The Work of Art is a visionary compendium of ephemera that makes visible the bridge between idea and artwork.
The Work of Art is a visionary compendium of ephemera that makes visible the bridge between idea and artwork.
Richard Munson’s splendid biography of Benjamin Franklin provides an insightful view of the statesman’s lesser known accomplishments in science.
Richard Munson’s splendid biography of Benjamin Franklin provides an insightful view of the statesman’s lesser known accomplishments in science.
Lili Anolik’s Didion and Babitz is a freewheeling and engaging narrative about two iconic literary rivals and their world in 1970s Los Angeles.
Lili Anolik’s Didion and Babitz is a freewheeling and engaging narrative about two iconic literary rivals and their world in 1970s Los Angeles.
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As the actor Carleton Young declared in The Man Who Shot Liberty Valence, “When the legend becomes fact, print the legend.” That’s exactly what happened in the April 1913 issue of National Geographic, when the entire magazine was devoted to explorer Hiram Bingham III’s “discovery” of ancient Inca ruins in Peru. In his meticulously researched and marvelously readable book Turn Right at Machu Picchu, author and adventurer Mark Adams retraces the steps that led Bingham to the famed site 100 years ago this July.

Adams, whose Mr. America was named a Best Book of 2009 by the Washington Post, goes beyond merely printing the legend: He studies it, he lives it . . . and he debunks it. At first glance, it seems like Adams might have been following in the footsteps of Bill Bryson’s A Walk in the Woods, given the book’s “maybe-I-should-have-worked-out-just-a-little-bit-more-before-starting-this-physically-demanding-quest” setting. Like Bryson, Adams peppers his book with interesting anecdotes, trenchant observations and frequently hilarious asides. But as the chapters (which more or less alternate between Bingham’s and Adams’ expeditions) fly by, both the book’s scholarship and its organization also call to mind John McPhee’s excellent history/travelogue of Alaska, Coming into the Country.

Even if you’ve never traveled farther than the Jungle Cruise at Walt Disney World, you’re guaranteed to be swept up in Adams’ vivid descriptions of the near-unpronounceable sights along the Inca trail, as well as the remarkable amount of information he tactfully packs into a single paragraph:

“We walked down the mountainside beneath Llactapata and crossed the Aobamba River—an important milestone, because we were now officially inside the Machu Picchu Historical Sanctuary. Technically, this zone is a haven not only for ruins but for the diverse flora and fauna of the region. (This is one of the few safe places for the rare Andean spectacled bear, which looks like a cross between a raccoon and a black bear cub.) There is one important eco-exception—the gigantic hydroelectrical plant on the backside of Machu Picchu. John and I walked past dozens of men in matching hard hats and coveralls driving heavy machinery; a funicular ran up the mountainside. KEEP OUT signs were posted everywhere. None of this is visible from the sacred ruins directly above. It was like stumbling upon a Bond villain’s secret hideout while hiking in Yosemite.”

Perhaps, in the best-case scenario, Adams’ book might impel you to adopt the motto of one of his former employers, Adventure magazine: “Dream it. Plan it. Do it.” And at the very least, you’ll get an unparalleled insight into how demanding, and how rewarding, following that dictum can be.

As the actor Carleton Young declared in The Man Who Shot Liberty Valence, “When the legend becomes fact, print the legend.” That’s exactly what happened in the April 1913 issue of National Geographic, when the entire magazine was devoted to explorer Hiram Bingham III’s “discovery”…

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When a speeding car slammed into Molly Birnbaum while she was out for a run, she broke her pelvis, fractured her skull and ripped tendons in her knee. Those injuries, though severe, would heal with time and hard work. But for this aspiring chef, the loss of her sense of smell was more devastating by far.

In Season to Taste, Birnbaum vividly recalls what it was like to suddenly live in a world devoid of scent. “It was an invisible injury, potent and intense,” she writes. “It involved nothing concrete like crutches; physical therapy wasn’t a possibility. But the absence—the monotone blank, the indescribable pale of a scentless landscape—was more painful than the nights I hyperventilated in the hospital after knee surgery.”

At the time of the accident, Birnbaum—who writes a delicious, recipe-filled blog called “My Madeleine”—was about to begin studying at the Culinary Institute of America. She’d spent a grueling summer working in a popular Boston restaurant to prepare for school, washing dishes, cleaning wild mushrooms and herbs, peeling garlic and learning to trust her sense of smell to guide her cooking. And then, in the split second it took for her forehead to smash into a moving windshield, the neurons that connected her nose to her brain snapped. Her brain could no longer receive the messages about incoming smells. There’s even a name for it: anosmia.

Birnbaum began talking with experts in the science of taste and smell, trying to understand what had happened, and what would happen next. After recovering (physically, anyway), she moved to New York City in search of a job and a fresh start. Intriguingly, she began to get flashes of scent. First, rosemary, smelling green and woodsy. Then chocolate, followed by laundry soap, cilantro, cucumbers, old books. Slowly, she reclaimed her life, one scent at a time.

Birnbaum powerfully explores the science of smell and its ties to emotion, love and even memory in Season to Taste. This deeply personal recollection of recovering from a loss invisible to the outside world is a truly mouthwatering read.

When a speeding car slammed into Molly Birnbaum while she was out for a run, she broke her pelvis, fractured her skull and ripped tendons in her knee. Those injuries, though severe, would heal with time and hard work. But for this aspiring chef, the…

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It would seem a daunting task to write an entire book based on a single photograph, but author Louis P. Masur is equal to the challenge in his latest work, The Soiling of Old Glory. The picture on the cover reveals the book’s focus: A well-dressed black man is being held by an angry white crowd. Facing him is a young white teenager bearing an American flag. He holds the staff like a spear, appearing ready to thrust it into the stomach of the black man.

The photo was taken in Boston on April 5, 1976, during a racially charged protest over school busing. The image was captured by Stanley Forman, a photographer for the Boston Herald American. Forman’s photograph caused a national uproar, not only because of the graphic violence, but also because it occurred during America’s bicentennial year, just steps from the site of the Boston Massacre. Forman won a Pulitzer Prize for the picture.

That single photograph serves as a starting point for Masur to examine a range of themes. First, there are the details leading up to the historic event: How the angry mob marched downtown to protest outside City Hall; how black lawyer Ted Landsmark happened to be walking by on his way to a meeting; and how Forman arrived on the scene to record the assault on film. Additionally, Masur, professor of American Institutions and Values at Trinity College, uses the image to explore a variety of issues, such as racism, school busing and the impact of images of the American flag, from Iwo Jima to 9/11.

Perhaps most fascinating are the author’s interviews with Forman, Landsmark and Joseph Rakes, the teenager holding the flag. Each give their unique account of the event, withespecially poignant testimony from Landsmark, who forgives his attackers, and Rakes, who apologized to Landsmark and spent his life trying to make amends for his actions.

The Soiling of Old Glory is an engaging book for anyone interested in journalism, photography, history or social themes, as – like a photograph – it reflects the actions and attitudes of America at a distinctive place and time.

John T. Slania is a journalism professor at Loyola University in Chicago.

It would seem a daunting task to write an entire book based on a single photograph, but author Louis P. Masur is equal to the challenge in his latest work, The Soiling of Old Glory. The picture on the cover reveals the book's focus: A…
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All good things must come to an end, as the saying goes even our favorite television shows. Classics from I Love Lucy to M*A*S*H to Seinfeld have their glory days on the tube and then disappear, living only in our memories (and on Nick at Nite).

Some of us with way too much time on our hands might ponder the moment at which even the best shows head south, taking a turn for the worse from which they never recover. Jon Hein and his college buddies at the University of Michigan spent many idle hours in the dorm talking about the decline of their favorite shows and coined the term jump the shark” to describe the crucial turning point at which a TV show heads downhill. The phrase comes from an episode of Happy Days in which the Fonz literally jumps over a shark while water-skiing in the Pacific.

A decade after he graduated from college and his buddies scattered, Hein created a popular Web site (jumptheshark.com), and he has now written a book that could prove addictive for avid TV watchers. Jump the Shark: When Good Things Go Bad looks at more than 60 shows (along with several new categories, ranging from sports figures to musicians) and names the precise moment when things began to slide. Some are obvious (When did Laverne ∧ Shirley jump the shark? When the girls left Milwaukee and moved to California), but many others are open to argument (Did Seinfeld really go downhill after George’s fiancŽe died from licking her wedding invitation envelopes?). Whether or not you agree with Hein’s selections, Jump the Shark is a great book for browsing and one that may prompt you to be on the lookout for an ominous fin in the water the next time you watch Sex and the City.

All good things must come to an end, as the saying goes even our favorite television shows. Classics from I Love Lucy to M*A*S*H to Seinfeld have their glory days on the tube and then disappear, living only in our memories (and on Nick at…
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Pretty, blonde Brit Catherine Sanderson clicks and blogs her way into love, heartache and self-revelation in the amusing page-turner Petite Anglaise. Yorkshire-born, Sanderson had always longed for France and, at age 18, she crossed the Channel on an invitation from her French pen pal. She returns a few years later as a teaching assistant, acquires a live-in boyfriend, has his child and lands a welcome, though ho-hum, secretarial job. Out of this landscape eventually sprout tendrils of dissatisfaction with the unvarying round of household chores, childcare and work: "my dream Paris had . . . melted away. . . . Lately I’d become a bitter, resentful shadow of the breathless, enthusiastic petite anglaise I once was, a person I was far from sure I even liked."

Under the cover of an Internet persona, "Petite Anglaise," Sanderson captivatingly recounts the giddy highs and disheartening lows of her reinvention in this narrative that reads like a chick lit novel with a rueful soupcon of hard-earned hindsight. Her witty, frank, tell-all blog quickly attracts followers, all eager to read the latest insouciant installment of Sanderson’s ups and downs with boyfriend Mr. Frog, daughter Tadpole and new beau James (an Internet find). But the virtual rubber meets the imaginary road as the boundaries of Sanderson’s addictive cyber-life begin to blur into day-to-day reality: new love gets rough, her job is in jeopardy and sobbing into cyberspace can’t replace in-the-flesh friendships. She begins to wonder: is all this cathartic blogging helping or hindering her destiny?

This entertaining story is a truly modern tale of self-discovery, embellished with the City of Light (and the strange world of the Internet) as luscious backdrop. The final curtain on Sanderson’s tale attests to the eternal allure of Paris: as the author sips espresso at a sidewalk café, she realizes, "I couldn’t imagine anywhere else on earth I’d rather be. I’d forgotten how much it was possible to love this city."

Alison Hood writes from Marin County, California.

 

Pretty, blonde Brit Catherine Sanderson clicks and blogs her way into love, heartache and self-revelation in the amusing page-turner Petite Anglaise. Yorkshire-born, Sanderson had always longed for France and, at age 18, she crossed the Channel on an invitation from her French pen pal.…

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Margaret Timmers’ A Century of Olympic Posters, the image-filled companion volume to the Victoria ∧ Albert Museum exhibition, explores a variety of themes related to the Games. Originally published in the U.K., the book starts with modern Olympics founder Baron Pierre de Coubertin (careful to point out early English athletic competitions, as well) and ends with a sampling of posters for the 2008, 2010 and 2012 Games.

Timmers gives an overview of each Olympiad, including brief mentions of star athletes, sports or ceremonial elements making their debut, and technologies employed for the first time. She shows the influence of politics and world events on IOC decisions regarding banishment, and withholding/withdrawal of hosting honors.

She also makes astute observations about the realities of staging the increasingly monumental events, from ensuing debt (as far back as the 1920s) to the lasting transformation of a city (Barcelona is a prime example, she says).

But, of course the posters are the real subjects of this book and they are discussed in great detail, from designers and print runs, to trends and movements. Posters from the 1920s and ’30s draw heavily from rail travel posters of the day; later, artists like David Hockney and Jacob Lawrence brought their signature styles to designs for the Munich Games of 1972.

The striking posters from the U.S.-boycotted 1980 Moscow Games bear similarities to a poster heralding the 1948 London Games; while a spirited emblem evoking a leaping figure gives a colorful 1992 Barcelona poster a light, joyful look.

Photography lent a cinematic effect to posters for the 1964 Tokyo Olympics, which also featured Yusaku Kamekura’s simple, yet powerful logo combining the red rising sun from Japan’s flag with the Olympic rings rendered in gold. The five interlocking rings – all in one color or in the traditional blue, yellow, black, green and red – are without a doubt the most familiar symbol of the Olympics and have been incorporated into Olympic posters since the Stockholm Games of 1912, Timmers says.

Throughout A Century of Olympic Posters, Timmers draws connections between national identity, the Olympic ideal of international participation and the need to announce each specific Olympiad. This comprehensive survey scores a perfect 10.

 

Margaret Timmers' A Century of Olympic Posters, the image-filled companion volume to the Victoria ∧ Albert Museum exhibition, explores a variety of themes related to the Games. Originally published in the U.K., the book starts with modern Olympics founder Baron Pierre de Coubertin (careful…

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