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This boy named Adam was born with dyslexia. When he was little he would try and read to his family and he couldn't. Despite not being able to read as he got older he became popular and very good looking. He is older but he still has problems with reading that he can't fix. It just kept getting worse. So he had to move to a different school to get help. Ever since he was little he has always had tutors to help him responding to the book he would be reading.
The other main character is Caroline. She is Adams older sister. She is normal and doesn't have any disabilities. She doesn't like how her brother has problems but she tries to deal with them anyways. She tries her best to help him in any way he might need. In the middle of the story she gets in a fight wit her friend and her mom helps her out. They are a very close family and always there for each other. Since they have to move she looses all her friends anyways. Out of the whole family it seems like she is having the most trouble with everything because she is so embarrassed.
Adam Zigzag is the perfect title for the story because every time Adam would read he would relate and compare how all he sees is zigzags and scribbles. Even in the book when he was little his friends would call him zigzag as a nickname to try to encourage the fact he can't read.
Every character in this book demonstrates the thinking behavior persistence. For example, when Adam had to try his best to get out of that New York school he never gave up. He worked until he got the grades to get out. No matter what happened he had to prove to everyone that he could do it. Caroline had to keep working on maintaining her friendship because if it was over she wouldn't have any other friends. The parents are persistent on trying to convince Adam to keep going to school and trying to peruse reading.
When they were little they all lived together but Adam would just go to different schools. In high school he was the most popular guy and was still having trouble reading. He also had trouble doing his homework and turning it in. His grades were falling and they were getting so bad that he had to transfer schools all the way back down in New York. He had to go by himself and live without his family in a home.
The end of this book is just as interesting as the beginning. Adam Zigzag never gets boring for one second. But then again it all depends on what the reader enjoys. Most people would think this book was exciting and worth while to read. It was sad to think that a guy couldn't read even though he tries his hardest. Knowing that the harder you try and the more you think about it, you will never accomplish reading because you have a disease.
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Amazing Grace is David Leemings biographical piece that examines Delaney's life and contributions to the art world. He looks at the forces which brought forth America's premiere modernist artist and shows how his gift impacted on the way one views life and art.
Who is this man, Delaney? A superficial view of his life reveals him as an impoverished homosexual Black artist who is plagued by many demons as he struggles to find himself as an artist and at peace with his sexuality. James Baldwin called him his spiritual father who was a cross between Brer Rabbit and St. Francis of Asissi. Others knew him as the good negro or an eccentric gadfly. Whatever one may call him, Delaney's goal was to infuse the concept of love within his work that would bring him the wholeness that he failed to capture in his life.
Plagued by paranoia, alcoholism and guilt over his homosexuality, Delaney failed to achieve intimacy in his relationships but poured out his inner struggle through his art. Like many artists, he went through several stages of development in his career which reached its climax in France. Unfortunately the demon of paranoia stripped him of his artistic ability in his later years.
This book must be read to get a handle on the artistic struggles of African Americans and how they succeeded inspite of their alienation from the mainstream art world. Delaney also struggled with being homosexual which undoubtably alienated him from his family and Black colleagues. His struggle opens up a new chapter in examining how sexuality impacts on a minority artists life. Delaney was saved from obscurity through this view of his life. Whether he was saved by grace is a moot point for his demonic voices did him in.
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This is not to say that Spaulding does not talk about AA's private life, a pre-requisite for any biography, but does so only as it relates to AA's pursuit of photography and environmental causes. Absent, for example, are details of his relationship with his wife Virginia (which was quite complex: someone needs to write a biography of Virgina Best Adams in a way that Stacy Schiff wrote of Vera Nabokov) and the hard relationship with his children.
What Spaulding gives us instead is a very detailed account of the evolution of Adams' photographic vision and technique, and the influence of the American West on it. Through this you find his relationship to other important photographers and their influence on him and his styles: Alfred Stieglitz, Edward Weston, Dorothea Lange, and many others. We also see the influence of Western expansion throughout the first half of the 20th century, especially after WWII. In particular the seeming incongruity of AA producing pictures drawing people to the Western national parks while campaigning with the Sierra Club to limit the impact of tourists on Nature is discussed. The battle, falling out, and eventual reconciliation between Adams and David Brower is also detailed
If you are most interested in AA's life, read his autobiography or Alinder's biographry. If you want to know more about his influences and those things that he influenced, Spaulding's book is an excellent and readable choice. The book is heavily footnoted, with over 80 pages of notes, and contains a useful bibliography for anyone wishing to research further Adams' very interesting life.
As a footnote, the book does not include any pictures whose copyright is held by the Ansel Adams Publishing Rights Trust, which refused to grant permission.
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As Ansel Adams reminds us, "The National Parks, are, indeed a phenomena of an advanced society . . . ." When Yellowstone was established by President Grant in 1872, it was the first national park in the history of the world. Since then, we have been in a race between despoiling our wilderness environment and retaining some of it in national parks. The challenge is heightened by the pressures to commercialize and increase access to wilderness areas. How many people should visit Yosemite each year? These are the questions that Ansel Adams anticipated and helped us address. These questions are even more relevant and important today than when he first raised them. "Possessions, both material and spiritual, are appreciated most when we find ourselves in peril of losing them."
"There is a constant erosion of the concept and the reality of wilderness." Unfortunately, Adams was much more successful as a photographer than in achieving his environmental vision. Will his final epitaph of the future be of someone who captured images of what does not exist any more? I certainly hope not.
I recommend the preface by William A. Turnage very highly to understand Ansel Adams' vision and its effects on our society. The preface also contains a delightful section by Nancy Newhall on what it was like to be Ansel Adams' assistant for his dawn photography treks.
This book contains much more written material by Ansel Adams on conservation and the national parks than in any other book of his photographs that I have seen. I enjoyed reading about his ideas, and they helped me understand his photography better as well. He is trying to show us "the clear realities of Nature seen with the inner eye of the spirit [to] reveal the ultimate echo of God."
As I mentioned in the title to this review, the publisher put these images on pages that are too small to capture the detail of Adams' work in most cases. In fairness to the publisher, I should also point out that remarkable efforts have been made to reproduce these images well in the small format. Compared to other small reproductions of these same images, these are by far the best I have seen.
Some compositions in fact succeed in overcoming the limitations of the page size. These include:
Cliff Palace Ruin, Mesa Verde National Park, Colorado, 1941
Leaves, Mount Rainier National Park, Washington, 1942
Forest, Early Morning, Mount Rainier National Park, Washington, 1949
Leaf, Glacier Bay National Park, Alaska, 1948
Forest, Beartrack Cove, Glacier Bay National Park, Alaska, 1949
Teklanika River, Denali National Park, Alaska, 1947
Mount McKinley from Stoney Pass, Denali National Park, Alaska, 1948
Cinder Cone in Crater of Haleakala, Haleakala National Park, Hawaii, 1956
Mount Lassen from Devastated Area, Lassen Volcanic National Park, California, 1949
Mount Clarence King, Pool, Kings Canyon National Park, California, 1932
Many of the other photographs will be familiar to Ansel Adams' fans. If you have seen them reproduced in larger sizes, you can use your memory to add the missing detail. In this size though, the details being indistinct is like erasing chapters from a novel. Adams often accentuated reflections of details between different natural features in his compositions. When some details are obscured in small size, the reflections thus are not available to stimulate your mind.
In keeping with the spirit of Ansel Adams, I suggest that you consider becoming active in organizations (like the Sierra Club, which Adams belonged to for many years) that fight to save wilderness areas. If your great grandchildren are ever to experience the spiritual cleansing of the wilderness, we each must act now.
"Solitude, so vital to the individual man, is almost nowhere."
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The pictures are explicit and help to further reinforce understanding of the text.