The remarkable detail and subtly stylized lines characterizing the artistry of celebrated woodcarver Ivan Denton are in abundant evidence in this beautifully illustrated volume of The Art of I. Denton. Behind each carving presented here, is its story from a piece of wood to a work of art, told in the words of Mr. Denton himself.
This is, in fact, a tour guided by Ivan Denton covering the best of his efforts, his love for the wood, and the process which turns a craftsman into an artist. As he says in describing his work: “Art exists only when you share it. When a tree falls in the woods, in school they said, ‘This tree doesn’t make a noise if someone doesn’t hear it.’ Because, you know, the sound waves don’t bump against the eardrum . . . The idea of not being able to get rid of a piece is basically the concept of an amateur. Not only does a professional need the money, and not only does he need his ego flattered, it’s just that the art doesn’t really exist until it’s shared. That’s an even deeper joy than the ego.”
Chosen from collections across the country, these pieces represent the masterworks from one of a disappearing breed of artisans. But The Art of I. Denton is more than a document of our cultural heritage, it is a tribute to the man and his art.
A son of poor Jamaican immigrants who grew up in Depression-era Harlem, Harry Belafonte became the first black performer to gain artistic control over the representation of African Americans in commercial television and film. Forging connections with an astonishing array of consequential players on the American scene in the decades following World War II—from Paul Robeson to Ed Sullivan, John Kennedy to Stokely Carmichael—Belafonte established his place in American culture as a hugely popular singer, matinee idol, internationalist, and champion of civil rights, black pride, and black power.
In Becoming Belafonte, Judith E. Smith presents the first full-length interpretive study of this multitalented artist. She sets Belafonte’s compelling story within a history of American race relations, black theater and film history, McCarthy-era hysteria, and the challenges of introducing multifaceted black culture in a moment of expanding media possibilities and constrained political expression. Smith traces Belafonte’s roots in the radical politics of the 1940s, his careful negotiation of the complex challenges of the Cold War 1950s, and his full flowering as a civil rights advocate and internationally acclaimed performer in the 1960s. In Smith’s account, Belafonte emerges as a relentless activist, a questing intellectual, and a tireless organizer. From his first national successes as a singer of Calypso-inflected songs to the dedication he brought to producing challenging material on television and film regardless of its commercial potential, Belafonte stands as a singular figure in American cultural history—a performer who never shied away from the dangerous crossroads where art and politics meet.
One of the great rebels of psychiatry, R. D. Laing challenged prevailing models of madness and the nature and limits of psychiatric authority. In this brief and lucid book, Laing’s widely praised biographer distills the essence of Laing’s vision, which was religious and philosophical as well as psychological.
The Crucible of Experience reveals Laing’s philosophical debts to existentialism and phenomenology in his theories of madness and sanity, family theory and family therapy. Daniel Burston offers the first detailed account of Laing’s practice as a therapist and of his relationships—often contentious—with his friends and sometime disciples. Burston carefully differentiates between Laing and “Laingians,” who were often clearer, more confident, and more simplistic than their teacher.
While he examines Laing’s theories of madness, Burston focuses most provocatively on Laing’s views of sanity and normality and on his recognition, toward the end of his life, of the essential place of holiness in human experience. In a powerful last chapter, Burston shows that Laing foresaw the present commercialization of medicine and asked pointed questions about what the meaning of sanity and the future of psychotherapy in such a world could be. In this, as in other matters, Laing’s questions of a generation ago remain questions for our time.
Interrogating current theories of cosmopolitanism, nationalism, and aesthetics in Postcolonial Studies, Decentering Rushdie offers a new perspective on the Indian novel in English. Since Salman Rushdie’s Midnight’s Children won the Booker Prize in 1981, its postmodern style and postnational politics have dominated discussions of postcolonial literature. As a result, the rich variety of narrative forms and perspectives on the nation that constitute the field have been obscured, if not erased altogether.
Jana Renée Friesová was fifteen when she was imprisoned by the Nazis in the Czech ghetto town of Terezín. Her memoir tells the poignantly familiar story of a young girl who, even under the most abominable circumstances, engages in intense adolescent friendships, worries with her companions over her looks, and falls in love.
Anne Frank’s diary ends with deportation to a concentration camp; Fortress of My Youth, in contrast, takes the reader deep into the horrors of daily life in a camp that were faced by a young girl and her family. But Friesová also tells of love, joy, sacrifice, and the people who shared in the most profound experiences of her life.
Kazuko Kuramoto was born and raised in Dairen, Manchuria, in 1927, at the peak of Japanese expansionism in Asia. Dairen and the neighboring Port Arthur were important colonial outposts on the Liaotung Peninsula; the train lines established by Russia and taken over by the Japanese, ended there. When Kuramoto's grandfather arrived in Dairen as a member of the Japanese police force shortly after the end of the Russo-Japanese War in 1905, the family's belief in Japanese supremacy and its "divine" mission to "save" Asia from Western imperialists was firmly in place. As a third-generation colonist, the seventeen-year-old Kuramoto readily joined the Red Cross Nurse Corps in 1944 to aid in the war effort and in her country's sacred cause. A year later, her family listened to the emperor's radio broadcast ". . . we shall have to endure the unendurable, to suffer the insufferable." Japan surrendered unconditionally.
Manchurian Legacy is the story of the family's life in Dairen, their survival as a forgotten people during the battle to reclaim Manchuria waged by Russia, Nationalist China, and Communist China, and their subsequent repatriation to a devastated Japan. Kuramoto describes a culture based on the unthinking oppression of the colonized by the colonizer. And, because Manchuria was, in essence, a Japanese frontier, her family lived a freer and more luxurious life than they would have in Japan—one relatively unscathed by the war until after the surrender.
As a commentator Kuramoto explores her culture both from the inside, subjectively, and from the outside, objectively. Her memoirs describe her coming of age in a colonial society, her family's experiences in war-torn Manchuria, and her "homecoming" to Japan—where she had never been—just as Japan is engaged in its own cultural upheaval.
Amid gloomy forecasts of the decline of the humanities and the death of poetry, Angus Fletcher, a wise and dedicated literary voice, sounds a note of powerful, tempered optimism. He lays out a fresh approach to American poetry at large, the first in several decades, expounding a defense of the art that will resonate well into the new century.
Breaking with the tired habit of treating American poets as the happy or rebellious children of European romanticism, Fletcher uncovers a distinct lineage for American poetry. His point of departure is the fascinating English writer, John Clare; he then centers on the radically American vision expressed by Emerson and Walt Whitman. With Whitman this book insists that "the whole theory and nature of poetry" needs inspiration from science if it is to achieve a truly democratic vista. Drawing variously on Complexity Theory and on fundamentals of art and grammar, Fletcher argues that our finest poetry is nature-based, environmentally shaped, and descriptive in aim, enabling poets like John Ashbery and other contemporaries to discover a mysterious pragmatism.
Intense, resonant, and deeply literary, this account of an American poetics shows how today's consumerist and conformist culture subverts the imagination of a free people. While centering on American vision, the argument extends our horizon, striking a blow against all economically sanctioned attacks upon the finer, stronger human capacities. Poetry, the author maintains, is central to any coherent vision of life.
Martin Blumenson refers to this book as a “sensitive, beautifully written personal memoir,” and calls it a contribution to understanding, “particularly to Americans who know little of how World War II and its immediate aftermath disrupted the lives of those who survived the defeat of Germany.”
Vividly, humanly, Shelton tells her story from the point of view of a teen-age German girl, one who witnessed her country’s surge to power and who felt the ignominy of both Germany and Germans after the fall. She reaches a point during the war when “Sometimes the way we now live seems unreal, as if we were marionettes, with orders and permits and schedules attached to us instead of strings.”
But after the defeat of Germany life gets considerably worse. The victorious Russians evict the natives from their homes. They sneer and leer at the women who must venture forth for food. In this defeated land “the nights become unbearably long; without any physical activity by day, sleep refuses to come. I yearn for sleep, be it temporary or eternal. Death is becoming a friend; the enemy has a new name now: Rape.”
Then comes the dreaded order to evacuate all Germans from Lower Silesia: “How can a whole people be uprooted, disowned, tossed aside like useless flotsam—how? With the stroke of a pen, with a new line drawn on a map, we are sentenced to homelessness.” Not knowing where they will be sent, they plod out into darkness and cold with the other Germans, their worldly goods reduced to what they can carry. Embittered, they are herded into vermin-infested freight cars, still unaware of their destination.
In contrast to nature poets of the past who tended more toward the bucolic and pastoral, many contemporary nature poets are taking up radical environmental and ecological themes. In the last few years, interesting and evocative work that examines this poetry has begun to lay the foundation for studies in ecopoetics.
Informed in general by current thinking in environmental theory and specifically by the work of cultural geographer Yi-Fu Tuan, The West Side of Any Mountain participates in and furthers this scholarly attention by offering an overarching theoretical framework with which to approach the field.
One area that contemporary theorists have found problematic is the dualistic civilization/wilderness binary that focuses on the divisions between culture and nature, thereby increasing the modern sense of alienation. Tuan’s place-space framework offers a succinct vocabulary for describing the attitudes of ecological poets and other nature writers in a way that avoids setting up an adversarial relationship between place and space. Scott Bryson describes the Tuanian framework and employs it to offer fresh readings of the work of four major ecopoets: Wendell Berry, Joy Harjo, Mary Oliver, and W. S. Merwin.
The West Side of Any Mountain will be of great interest to scholars and teachers working in the field of contemporary nature poetry. It is recommended for nature-writing courses as well as classes dealing with 20th-century poetry, contemporary literary criticism, and environmental theory.
Daniel Burston chronicles Laing's meteoric rise to fame as one of the first media psychogurus of the century, and his spiraling decline in the late seventies and eighties. Here are the successes: Laing's emergence as a unique voice on the psychiatric scene with his first book, The Divided Self, in 1960; his forthright and articulate challenges to conventional wisdom on the origins, meaning, and treatment of mental disturbances; his pioneering work on the families of schizophrenics, Sanity, Madness and the Family (coauthored with A. Esterson). Here as well are Laing's more dubious moments, personal and professional, including the bizarre experiment with psychotic patients at Kingsley Hall. Burston traces many of Laing's controversial ideas and therapeutic innovations to a difficult childhood and adolescence in Glasgow and troubling experiences as an army doctor; he also offers a measured assessment of these ideas and techniques.
The R. D. Laing who emerges from these pages is a singular combination of skeptic and visionary, an original thinker whose profound contradictions have eclipsed the true merit of his work. In telling his story, Burston gives us an unforgettable portrait of an anguished human being and, in analyzing his work, recovers Laing's achievement for posterity.
Appealing to dialogue is often just a safe way of referring to something negative, or at best blandly neutral: the avoidance of conflict, the denial of similarity, not stirring deep-seated disagreement, etc. When Bernard o’Connor says pope Benedict XVI facilitated dialogue, however, he means something quite positive, very much tangible and certainly transformative. In providing an account of the pope’s interactions with various groups of the international community, O’Connor attempts to convey Benedict XVI’s diplomacy as encounter, where even in the sphere of international relations exhortations to “dialogue” are invitations to see more clearly and be moved as much as move.
To dialogue is to embrace, revise perception such that our approaches to the great questions of our day are not simply shared but correct. As O’Connor writes, “Pope Benedict attempts to promote the outlook that a renewed emphasis upon objective, critical and structured philosophical reasoning positions practice, diplomatic and otherwise, to regain its lost foundation and framework. the quest for integrity, if nothing else, should motivate our fidelity to academic pursuit, to intellectual investigation, and to rigorous interdisciplinary inquiry. so influenced, practice will then reject what is arbitrary and be guided by what is time-tested and enduring.”
O’Connor illustrates true dialogue emerging from the encounter, and in turn provides scores of characteristics of this encounter as it unfolds in papal diplomacy. In providing scores of addresses and speeches to various bodies, O’Connor presents pope Benedict XVI as an example of effective diplomacy that treats the meetings on the world stage as engaging in true dialogue. encounter is the true basis of dialogue and one that allows it to open to what is truly a catalyst for change toward cooperation––witness, both personal and collective. As o’Connor shows, “where there is authentic encounter, as meeting in mutual trust, what arises is context for witness.” If authentic even the diplomatic encounter has the means to deepen and transform one’s being.
Witness Through Encounter intends to fulfill multiple needs. the diplomatic approach exemplified herein is singular and worthy of study among political scientists, sociologists, philosophers and diplomats eager to embrace a worldview that is more personal than simply humanistic. this work will also be useful in inter-religious settings. An additional advantage of O’Connor’s presentation of Benedict XVI’s diplomatic approach, his witness through encounter, is that it contains insight valuable to the scholar alongside the resources used.
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