Superb. I am a professional photographer, and i really admire Smiths work. This book is a great collection of some of his images.
The publishers did a good job reproducing the photographs, nice detail and tone. Definitely worth the price.

An excellent display and text of one of one of the world's great photojournalists. I would recomend this book highly to any fan of E. Eugne Smith

SMITH BOOK REVIEW

Having risked hernia to browse the impressive new book of an old friend and neighbor, ( W. Eugene Smith; Photographs 1934-1975 John T. Hill/Gilles Mora) what first grabs is the space, air and light enveloping these intense images with almost a loving caress, a sense of freshness and sunlight never possible in our dim, dingy-dusty claustrophobic Sixth Avenue loft building, where, just outside my studio door, were piled stacks upon stacks of his work mounted on black 16x20 dogeared mats, just waiting to be stolen, but which were, in fact, attributed by many visitors to some magical drugstore, and could I, please, arrange to have their wedding pictures made there, too? Gene couldn't sell one print for even twenty-five bucks in those days. Every night when I came home to sleep there was the despairing Clement Attlee staring upward at the bare light bulb over my doorway.

That was forty years ago, and twenty since Gene went to that great blast of ferrocyanide in the sky, and much ado about him has taken place in the interim. New York fifties mindset was Freudian psychoanalysis; everyone went to a shrink. Any prominent individualistic tendencies were often condemned to one definition of neurosis or another, and in the rather small and specious world of photography , Gene's maverick determination stood out in high relief. Businessmen photographers-- like the young Lee Friedlander, himself awash in Freudophilia, considered Gene a 'spoiler', pretentious-precious, and went instead to sit at the feet of the polymorphous Walker Evans; yes, "pomposity" was pretty much the legend that Gene's exit from LIFE brought down around his head. Not a team player at all; tsk tsk. And in his brave repudiation of corporate moloch, Gene valiantly pratfalled himself right into the lap of utter poverty.

To large extent, Gene's persona seemed to require a struggle against impossible odds; it focused and sharpened him to the high standards he demanded from himself , and he was no slouch when it came to grandstanding, often with tears, his anti-Goliath position. He built his own Myth of Smith, his self-invented public (relations?) image, fine when LIFE was footing the bill, but now, inside our firetrap former whorehouse , there was real rent to pay, real electric bills, bona fide empty refrigerators. That is about when we began to get acquainted--- I never really bought the Myth; for me he was just the strangely interesting guy downstairs who became a great pal.

Outside the loft, Gene was quick to acquire the packagable cliche of the garret-starved self-destructive artist. Compared to Van Gogh, he earned some residue of American Puritan contempt; this man whose great humanity was most evident in his work was treated most inhumanely by his peers.

Inside the loft, for many years the two of us were in daily contact, working and trying to exist under extremely difficult economic circumstances, and we often had one helluva good time!! I found him to be a genial, generous, courageous---often outrageous-- warm wildly witty man, always humble, sensitive, shy and hard-working, sharing a great interest in art, with a remarkable philosophical perspective. We jabbered of Welles and Chaplin , wide angle lenses, witches, Goya, Haiti, Satchmo, Stravinsky, O'Casey, Joyce, Kazan, war, suicide, politics, cock-fought over girls, guzzled cheap scotch, and swung with the jazz that regularly took place in my studio , as if great mind trips could avert the cold fact of the necessity to eat. I remember one hot summer day, making cream cheese and molasses sandwiches for us on cinamon bread. Gene argued that we didn't have to buy the molasses because we could get the iron from our rusty tap water. As a rule, his antic humor and punning sense managed always to keep things slightly off-balance; this man who had such a profoundly dramatic instinct and attraction for the tragic had also a capricious spirit of the absurd in the way he conducted his daily life; Van Gogh with a manic dash of Robin Williams.

And astonishingly productive. Yet always the gloomy impassioned chairoscuro came out of the darkroom-- prints blacker than black, then mounted on black, dense, intense, often in layout strangulation, making sure; I , W. Eugene Smith , won't let you go gently into that unferrocyanided good night. Sans assignments, now more artist than journalist, for years on end Gene shuffled his prints, made and remade PITTSBURG, photographed our jazz and our personal La Boheme, tried a failed book, a failed magazine, and finally luck brought him The Jewish Museum show and then his crescendo, Minimata.

One night in Bradley's in 1975, Gene said, "Well, Dave, I finally got there at last. I've got ten thousand dollars in the bank for the first time. Of course, it's only going to be there about a week."

Jump cut posthumous; an icon, passed away amongst us, is now suddenly acknowledged. Many who jeered him, refused him recognition, now come out to sycophant, to pedestal, to celebrate his life-- including LIFE itself. Gee, we're SO sorry; but let's exploit!

Those twenty-five dollar prints buckled the registers at auctions, and giant profits were made; yes, the same old art-woe story--- just at the time Vinnie the Gogh himself was pulling down millions in Sotheby sales. The dark side of Gene, finally, surely, took care of his children and at least one of his wives.

We get a brilliant and sensitive biography by Jim Hughes, a soso documentary, worldwide traveling shows. And then it seemed over. "There's no money left around for Gene Smith anymore" comments executor John Morris in the late eighties, handing his stewardship over to Gene's bastard son.

Now, surprise! comes this current coffee table dominatrix which gives Gene's babies, his pictures, the opportunity to have a life of their own in renewal. SNAP!! Of course one can argue anew the merits of the individual essays and which choices are the best, etc., but for myself-- having gone to bed amidst these images for many years, there's something new about them now; suddenly welcome. There is a spank-spank/no-no here; not all of what we see are Gene's own prints, very much against the artist's wishes, but the damage is by no means on the level of, say, Clement Greenberg's sanding off the paint on David Smith's sculptures after his death. And most of these choices help illuminate Gene's way of seeing and working. There are also textual inaccuracies; Hall Overton did not own the loft bldg. I had rented three floors, and Hall rented originally from me, and my friend Sid Grossman sent over Harold Feinstein to share Hall's floor. When Harold left, he brought in Gene.

I liked John Hill's technical essay at the closure. I was with Gene the night MAD EYES burnt out all the surrounding background, with ritual Clan MacGregor celebration, for neither of us-- one painter, one photographer-- gave a whit about 'objectivity'.

This spacious book-bomb adds honor and light to these master photographs, allowing them their own life and breathing room not usually available. Gene's insistence on control force-gilded his lilies, giving barely any space in his layouts to let the eye feel free to wander on its own volition. Now one can look afresh with impunity, and they look a bit different--even better.

In any event, Gene, now busily groping angels, can no longer argue in his own defense, no longer joke, weep, holler, cajole, rage, pun. And he doesn't need to.

You know? This fellow really had one goddamned great eye and sense of when.

David X Young

Oct 22 1998

Interesting, isn't it, that it took a Belgian photographer to create a book filled with exquisite black and white images of the American West specifically symbolized by the small town rodeo cowboy. I was immediately reminded of John Huston's brilliant movie, THE MISFITS in which, Montgomery Clift who could easily have been playing one of these very cowboys, calls his home to sadly tell his family that he has failed, once again, to win a prize or top money. A desperately sad scene, played brilliantly by Clift, written by none other than Arthur Miller.

Arena Editions has produced a handsome volume for Wouter Deruytter's magnificent pictures in which the horses, riders, clouds, mesas and mountains look as if they come directly from a John Ford western starring John Wayne. Here we see young men preparing themselves for tests as grueling as chivalric games from the Middle Ages.

I do not usually like alot of text accompanying books of photographs: I prefer to let the images speak for themselves. That said, John Wood's wonderful essay "Youthful Elegance and the Masks of Destiny" helps a city slicker like myself understand exactly what Deruytter's photographs are saying.

Some of my favorites include a little boy sitting astride a metal barrel pretending that the barrel is his first rodeo horse, the same boy practicing wrapping tape around his wrist as his older mentor/idol/friend does the same, a pen filled with black, brown, white horses looking as if they would give the world to be free and, finally, an unnamed cowboy stretching his legs, getting ready for the games, doing a deep bend, so very close in looks to a ballet dancer's plier. This is a beautiful, moving book. HIGHLY RECOMMENDED.

Wouter Deruytter is a Belgian photographer best known for his images of people in masks and costumes ranging from drag queens to circus performers. In Wouter Deruytter: Cowboy Code, we are treated to his photographic images of the American West drawn from three summers spent photographing Montana cowboys and the small town rodeos of Big Sky country. Augmented by John Wood's informative text, Wouter Deruytter: Cowboy Code is a photographic compendium with strong appeal for students of photography, as well as the non-specialist general reader with an interest in the cowboy culture of the modern American West.

This volume of rodeo photographs presents young men engaged in a lifestyle that is desperately under-appreciated -- and often mocked -- by many academics and much of the American literati as unsophisticated drones of Western resource exploitation.

Far from being automatons, these men have no pretense regarding their communion with nature; it is their LIFE. Whether relaxing, preparing for an event, or nursing wounds, these gentlemen evince a stoic elegance that is all but absent in the trappings of modern urban life.

Like his mentor Bruce Weber, Mr. Deruytter has a great eye for demonstrating that even that which is ultra-masculine retains far more than a glint of delicacy.

A solid pick for those interested in rural western life, and for those who appreciate cowboys yet to have their faces etched by the natural elements.

"Africa" is the companion volume to the recent PBS series of the same name, and like the series, is organized into eight parts, each one focusing on a particular geographical region of the continent. In clear, concise language, John Reader gives us the historical and geographical background of each area, the current economic and social structure, and the problems affecting the particular region. The photographs are mind-blowing; they are so gorgeous that they almost dominate the excellent text. The one disappointment, for one who has also seen the PBS series, is that the book doesn't follow the individual stories of people in depth as the PBS production did; however, no one who hasn't seen the TV production will miss it, and it in no way detracts from the overall value of the book. This is one book about the "dark continent" that does the continent, and its people, proud.

This is an excellent book for anyone who might find Reader's earlier book "A Biography of the Continent" too much of a good thing. "Africa" explores many of the same themes and issues, but the information is arranged differently and there are more illustrations; this book is aimed at the educated lay-reader. Still it is an important and outstanding book. Reader is a good writer and his research and grasp of a myriad of disciplines related to his subject is impressive.

The story is told by geography: Savanna, Desert, Rain Forest, Mountains, Sahel, Great Lakes, Coast, Southern Africa. Being a "companion" to the PBS/NGS TV series there is some (but not much) focus on the people who appeared in the television documentaries. Mostly Reader tells the stories behind the story; his history of Africa is as much about the environmental, geographical, and physiological as merely chronological. For example, Reader tells why bananas and plantains are so important in African history; what makes camels so invaluable in the Sahara, how sickle cells and malaria are related, even the advantages and disadvantages of walking upright. Of course there is some in-this-year-such-and-such happened, but that is kept to a minimum. This "Africa" is not only an outstanding introduction to Africa, it should also be of interest to any Africanist.

The photographs by Michael Lewis are good enough to be a book of their own; they combine with Reader's well organized and informative text to make "Africa" an excellent portrait of the continent. Reader's "Biography of the Continent" is also highly recommended.

This book is a spectacular visual text to some of the American National Parks. The size of the photos, and their photographic quality, are just excellent. The photos are right up there with National Geographic-type quality. In addition, the accompaning text gives ecological insights to where and why this part of the United States was designated and saved as a National Park. The book gives short but insightful accompanying text for each of the Parks that are presented to the reader. The only problem is, unfortunately, the organization of the chapters, and a very skimpy table of contents, and the reader can get easily annoyed with these two problems. It is hard to understand why the publisher made such errors, as the problems are very obvious, and the whole book suffers as a result. It is a beautiful book covering many of the National Parks, with super photos and very good college level text, and if you can put up with the problems of a missing table of contents, this book is a great collection of art, ecology, and the National Parks of the USA. A 5-star for the photos and accompanying text, and a 3 for a useless table of contents. Sorry, but the publisher made major mistakes in putting this otherwise spectacular book together. But I will still give the book a 5-star anyway. The photos and text are just too good to give this book anything less than a 5-star.

Paul Schullery presents a book filled with powerful and beautiful images of fifty-six national parks that have been dedicated to the preservation and protection of irreplaceable treasures. This book shows why these parks are so worthy of protection.

Not only are they places where indescribable beauty can be seen, they have also been formed by unique geological forces. From stunning mountain ranges to arid expanses of desert, these are the lands we view, wander in and learn from.

America's National Parks is a celebration of the diversity of national parks throughout the United States. They are grouped according to the geological forces that helped to create them.

Diagrammatic illustrations, important landmarks, travel routes, topographical maps and spectacular full-color photographs illustrate the sheer majestic beauty of nature.

You will also find captivating information to encourage an awareness of the landforms, flora and fauna. Families will also find information to help enhance their vacations at the parks.

Inside the front cover a map of America shows the location of each park I started to remember my trip to the Grand Canyon National Park and my husband's visit to Denali.

Our Treasured Lands
The Rolling Land - Volcanic and Geothermal Forces
The Broken Crust - The Power of Mountain Building
Water Designing Lands - Waves, Caves and Currents
Ice Sculpting Stone - The Carving Power of Glaciers
The Patient Power - Wind and Water Erosion
Weather Shaping Life - Effects of Extreme Climates

This book contains some of the most amazing photographs I've ever seen of America. From pictures of dripstone formations adorning New Mexico's Carlsbad Cavern in New Mexico to Lush Ecosystems shrouded in Fog in the National Park in Washington, these pictures help to vividly describe each park. I remember once having an argument with someone over the fact that there were rainforests near where I lived in Washington and no one would believe me. Well, here is proof!

I was also especially interested in looking up the Painted Desert we visited once on a trip across America after college. At the time, I didn't actually realize I was in the Petrified Forest national Park in Arizona because technically, we were just driving right through and I wasn't paying attention.

This book has helped to bring a new awareness to my own life and also encourages a desire for more exploration. Now I definitely want to see Mount McKinley in person.

Voyageurs National Park looks like a fascinating place to paddle around lonely islands. However, they do say never to skimp on insect repellent. A third of the park is water.

A memento of past visits or an inspiration for future exploration!

A big YESSSSS for this book even though it is not a book to sit down and read anymore than I would sit down and read any other encyclopedia. Clinebell shakes up a lot of wholeness arguments by writing about the environment as well as about people. He is convinced that individuals do not receive healing or wholeness unless the earth is healed. He writes about pollution and the effects of lifestyle on the earth--the consequences of national political decisions and individual actions.

In a w ay this is a Bible for health and wholeness.

Howard Clinebell examines seven dimensions of well being and holistic health in Anchoring Your Well Being. The seven dimensions discussed are spiritual, physical, emotional, relational, work & play, crisis & loss, and environmental well being.

The book has a simple design: Each chapter opens with a series of statements designed to allow the reader to assess his or her health in the given dimension of well being. Then Clinebell delves into the content with the passion of a lecturer in demand.

Clinebell begins with spiritual well being and offers a number of insights based on biblical texts and reflections. Clinebell's various exercises in the seven dimensions allow readers to practice his insights. The "Baker's Dozen Suggestions for Relational Well Being" are of primo importance. Perhaps most radical statement is Clinebell's contention that personal wholeness cannot be achieved until environmental wholeness/justice becomes real.

Howard Clinebell is a United Methodist minister and a professor of pastoral care. He lectures around the world. I gained a sense of his lecture style by reading this book and found the work practical and practiceable.

Having spent some time recently in Cambodia exploring the Angkor ruins, I looked forward to purchasing this new picture book by celebrated photographer Jon Ortner. I was not disappointed. The photographs literally come alive. The quality of the paper is extremely good; the colour reproduction and sharpness of the pictures are superb.

The author chose a broad selection of the ruins to be included in his coffee table size text. All the famous sites are included, as well as a number of the lesser known monuments. The essays written by experts in the field also added a lot of useful and interesting background information. Several maps also aid the reader in locating the ruins.

For those who have seen Angkor, this book is almost a must. I am certain the owner will refer to these awesome photographs time and time again to remind himself of the experience of viewing some of the most incredible architecture and art in the history of mankind.

Top quality photographs of one of the true wonders of the world in one of the few remaining truly exotic countries. The craftsmanship and presentation are top notch, but nothing short of making the trip in person is really satisfactory. Fortunately, the trip is relatively safe in these days when even domestic travel has its risks.

Hey Paul great book. Will you be writing a book as a follow up to your story in Readers Digest about the lost tribes. Pretty interesting stuff. If not, do you know of any books written on this subject. Also can you post your e-mail address I wish to inquire about purchasing a copy of the Photograph that was displayed on pages 110 & 111. I would like it large enough so that I may frame it. Best Regards C.A. Esposito

I wrote this book, so I think it is terrific.

These poems are brilliant and inspiring because they were written by a socialist. They were written to make you think about the system.

Questions by a Worker Who Reads is one of my favourite poems. The freeways, offices, electricity system and everything else in our civilization were not built by politicians or company executives - they were built by workers.

Bertolt Brecht has acquired the same status as those other artists whose work is known, but not appreciated. Like Faulkner, Joyce and Proust, he has become transmuted into an adjective; even worse, he has followers who describe themselves as "Brechtian" and who are happy to discuss his theories of drama instead of the dramas themselves. But things get even worse when you get closer to the man himself, for there is a wealth of evidence that "der arme B.B." was, in fact, a conscienceless thief who stole credit from everyone with whom he worked and, in particular, from the women he charmed into professional and emotional liaisons. Add to this his craven attitude towards Stalin, and his theories of epic theater seem to be, at the very least, a gross exercise in self-deception. All very off-putting. But his poetry is a different matter. Brecht approaches the reader without the arrogance of a theorist interested in instructing the audience how to think. He is more candid, both personally and politically, willing to condemn his own weaknesses and, in his later years, those of the movement that he had defended at any cost. And, most importantly, his poetry is fresh, direct, cutting and beautiful, even in translation. This is a volume that those who are interested in writing poetry should have.

Both of my kids love looking at the pictures and love hearing about the big rigs.

All the wonderful machines that fascinate kids are featured in this book -- bulldozers, front-loaders, big shovels, backhoes, etc. -- each explained in a clear and entertaining style. Splendid illustrations fill every page, and are the gems that set this book apart from others, elevating it to the status of a classic. The pictures are chock-full of delightful details -- from little, surprised worms wiggling in dirt scooped by the bucket of a front-loader to a huge, snorting bull on the front of a "bull"dozer to a score of tiny turtles crewing a submarine. Every illustration totally enthralled my three-and-a-half year old grandson, who returned again and again to the book to study the pictures, for there is such rich detail in each that one cannot possibly see everything at the first reading. This is a book whose memory a child will always cherish. It is a book that parents might buy for their child, knowing it may well be saved, and someday passed on to the next generation as a special gift.

I loved this book. It was an inspiring and delightful time spent viewing the photos and reading about this man's life. I ended the book with the feeling it was more than just a book about Billy Graham - it was a book of history. Mr. Graham has touched the lives of countless people, but has also had the opportunity to meet with more heads of state and influential people than most public officials. The pictures and commentary were indeed a trip through history. Billy Graham is a true public servant as well as a preacher. What a great gift has been given to this man of God!

This book covered everything I could hope for on this man who has been voted one of the most admired and influentuel men of the last century.I loved the photos as well as the commentary by himself and from so many other sources. It was inspiring and informative. My husband and I were competing for our chance to enjoy the book. Should have bought two copies!