From her "auditions" for the position up to her meetings with President Clinton, Newt Gingrich, and correspondence with Jesse Helms, Ms. Alexander infuses her writing with intelligence, literary awareness, and a delightful, wry, witty sense of humour.
Republicans and Democrats alike are not spared Ms. Alexander's opinions on how funding was handled, what was considered art, and how arts organizations, artists, and arts education are constantly overlooked at providing no real social importance by men in power who are "of little mind". She writes adoringly of her staff at the NEA and of the congressional supporters who went to bat for the Endowment.
Voicing political opinion, especially someone who was in Ms. Alexander's position, is always going to be a touchy subject, but like art, it's meant for discussion to learn more about the human race and to challenge our own conventional ways of thinking.
Overall, this book is an educational, interesting look into an area of politics that is shamelessly neglected by members of Congress. Ms. Alexander is to be commended for all she accomplished at the Endowment and this book is a great account of what she had to endure at the center of one of the government's most controversial agencies.
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I must say that I noticed a surprising number of factual errors, exaggerations and authorities cited out of context. For example, Ms. Marton begins her chapter on the Nixons with an anecdote that Pat Nixon had a cup of cottage cheese sent up to her bedroom on her first night in the White House while Richard Nixon had a celebratory steak dinner with his daughters and their husbands (Nixon did not have two sons-in-law in January 1969 -- Tricia didn't marry until August 1971 in memorable Rose Garden ceremony). I understand that Ms. Marton was trying to demonstrate the pathos in Pat Nixon's relationship with her husband. However, the obvious misstatement in that anecdote made me wonder what else was erroneous. Also, Ms. Marton cited J.B. West's UPSTAIRS AT THE WHITE HOUSE out of context in at least one instance. There were additional inaccuracies and exaggerations in the chapters on the Wilsons, Nixons and Fords.
HIDDEN POWER is an insightful and enjoyable work in spite of the inaccuracies. Read this book for the general themes, but double-check the facts before quoting this book or using it as an authority for a research paper or thesis.
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If you're a busy person, looking for simple, gentle, effective ways to bring the soulful into your life, I think you couldn't do better than to buy this book.
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That said, it was very informative and described how things worked during the political upheavals in the mid 90's. One other commentator said the book was "less about art and more about money and politics". That, I think, is what the NEA director does, that the artistic decisions tend to be made at a lower level. In many respects, I can see why she was chosen for that post - she had a high profile, classy background but was not "too Hollywood" and having a performing artist in that position kept both the political and artistic grandstanders at bay.
It also makes the case for governmental support of the arts. She disagreed with people who made a purely philosophical decision not to vote for federal funding of the arts. However, her dismay was more with people who played to the cameras (and never bothered to learn about the agency's actual operations) and, also, those who promised support in private but backed off in public. Hey, that wasn't the first time that's happened in politics.
Ultimately, she said it was the support of the American public (who pay less than a dollar a year) that turned the tide in the legislative battle. Still, I agree with the other commentator who put it best: Bravo, Jane.