In this brilliant essay, Jacques Derrida explores issues of
vision, blindness, self-representation, and their relation to
drawing, while offering detailed readings of an extraordinary
collection of images. Selected by Derrida from the prints
and drawings department of the Louvre, the works depict
blindness—fictional, historical, and biblical. From Old
and New Testament scenes to the myth of Perseus and the
Gorgon and the blinding of Polyphemus, Derrida uncovers in
these images rich, provocative layers of interpretation.

For Derrida drawing is itself blind; as an act rooted in
memory and anticipation, drawing necessarily replaces one
kind of seeing (direct) with another (mediated). Ultimately,
he explains, the very lines which compose any drawing are
themselves never fully visible to the viewer since they exist
only in a tenuous state of multiple identities: as marks on
a page, as indicators of a contour. Lacking a "pure"
identity, the lines of a drawing summon the supplement of the
word, of verbal discourse, and, in doing so, obscure the
visual experience. Consequently, Derrida demonstrates, the
very act of depicting a blind person undertakes multiple
enactments and statements of blindness and sight.

Memoirs of the Blind is both a sophisticated
philosophical argument and a series of detailed readings.
Derrida provides compelling insights into famous and lesser
known works, interweaving analyses of texts—including
Diderot's Lettres sur les aveugles, the notion of
mnemonic art in Baudelaire's The Painter of Modern
Life, and Merleau-Ponty's The Visible and the
Invisible. Along with engaging meditations on the history
and philosophy of art, Derrida reveals the ways viewers
approach philosophical ideas through art, and the ways art
enriches philosophical reflection.

An exploration of sight, representation, and art,
Memoirs of the Blind extends and deepens the
meditation on vision and painting presented in Truth and
Painting. Readers of Derrida, both new and familiar, will
profit from this powerful contribution to the study of the
visual arts.

For nearly half a century, Roy Strong has been a prominent presence in Britain’s art world. Yet little is known about his life before the Swinging Sixties, when, at the age of thirty-one, he came on the scene as the revolutionary young director of London’s National Portrait Gallery.

In this book, Strong recounts his early years and the stirrings of what would become a lifelong passion for art. During a childhood spent in suburban North London, Strong recalls himself as a shy and solitary boy who spent his time painting Elizabethan miniatures and Shakespearean set designs. The book follows his progression through grammar school, which he attended alongside Alan Bennett and David Hockney, and university, where he developed a love of learning and enjoyed visits to the theater, opera, and ballet. With remarkable honesty, he explores the important relationships in his life—family, friends, and a schoolteacher with whom he maintained a long correspondence—as well as his debt to figures like Cecil Beaton, Frances Yates, C. V. Wedgwood, and A. L. Rowse.

Richly illustrated throughout with photographs, drawings, and letters, this book offers a compelling look at a young man poised for success.

Winner of the 2017 Miller Williams Poetry Prize, edited by Billy Collins

“Shows this exceptional poet at his rhyming best.”

—Billy Collins

Self-Portrait in a Door-Length Mirror presents the mirror that reflects not always what is, but what is desired, or not desired. In the opening poem, the speaker, Diane Arbus, looks at her very early pregnant self and asks, “Why would I bring you into this world?” This book answers that question, or tries to: the world is what it is as we try to live as our best selves in that world. But that knowledge of the world is hard and has consequences, and not in the abstract, as Gibson’s poetry dynamically shows.

Employing new formalism, Self-Portrait in a Door-Length Mirror examines historical, familial, and personal pasts as those pasts continue into the present, reminding us, as Faulkner wrote, “The past is never dead. It’s not even past.”

One of the most important German artists of the twentieth century, Max Beckmann is known for the depth and sensuous force of his works, but little is known about his personal life. Self-Portrait in Words reveals Beckmann's experience of life from the first years of his career in Berlin and Paris through his final years in the United States. This collection of Beckmann's writings serves as a companion to his art and a testament to the complexities of his life.

"Barbara Copeland Buenger . . . has done an excellent job of editing and annotating Beckmann's voluminous private and public writings."—Andrea Barnet, New York Times Book Review

In the early decades of the twentieth century, Iowans all across the Hawkeye State succumbed to the nationwide craze for exchanging photographic postcards, mailing each other thousands of images—serious and whimsical—of Uncle Bob and Baby Dora, the Sunday school outing, train wrecks, the Fourth of July celebration, the merchants' carnival, the record-setting blizzard following the bin-busting harvest, the new courthouse, Ackley's Sauer-Kraut Band. Now, thanks to the generosity of David A. Wilson, whose ample collection of photographic cards would be the envy of those early Iowans, Lyell Henry has organized more than two hundred postcards into eight reflective chapters that create a beguiling collective portrait of Iowa life and culture from 1905 to 1919.