The beautifully printed, encyclopedic Great Women Sculptors brings together more than 300 artists who have been excluded from institutions and canons on the basis of gender.
The beautifully printed, encyclopedic Great Women Sculptors brings together more than 300 artists who have been excluded from institutions and canons on the basis of gender.
Nico Lang’s powerful American Teenager closely follows seven transgender young adults, rendering complex, searing and sensitive portraits of their lives.
Nico Lang’s powerful American Teenager closely follows seven transgender young adults, rendering complex, searing and sensitive portraits of their lives.
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Most people couldn’t proclaim that they’ve concocted “nine of the biggest, boldest, and most world-changing supervillainous schemes” that are “both scientifically accurate and achievable” without inspiring great skepticism. But if anyone’s going to be a reliable source for dastardly plots bolstered by plausible project plans, it’s Ryan North, the bestselling author of How to Invent Everything: A Survival Guide for the Stranded Time Traveler.

As a longtime writer for Marvel and DC comics, the Eisner Award-winner gets paid to come up with heinous and destructive crimes for fictional heroes to foil. In How to Take Over the World: Practical Schemes and Scientific Solutions for the Aspiring Supervillain, North harnesses his expertise as a “trained scientist and professional-villainous-scheme-creator” to craft highly detailed plans for achieving world domination. In “Every Supervillain Needs a Secret Base,” for example, he patiently yet firmly explains why the best place for a base is not inside a volcano. Perhaps the aspiring villain should build a floating lair in the ocean, or venture into the sky? North has analyzed every option, and he’s got recommendations—not to mention budgets, timelines and risk analyses for scenarios ranging from starting your own country to cloning dinosaurs to destroying the internet. The results are archly funny and always thought-provoking.

Clever illustrations by Carly Monardo up the fun factor, and sidebars take deep dives into carbon-capture technology, airspace ownership laws and more. How to Take Over the World is a wild journey that’s sure to leave readers pondering North’s assertion that “once [the world is] understood, it can be directed, it can be controlled, and it can be improved.” Whether they use his advice to achieve supervillainy or to flip the script and save the world is up to them.

If anyone is going to concoct highly detailed, scientifically accurate plans to achieve world domination, it’s Ryan North.
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Novelist Jami Attenberg invites readers to join her in reflecting on relationships, creativity and the nature of home in her first essay collection, I Came All This Way to Meet You (6.5 hours). Her vignettes intertwine stories of her growth as an author with funny and honest ruminations on a life filled with travel and art.

Attenberg’s vulnerability in these essays, paired with narrator Xe Sands’ quiet, confident voice, makes listening to I Came All This Way to Meet You an intensely personal experience. Sands adds a shade of wistfulness to Attenberg’s wisdom with cool vocal tones, and elevates the author’s witty quips with a cheeky sensibility. Listeners will lean in to enjoy the full range of sentimentality and playfulness. It’s like sitting down with a clever friend to hear stories over cups of tea—nostalgic, conspiratorial and comfortable.

I Came All This Way to Meet You is a relaxing audiobook that will incline the listener toward restful reflection, encouraging them to discover inspiration in even the smallest moments of everyday life.

Read our starred review of the print edition of ‘I Came All This Way to Meet You.’

Nostalgic and conspiratorial, I Came All This Way to Meet You is a relaxing audiobook that will incline the listener toward restful reflection.
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have been tortured by some of the fanciest ear-benders in the world, including George Bernard Shaw, reporter Joseph Mitchell wrote in 1938, “and I have long since lost my ability to detect insanity. Sometimes it is necessary for me to go into a psychopathic ward on a story and I never notice the difference.” Such is the life of a journalist. The consummate listener, a gentleman reporter whose Joycean stories about the everyday people of New York are tinged with melancholy, Joseph Mitchell went to work for The New Yorker in 1938. A notoriously slow and meticulous craftsman, he wrote with lapidary skill. A collection of his New Yorker pieces, Up in the Old Hotel, was a 1992 bestseller, but when Mitchell died four years later, he left precious little work.

Now, for the first time in more than 60 years, readers can treat themselves to the reportage of Mitchell’s pre-New Yorker days with the newly reissued My Ears Are Bent, a collection of his contributions to The Herald Tribune and The World Telegram, originally published in 1938. The new, expanded edition includes articles and feature stories unavailable since they first appeared in the papers during the 1930s. Mixing with lushes and chorus girls, pickpockets and speakeasy proprietors, the latter of which proved invaluable to the reporter (“the saloonkeeper is apt to know the address or hangout of any citizen dopey enough or unlucky enough to be of interest to a great metropolitan newspaper,” he writes), Mitchell, on his beat, visited establishments like the Broken Leg and Busted Bar ∧ Grill, where he observed and interviewed the regulars. The stories that resulted are miniature noirs peopled with characters who crack wise, journalistic pieces, replete with smoke and shadows and snappy badinage, that show the city at its seediest.

Along with looks at society’s less savory members, the new edition includes talks with Jimmy Durante, jazz giant Gene Krupa and George M. Cohan blasts from the past that give the book a time-capsule appeal. Indeed, a sort of na•vete pervades the pieces overall. Some of the strippers and fan dancers featured in a chapter called “Cheese-cake” seem to have an air of wide-eyed innocence, as Mitchell himself does in their presence: “It was the first time a woman I had been sent to interview ever came into the room naked . . .,” he writes. “She didn’t even have any shoes on.” In “The Marijuana Smokers” a classic snapshot of a more innocent America, a country befuddled by the new drug Mitchell dodges bullets and crashes a Harlem rent party. Such cultural curiosities are, of course, no longer news, but they were big scoops when Mitchell snooped them out. He writes with economy in these classy, clear-eyed accounts of a time when society was a bit more civilized. No words are wasted here, and his descriptive prose is often as pure and precise and image-oriented as the poetry of William Carlos Williams. Above all, perhaps, what Mitchell’s writing reveals is the way the world in general and New York in particular have changed. Reading My Ears Are Bent, one can’t help but contrast the present with the past. The collection reflects a younger era, an age when the world had more mystery in it. They don’t write ’em like this anymore.

have been tortured by some of the fanciest ear-benders in the world, including George Bernard Shaw, reporter Joseph Mitchell wrote in 1938, “and I have long since lost my ability to detect insanity. Sometimes it is necessary for me to go into a psychopathic ward on a story and I never notice the difference.” Such […]
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n war, Napoleon wrote, “three-quarters turns on personal character and . . . the balance of manpower and materials counts only for the remaining quarter.” In notable biographies of Jefferson Davis, the Confederacy’s president, and John C. Breckinridge, its last secretary of war, and in dozens of other books on the Civil War, historian William C. Davis has underscored the prominence of “personal character” in shaping the Confederacy’s rise and fall.

In his engaging and well written An Honorable Defeat, Davis focuses closely on the last four months (January-April 1865) of the Confederacy’s existence. He frames the South’s defeat around the differing visions and personalities of Jefferson Davis and Breckinridge. William C. Davis knows the history of the Confederacy as well as any historian today, and his penetrating analysis of Jefferson Davis and Breckinridge provides a fresh look at their contrasting emotions, differing world views and divergent conceptions of southern honor and defeat.

Jefferson Davis was a cold, combative, distant autocrat. He meddled constantly in his generals’ affairs, gave his cabinet secretaries little authority and frittered away the Confederacy’s one economic ace in the hole “King Cotton.” Yet for all his shortcomings as president, Jefferson Davis was totally dedicated perhaps too dedicated to the southern cause. “If only Davis’ personality and temperament had been more winning,” writes William C. Davis, “and his grasp of human nature more keen . . . those who became his enemies might have forgiven him a multitude of lesser shortcomings.” In contrast to Davis, Breckinridge was flexible, balanced and popular, and the Kentuckian rose rapidly through the hierarchy of the Confederate Army to the rank of major general. “Charming and engaging, diplomatic, the least egotistical or confrontational of men,” William C. Davis explains, Breckinridge “never sought conflict, and yet even [Jefferson] Davis, so often undiscerning, saw well enough that this was a man he could not dominate.” The conflict of wills erupted in March 1865, as Union troops encircled Richmond, and the Confederacy disintegrated from within. President Davis, unwilling to accept anything short of independence and refusing to surrender, admonished white southerners to fight a guerilla war and to rally around remaining Confederate troops in Texas. Secretary of War Breckinridge disagreed, favoring an honorable, negotiated peace. “This has been a magnificent epic,” Breckinridge lectured a delegation of Confederate senators, urging them “in God’s name let it not terminate in a farce.” Though the Confederacy ultimately received a lenient peace, Davis spent two years in prison and remained “unreconstructed” long after Appomattox. Breckinridge escaped to Cuba, relocated to Canada and returned to the U.

S. in 1869. He urged southerners to accept the war’s verdict and move forward. Fortunately for America and the South, Breckinridge’s vision of Confederate defeat and Reconstruction, not Jefferson Davis’, prevailed.

John David Smith has written or edited 14 books, including Black Judas: William Hannibal Thomas and The American Negro (University of Georgia Press).

n war, Napoleon wrote, “three-quarters turns on personal character and . . . the balance of manpower and materials counts only for the remaining quarter.” In notable biographies of Jefferson Davis, the Confederacy’s president, and John C. Breckinridge, its last secretary of war, and in dozens of other books on the Civil War, historian William […]
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hen he moved to Washington in December, 1823, newly elected Tennessee Senator Andrew Jackson was carefully scrutinized by other politicians and citizens from all walks of life. His reputation had preceded him, and he was prominently mentioned as a presidential candidate. His charismatic presence calm, dignified, tall, ramrod-straight stood in vivid contrast to what many had expected. He wrote to a friend, “I am told the opinion of those whose minds were prepared to see me with a Tomahawk in one hand, and a scalping knife in the other has greatly changed and I am getting on very smoothly.” Jackson was indeed best known for his military exploits, especially as the hero of the Battle of New Orleans in 1815 when his ragtag forces impressively defeated the British in the War of 1812. But he also had a reputation as an Indian fighter. His most notable victory in that role had come against the Creek Nation in the Battle of Horseshoe Bend in 1814.

Jackson’s personal and public lives were often controversial, particularly his complex dealings with Native Americans. In Andrew Jackson and His Indian Wars, noted Jackson scholar Robert V. Remini focuses exclusively on this subject, providing a well documented, thoughtful and sensitive exploration. Remini, who won the National Book Award for his definitive three-volume biography of Jackson, assures readers that “it is not my intention to excuse or exonerate Andrew Jackson for the role he played in the removal of Native Americans west of the Mississippi River. My purpose is simply to explain what happened and why.” To begin to understand what happened, “modern Americans must first appreciate the fact that the mood and temper of Americans during Jackson’s lifetime tolerated and actually condoned removal.” The author traces the life of the boy who “learned to fear and hate Indians from an early age,” sharing the attitude of most frontier settlers. Jackson never forgot his early life in South Carolina when the British allied with Native Americans to wage war against the Americans. “In his mind, and the minds of most frontiersman, the Indians were pawns to be used by any foreign power seeking to gain dominance in North America.” Remini follows Jackson into Tennessee where he develops into “a bold and resourceful Indian fighter, thirsting for Ôencounters with savages.’ ” Jackson was an early convert to the idea, first proposed by Thomas Jefferson, that Indian removal be linked to an exchange of land. Through the years, for Jackson, the most compelling argument for this approach was national security. American settlers could better protect the country against foreign invaders than the Indians.

Remini details not only the numerous battles between Jackson’s forces and Native Americans, but also the many negotiating sessions. “He always addressed Indians as though they were children, irrespective of their age, education, or intellectual maturity.” When negotiating, Jackson never hesitated to use bribery or the threat of violence if his demands were rejected.

The author shows how Indian removal began in the early 1800s by presidential action and continued for 20 years; Congress became involved only when the Senate eventually ratified the treaties. Remini notes that “the Indian Removal Act did not remove the Indians at all. . . . What Jackson did was force the Congress to face up to the Indian issue and address it in the only way possible. And what it did at his direction was harsh, arrogant, racist and inevitable.” Remini believes Jackson can be blamed in particular for his desire to speed things up. “He lacked patience, and by his pressure to move things along quickly he caused unspeakable cruelties to innocent people who deserved better from a nation that prided itself on its commitment to justice and equality.” Remini is to be commended for his balanced study of a difficult period and the complex man at its core.

Roger Bishop is a regular contributor to BookPage.

hen he moved to Washington in December, 1823, newly elected Tennessee Senator Andrew Jackson was carefully scrutinized by other politicians and citizens from all walks of life. His reputation had preceded him, and he was prominently mentioned as a presidential candidate. His charismatic presence calm, dignified, tall, ramrod-straight stood in vivid contrast to what many […]
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In her early 50s, Australian historian Inga Clendinnen found herself diagnosed with an incurable liver disease. As her body and her mind deteriorated, she felt a need to write about her childhood as well as her experience with illness. The result is Tiger’s Eye, a moving story about the fragility of self and the strength of the creative spirit.

Though she had written historical texts about everything from Mayan culture to the Holocaust, Clendinnen had never turned her historian’s eye inward. Illness, however, forced her hand, and she began to write fragments at first, and then full-blown reminiscences about her parents, aunt and siblings, about her loves, lies, embarrassments and joys, about all of the messy, half-remembered, half-created memories that make up a life. During her many days in the hospital, Clendinnen grew attached to her laptop, the writing serving as her only defense against the cold impersonality of existence in an institution and against the slow wasting of her body and mind.

Luckily, she eventually became a candidate for a liver transplant. Some of the most striking writing in the book comes in the hallucinatory days after the transplant, in which all semblance of a whole, non-fragmented self completely dissolves. Here, her writing becomes a mad, frightening and vivid jumble of images, which nonetheless reveal truths about her mind and personality.

One of the things Clendinnen learns, through her illness and her personal writing, is that she cannot completely rely on memory; memory, she finds, is as much fiction as it is an accurate reflection of reality. This lesson ultimately carries over into her professional, historical writing, which she takes up again once she is well. Memory, she has learned, is unreliable, but however imperfect, it nonetheless forms the foundation of history.

One of Clendinnen’s earliest revelations in Tiger’s Eye is of the divide that exists between those who are well and those who are ill. She soon learns that little communication is possible between the two sides. Her memoir, however, ultimately works to bridge that divide. To take the Alice in Wonderland metaphor she offers in the book’s opening pages, Clendinnen shows how she fell into the rabbit hole of illness and returned to tell the tale.

Vivian A. Wagner, Ph.D., is a freelance writer in New Concord, Ohio.

In her early 50s, Australian historian Inga Clendinnen found herself diagnosed with an incurable liver disease. As her body and her mind deteriorated, she felt a need to write about her childhood as well as her experience with illness. The result is Tiger’s Eye, a moving story about the fragility of self and the strength […]

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