks, children fighting in alleys, on street vendors and bums. Unpremeditated, without artful interference, plot or pose, their photos were the products of coincidence that serendipitous synthesis of who, where and when. The trick, as the saying goes, was in the timing.

Bystander offers more than a century’s worth of unforgettable images, including the effortlessly elegant pictures of Brassa• and Henri Cartier-Bresson; the rootsy work of Walker Evans photos that defined a nation and the pitiless, probing, hardboiled images of ’40s press photographer Weegee, whose unforgiving flashbulb revealed humanity at its worst. Among the contemporary photographers mentioned in the book is Joel Sternfeld, whose color portraits of everyday Americans are collected in Stranger Passing, a provocative volume that accompanies a current exhibition of his work at the San Francisco Museum of Modern Art. With these sharp, vivid portraits, Sternfeld has captured the essence of our culture in its many manifestations: an Indian woman, brightly robed, pumping gas in Kansas City; a pair of summer interns on Wall Street who, with their fresh young faces and grown-up clothes, seem caught between boy- and manhood. The viewer can’t help but wonder about the narratives of these lives the before and after of every photograph. Proving that the term typical American defies definition, the gallery of characters in the book is diverse. Sternfeld, who has received two Guggenheim Fellowships, teaches at Sarah Lawrence College in New York. Two wonderful essays by popular journalist Ian Frazier and Douglas Nickel, associate curator of photography at the San Francisco Museum of Modern Art, complement his pictures.

Photographers oftentimes needn't look far to find their subjects: the sidewalk, the playground, any place with faces will do a locale where the human condition becomes fair game for the camera. But it takes a skilled eye to make the mundane appear mysterious, the…

Review by

Photographers oftentimes needn’t look far to find their subjects: the sidewalk, the playground, any place with faces will do a locale where the human condition becomes fair game for the camera. But it takes a skilled eye to make the mundane appear mysterious, the commonplace seem transcendent.

This month’s gift books feature photographers who have done these things and more, proving that sometimes everyday reality renders the best art.

After a 15-year collaboration, Colin Westerbeck, curator of photography at the Art Institute of Chicago, and acclaimed photographer Joel Meyerowitz produced Bystander: A History of Street Photography, a masterful look at the medium that was first published in 1994. Reissued recently in paperback with an additional chapter covering current photographers, a new edition of Bystander the first-ever history of the genre is available from Bulfinch. As hefty and handsome as the first, the new book has ample examples of classic black-and-white street photography and authoritative chapters that provide a context for the pictures as well as their takers, photographers who, in a manner of speaking, eavesdropped with their eyes on couples kissing in parks, children fighting in alleys, on street vendors and bums. Unpremeditated, without artful interference, plot or pose, their photos were the products of coincidence that serendipitous synthesis of who, where and when. The trick, as the saying goes, was in the timing.

Bystander offers more than a century’s worth of unforgettable images, including the effortlessly elegant pictures of Brassa• and Henri Cartier-Bresson; the rootsy work of Walker Evans photos that defined a nation and the pitiless, probing, hardboiled images of ’40s press photographer Weegee, whose unforgiving flashbulb revealed humanity at its worst. Among the contemporary photographers mentioned in the book is Joel Sternfeld, whose color portraits of everyday Americans are collected in Stranger Passing, a provocative volume that accompanies a current exhibition of his work at the San Francisco Museum of Modern Art. With these sharp, vivid portraits, Sternfeld has captured the essence of our culture in its many manifestations: an Indian woman, brightly robed, pumping gas in Kansas City; a pair of summer interns on Wall Street who, with their fresh young faces and grown-up clothes, seem caught between boy- and manhood. The viewer can’t help but wonder about the narratives of these lives the before and after of every photograph. Proving that the term typical American defies definition, the gallery of characters in the book is diverse. Sternfeld, who has received two Guggenheim Fellowships, teaches at Sarah Lawrence College in New York. Two wonderful essays by popular journalist Ian Frazier and Douglas Nickel, associate curator of photography at the San Francisco Museum of Modern Art, complement his pictures.

Photographers oftentimes needn't look far to find their subjects: the sidewalk, the playground, any place with faces will do a locale where the human condition becomes fair game for the camera. But it takes a skilled eye to make the mundane appear mysterious, the commonplace…

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