Rochelle Spencer’s “AfroSurrealism: The African Diaspora’s Surrealist Fiction” is a specific contribution to an important cultural genre and milieu. But it is also an argument for how to look at the world.
Page by Page: Book Reviews
The Socialist Challenge Today is an essential read. It provides “revolutionary realism” in its analyses and is free of naïveté, pessimism, and–especially–replications of revolutionary strategy frozen in amber from the twentieth century. That alone makes it a necessary addition to every socialist’s bookshelf.
American Argument provides historical depth in our consideration of how Blacks and Whites came together to enact the ritual of conversing across racial lines in the hope of better understanding each other. But it is remarkable how well it still speaks to us today, as aspects of that conversation have not changed.
Although Music by Max Steiner promises to be a must-read for anyone who wants an insider’s perspective on the music of Hollywood films, it also tells the tale of a semi-charmed life truly well lived.
Frank’s book is beautifully written, elegantly presented, and compellingly argued. The reader will not necessarily agree with every thesis advanced or each reading of an individual passage proffered. But that is not the point. The point is precisely to engage in that discussion without reserve.
Rising Justice is a magisterial book by a master historian, an epic sweep of Robert Kennedy and his time as a public figure. It is not a standard biography, but it has the narrative drive of a good biography. There is precious little here about Kennedy as a father, a husband, a son, just a few bits. Much testimony but little gossip. Yet one learns a great deal about Robert Kennedy person as well as Robert Kennedy the politician.
Two new books, in many ways vastly different, take on the history of Blacks in American comics—one discussing the work of more celebrated cartoonists of the last century or so, the other focusing on previously hidden figures.
Sticking it to The Man does not consider just any pulp fiction books; these are the stories of folks who have had enough of their designation as low and choose to rise up and challenge “the man” whose standards cast them down.
Hands Up, Herbie! delves into the lower depths, where criminality is anything but abnormal. At the same time, it is a portrait of the artist as a young man.
I am not so sure if Williamson is a conservative as much as he is a contrarian, at times a kind of White Stanley Crouch, though less verbose. At times, a kind of Hunter Thompson but less gonzo. I did not always agree with his interpretation of the world as he saw it, but I always found what he saw stimulating and more than occasionally trenchant.