front cover of Felt
Felt
Fluxus, Joseph Beuys, and the Dalai Lama
Chris Thompson
University of Minnesota Press, 2010
Felt provides a nonlinear look at the engagement of the postwar avant-garde with Eastern spirituality, a context in which the German artist Joseph Beuys appears as an uneasy shaman. Centered on a highly publicized yet famously inconclusive 1982 meeting between Beuys and the Dalai Lama, arranged by the Dutch artist Louwrien Wijers, Chris Thompson explores the interconnections among Beuys, the Fluxus movement, and Eastern philosophy and spiritual practice.

Building from the resonance of felt, the fabric, in both Tibetan culture and in Beuys’s art, Thompson takes as his point of departure Deleuze and Guattari’s discussion in A Thousand Plateaus of felt as smooth space that is “in principle infinite, open, and unlimited in every direction,” its structure determined by chance as opposed to the planned, woven nature of most fabrics. Felt is thus seen as an alternative to the model of the network: felt’s anarchic form is not reducible to the regularity of the net, grid, or mesh, and the more it is pulled, tweaked, torn, and agitated, the greater its structural integrity.

Felt thus invents its methodology from the material that represents its object of inquiry and from this advances a reading of the avant-garde. At the same time, Thompson demonstrates that it is sometimes the failures of thought, the disappointing meetings, even the untimely deaths that open portals through which life flows into art and allows new conjunctions of life, art, and thought. Thompson explores both the well-known engagement of Fluxus artists with Eastern spirituality and the more elusive nature of Beuys’s own late interest in Tibetan culture, arriving at a sense of how such noncausal interactions—interhuman intrigue—create culture and shape contemporary art history.
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Finding Dora Maar
An Artist, an Address Book, a Life
Brigitte Benkemoun
J. Paul Getty Trust, The, 2020

“[A] spirited and deeply researched project…. [Benkemoun’s] affection for her subject is infectious. This book gives a satisfying treatment to a woman who has been confined for decades to a Cubist’s limited interpretation.” — Joumana Khatib, The New York Times

Merging biography, memoir, and cultural history, this compelling book, a bestseller in France, traces the life of Dora Maar through a serendipitous encounter with the artist’s address book.

In search of a replacement for his lost Hermès agenda, Brigitte Benkemoun’s husband buys a vintage diary on eBay. When it arrives, she opens it and finds inside private notes dating back to 1951—twenty pages of phone numbers and addresses for Balthus, Brassaï, André Breton, Jean Cocteau, Paul Éluard, Leonor Fini, Jacqueline Lamba, and other artistic luminaries of the European avant-garde.

After realizing that the address book belonged to Dora Maar—Picasso’s famous “Weeping Woman” and a brilliant artist in her own right—Benkemoun embarks on a two-year voyage of discovery to learn more about this provocative, passionate, and enigmatic woman, and the role that each of these figures played in her life.

Longlisted for the prestigious literary award Prix Renaudot, Finding Dora Maar is a fascinating and breathtaking portrait of the artist.


This work received support from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States through their publishing assistance program.
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Finding Freedom
The Untold Story of Joshua Glover, Runaway Slave
Walter T. McDonald
Wisconsin Historical Society Press, 2007

"Shall a man be dragged back to Slavery from our Free Soil, without an open trial of his right to Liberty?" —Handbill circulated in Milwaukee on March 11, 1854

In Finding Freedom, Ruby West Jackson and Walter T. McDonald provide readers with the first narrative account of the life of Joshua Glover, the runaway slave who was famously broken out of jail by thousands of Wisconsin abolitionists in 1854. Employing original research, the authors chronicle Glover's days as a slave in St. Louis, his violent capture and thrilling escape in Milwaukee, his journey on the Underground Railroad, and his 33 years of freedom in rural Canada.

While Jackson and McDonald demonstrate how the catalytic "Glover incident" captured national attention—pitting the proud state of Wisconsin against the Supreme Court and adding fuel to the pre-Civil War fire—their primary focus is on the ordinary citizens, both black and white, with whom Joshua Glover interacted. A bittersweet story of bravery and compassion, Finding Freedom provides the first full picture of the man for whom so many fought, and around whom so much history was made.

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Fitzgerald's Mentors
Edmund Wilson, H. L. Mencken, and Gerald Murphy
Ronald Berman
University of Alabama Press, 2012
A fresh and compelling study of F. Scott Fitzgerald’s intellectual friendship with Edmund Wilson, H. L. Mencken, and Gerald Murphy
 
Fitzgerald was shaped through his engagements with key literary and artistic figures in the 1920s. This book is about their influence— and also about the ways that Fitzgerald defended his own ideas about writing. Influence was always secondary to independence.
 
Fitzgerald’s education began at Princeton with Edmund Wilson. There Wilson imparted to Fitzgerald many ideas about education and literary values, among them respect for the classics and an acute awareness of literary tradition.
 
In New York H. L. Mencken impressed upon Fitzgerald his belief in the stifling effect of public morality on writers. Furthermore, Mencken’s The American Language changed Fitzgerald’s thinking about the power of everyday language.
 
After moving to France in 1924, Fitzgerald’s intellectual life took a very different turn. Gerald Murphy exposed him to the visual arts— including the work of Fernand Leger, Pablo Picasso, and Man Ray—and to people deeply interested in the perception of art in daily life. Equally important, Fitzgerald had many discussions about artistic values with both Gerald and Sara Murphy.
 
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Frank Norris Remembered
Edited by Jesse S. Crisler and Joseph R. McElrath Jr.
University of Alabama Press, 2013
Frank Norris Remembered is a collection of reminiscences by Norris’s contemporaries, friends, and family that illuminate the life of one of America’s most popular novelists.
 
Considering his undergraduate education spent studying art at Académie Julian in Paris and creative writing at Harvard and his journalism career reporting from the far reaches of South Africa and Cuba, it is difficult to fathom how Frank Norris also found time to compose seven novels during the course of his brief life. But despite his adventures abroad, Norris turned out novels at a dizzying pace. He published Moran of the Lady Letty in 1898, McTeague early in 1899, Blix later that year, A Man’s Woman in February 1900, and The Octopus, the first in his ultimately unfinished “Epic of the Wheat” trilogy, in 1901. By informing his novels with his own experiences abroad, Norris composed works that were politically charged and culturally relevant and that made considerable contributions to the character of American literature in the twentieth century.
 
Frank Norris died at the age of thirty-two in 1902 from peritonitis resulting from a burst appendix, leaving behind a wife, a daughter, and an unfinished series of novels (two of which, The Pit and Vandover and the Brute, were published posthumously). The aim of Frank Norris Remembered, edited by Jesse S. Crisler and Joseph R. McElrath Jr., is to re-create the short, spectacular life of this American author through the eyes of those who knew him best. The fifty reminiscences included in this book feature the voices of Frank N. Doubleday; William Dean Howells; Hamlin Garland; Norris’s wife, Jeannette; and many others who were lucky enough to form a relationship with this vital twentieth-century American author, artist, and adventurer.

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Frank O'Hara
The Poetics of Coterie
Lytle Shaw
University of Iowa Press, 2006

In this stimulating and innovative synthesis of New York's artistic and literary worlds, Lytle Shaw uses the social and philosophical problems involved in “reading” a coterie to propose a new language for understanding the poet, art critic, and Museum of Modern Art curator Frank O'Hara (1926-1966).

O'Hara's poems are famously filled with proper names---from those of his immediate friends and colleagues in the New York writing and art worlds (John Ashbery, Kenneth Koch, Grace Hartigan, Willem de Kooning, and many musicians, dancers, and filmmakers) to a broad range of popular cultural and literary heroes (Apollinaire to Jackie O). But rather than understand O'Hara's most commonly referenced names as a fixed and insular audience, Shaw argues that he uses the ambiguities of reference associated with the names to invent a fluid and shifting kinship structure---one that opened up radical possibilities for a gay writer operating outside the structure of the family.

As Shaw demonstrates, this commitment to an experimental model of association also guides O'Hara's art writing. Like his poetry, O'Hara's art writing too has been condemned as insular, coterie writing. In fact, though, he was alone among 1950s critics in his willingness to consider abstract expressionism not only within the dominant languages of existentialism and formalism but also within the cold war political and popular cultural frameworks that anticipate many of the concerns of contemporary art historians. Situating O'Hara within a range of debates about art's possible relations to its audience, Shaw demonstrates that his interest in coterie is less a symptomatic offshoot of his biography than a radical literary and artistic invention.

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Franklin in His Own Time
A Biographical Chronicle of His Life, Drawn from Recollections, Interviews, and Memoirs by Family, Friends, and Associates
Kevin J. Hayes
University of Iowa Press, 2011
In his time Benjamin Franklin (1706–1790) was the most famous American in the world. Even those personally unacquainted with the man knew him as the author of Poor Richard’s Almanack, as a pioneer in the study of electricity and a major figure in the American Enlightenment, as the creator of such life-changing innovations as the lightning rod and America’s first circulating library, and as a leader of the American Revolution. His friends also knew him as a brilliant conversationalist, a great wit, an intellectual filled with curiosity, and most of all a master anecdotist whose vast store of knowledge complemented his conversational skills. In Franklin in His Own Time, by reprinting the original documents in which those anecdotes occur, Kevin Hayes and Isabelle Bour restore those oft-told stories to their cultural contexts to create a comprehensive narrative of his life and work.
 
The thirty-five recollections gathered in Franklin in His Own Time form an animated, collaborative biography designed to provide a multitude of perspectives on the “First American.” Opening with an account by botanist Peter Kalm showing that Franklin was doing all he could to encourage the development of science in North America, it includes on-the-spot impressions from Daniel Fisher’s diary, the earliest surviving interview with Franklin, recollections from James Madison and Abigail Adams, Manasseh Cutler’s detailed description of the library at Franklin Court, and extracts from Alexander Hamilton’s unvarnished Minutes of the Tuesday Club. Franklin’s political missions to Great Britain and France, where he took full advantage of rich social and intellectual opportunities, are a source of many reminiscences, some published here in new translations. Genuine memories from such old friends as Thomas Jefferson and John Adams, as opposed to memories influenced by the Autobiography, clarify Franklin’s reputation. Robert Carr may have been the last remaining person who knew Franklin personally, and thus his recollections are particularly significant.
 
Each entry is introduced by a headnote that places the selection in its historical and cultural contexts; explanatory notes provide information about people and places; and the editors’ comprehensive introduction and chronology detail Franklin’s eventful life. Dozens of lively primary sources published incrementally over more than a hundred years illustrate the complexity of the man, his mind, and his mannerisms in a way that no single biographer could.
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Frontier Fake News
Nevada's Sagebrush Humorists and Hoaxsters
Richard Moreno
University of Nevada Press, 2023

When readers see the names Mark Twain and Dan De Quille, fake news may not be the first thing that comes to mind. But these legendary journalists were some of the original, and most prolific, fake news writers in the early years of Nevada’s history. Frontier Fake News puts a spotlight on the hoaxes, feuds, pranks, outright lies, witty writing, and other literary devices utilized by a number of the Silver State’s frontier newsmen from the mid-nineteenth through the early twentieth centuries. Often known collectively as the Sagebrush School, these journalists were opinionated, talented, and individualistic.

While Mark Twain (Samuel Clemens), who got his start at Virginia City’s Territorial Enterprise, and Dan De Quille (William Wright), who some felt was a better writer than Twain, are the most well-known members of the Sagebrush School, author Richard Moreno includes others such as Fred Hart, who concocted a fake social club and reported on its gatherings for Austin’s Reese River Reveille, and William Forbes, who enjoyed sprinkling clever puns with political undertones in his newspaper articles.

Moreno traces the beginnings of genuine fake news from founding father Benjamin Franklin’s “Supplement to the Boston Independent Chronicle, Number 705, March 1782,” a fake newspaper aimed at swaying British public opinion, to the fake news articles of New York and Baltimore papers in the early 1800s. But these examples are only a prelude to the amazing accounts of petrified men, freeze-inducing solar armor, magically magnetic rocks, blood-curdling massacres, and other nonsense stories that appeared in Nevada’s frontier newspapers and beyond.

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