Antiquarian and Classic Book Reviews
The 20th century contains a lot of small movements, categorized by modern history. Some are more prominent than others, and some are very difficult to define. That’s where the contemporary label comes in.
Post-modernism, structuralism, post-structuralism, post-post-modernism, deconstructionism, post-colonialism, hypertexts, and modern genre fiction can all be found here. Books that don’t fall into a broader movement can also be found here, including many topics of interest that are still current for readers.
Contemporary works were written mostly in the last 100 years. These books are usually a bit easier to find on shelf (though not always) in a bookstore.
You are viewing Contemporary reviews.
You can view all other eras/movements, or you can search by language/region, genre, editor/translator, book authors, or year of edition.
Sometimes books constructed out of vignettes seem to be built on a faulty foundation and have frames that are not enough to withstand the weight of a message or a book. Firestone here has used the flexibility of very short vignettes to construct just what her title implies — an airless space.
When you read these stories, it’s easy to start looking for threads of his eventual fate or at least the mental state that led to it. Are they there? Yes, but they are subtle.
here’s one thing you have to remember if you decide to take this trip into the past of Hollywood mayhem. Most of the stories here? Not true. As in: ludicrously not true.
If you don’t know who Barbara Payton was, you are forgiven. I was actually introduced to her and her book through Eddie Muller’s Noir Alley on TCM, and a screening of Kiss Tomorrow Goodbye, a 1950 James Cagney film.
I came to William Goldman’s Adventures in the Screen Trade via last week’s book, Julie Salamon’s The Devil’s Candy. It was actually mentioned in the puffery on the back of that essential book as being another essential book.
Salamon is exhaustive in her recounting of the movie-making process, from casting all the way to the final agonizing returns. I learned a lot about what it takes to produce a film, and the processes of people far removed from the actors and the cameras.
While the book is called The Lover, I would argue that it’s not much about the lover at all.
Hartman asks for serious scholars only, and for the reader to commit to thinking about more than how much blood the scene contained and which gory details are the most disgusting.
This isn’t just a book about a crime nor is it a fictionalization of that crime. Millett spends time with victim and perpetrator and with her own reactions to the case.
Don’t let the size of The Price of the Ticket discourage you. It was a collected volume that was worth the time and the effort and did not break my normally quick reading flow.
