Charles Henri Ford: Between Modernism and Post Modernism by Alexander Howard Bloomsbury. 251 pages, $114. IT’S QUITE POSSIBLE that only a few readers of this magazine will know who Charles Henri Ford was. Yet here we have a lengthy and heavily annotated book from Bloomsbury Press about his work—or, rather, about certain aspects of […]
Article Categories Archives: Book Review
The leafy photo of a tender, teenage Ashbery picking cherries in the family orchards was taken by his father Chet, an accomplished photographer as well as a farmer. Its use as the entire cover, with a superimposed “postcard home” bearing the title, is a choice of genius, presumably by jacket designer Sarahmay Wilkinson. The photo has meaningful links to every chapter of the book.
IT HAS BEEN three decades since Andy Warhol died at New York Hospital (on February 22, 1987) of complications from gall bladder surgery. In 2017, over a dozen books about Warhol or his art, ranging from the frivolous to the academic, were published. After Andy and 3D Warhol can be found at either end of that spectrum.
The greatest asset of Fighting Proud is that it will send many readers to the library in search of the numerous other biographies, histories, and personal accounts from which Bourne so lavishly quotes.
THE MOST striking feature of Studio 54 is its heft: Amazon lists the shipping weight as 8.2 pounds. Almost any page of this substantial publication confirms what people already know about the legendary nightclub: that it was a playground for celebrities, a temple for disco, and a brand of spectacle not seen before in a nightly venue.
Maupin’s latest book, the memoir Logical Family, is his first book of nonfiction, yet he brings to it the unique storytelling gifts that have animated his fiction, and he more than delivers on the “tap dancing” that will win his readers’ attention and engagement.
The Heart’s Invisible Furies is about the life of a gay man in Ireland from the 1950s to the present.
Reviews of Writers Who Love Too Much; David Bowie Made Me Gay; Sexagon: Muslims, France, and the Sexualization of National Culture; and Our Horses, Ourselves.
The Ridiculous Theatre Company allowed Ludlam free rein to write, perform in, and direct a series of dazzling, perverse, non-naturalistic comic pieces. His intent was to counter the humorless accounts of gay men’s marginal, miserable lives that had dominated American theater.
The Shelley-Byron Men, which originated as a talk, is half text, half appendices containing excerpts from works by various writers.