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The artist novel occupies a prominent place in literary history. Although research into this genre, which is usually perceived as especially rigid, may seem to be exhausted at a first glance, a closer look at the development of the artist novel reveals its sheer incomparable malleability and resilience. In this book Orla Flock turnes her attention to those types of artist novels, which she calls dual artist novels, which depict the artistic and personal development of both a male and a female artist. The juxtaposition of the male and the female artist narratives reveals both the rootedness of the genre in literary tradition and subverts established but outdated notions of genre and gender. On both a structural and a narrative level, the dual artist novel challenges established but confining views and demonstrates that even incremental, nuanced development over time can ultimately lead to vast transformation. By reshaping the formerly rigid genre of the artist novel to include numerous and diverse voices while staying true to the thematic tradition, the dual artist novel subverts both the notion of static genre definitions as well as limiting conceptions of gender.
In this captivating novel, New York Times bestselling author Fiona Davis takes readers into the glamorous lost art school within Grand Central Terminal, where two very different women, fifty years apart, strive to make their mark on a world set against them. For most New Yorkers, Grand Central Terminal is a crown jewel, a masterpiece of design. But for Clara Darden and Virginia Clay, it represents something quite different. For Clara, the terminal is the stepping stone to her future. It is 1928, and Clara is teaching at the lauded Grand Central School of Art. Though not even the prestige of the school can override the public's disdain for a "woman artist," fiery Clara is single-minded in her quest to achieve every creative success—even while juggling the affections of two very different men. But she and her bohemian friends have no idea that they'll soon be blindsided by the looming Great Depression...and that even poverty and hunger will do little to prepare Clara for the greater tragedy yet to come. By 1974, the terminal has declined almost as sharply as Virginia Clay's life. Dilapidated and dangerous, Grand Central is at the center of a fierce lawsuit: Is the once-grand building a landmark to be preserved, or a cancer to be demolished? For Virginia, it is simply her last resort. Recently divorced, she has just accepted a job in the information booth in order to support herself and her college-age daughter, Ruby. But when Virginia stumbles upon an abandoned art school within the terminal and discovers a striking watercolor, her eyes are opened to the elegance beneath the decay. She embarks on a quest to find the artist of the unsigned masterpiece—an impassioned chase that draws Virginia not only into the battle to save Grand Central but deep into the mystery of Clara Darden, the famed 1920s illustrator who disappeared from history in 1931.
MAN BOOKER PRIZE FINALIST • A novel all about art's versatility, borrowing from painting’s fresco technique to make an original literary double-take. "Cements Smith’s reputation as one of the finest and most innovative of our contemporary writers. By some divine alchemy, she is both funny and moving; she combines intellectual rigor with whimsy" —The Los Angeles Review of Books One of the New York Times’s 100 Best Books of the 21st Century How to be both is a fast-moving genre-bending conversation between forms, times, truths and fictions. There’s a Renaissance artist of the 1460s. There’s the child of a child of the 1960s. Two tales of love and injustice twist into a singular yarn where time gets timeless, structural gets playful, knowing gets mysterious, fictional gets real—and all life’s givens get given a second chance. Passionate, compassionate, vitally inventive and scrupulously playful, Ali Smith’s novels are like nothing else. A NOTE TO THE READER: Who says stories reach everybody in the same order? This novel can be read in two ways, and the eBook provides you with both. You can choose which way to read the novel by simply clicking on one of two icons—CAMERA or EYES. The text is exactly the same in both versions; the narratives are just in a different order. The ebook is produced this way so that readers can randomly have different experiences reading the same text. So, depending on which icon you select, the book will read: EYES, CAMERA, or CAMERA, EYES. (Your friend may be reading it the other way around.) Enjoy the adventure. (Having both versions in the same file is intentional.)
"[The Shadow Drawing] reorients our perspective, distills a life and brings it into focus—the very work of revision and refining that its subject loved best." —Parul Sehgal, The New York Times | Editors' Choice An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotten.
With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.
The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.
An inspiring and timely debut novel from Lisa Williamson, The Art of Being Normal is about two transgender friends who figure out how to navigate teen life with help from each other. David Piper has always been an outsider. His parents think he's gay. The school bully thinks he's a freak. Only his two best friends know the real truth: David wants to be a girl. On the first day at his new school Leo Denton has one goal: to be invisible. Attracting the attention of the most beautiful girl in his class is definitely not part of that plan. When Leo stands up for David in a fight, an unlikely friendship forms. But things are about to get messy. Because at Eden Park School secrets have a funny habit of not staying secret for long , and soon everyone knows that Leo used to be a girl. As David prepares to come out to his family and transition into life as a girl and Leo wrestles with figuring out how to deal with people who try to define him through his history, they find in each other the friendship and support they need to navigate life as transgender teens as well as the courage to decide for themselves what normal really means.
OF WHAT FUTURE ARE THESE THE WILD, EARLY DAYS? An exploration of the role that artists play in resisting authoritarianism with a sci-fi twist. In poetry, dialogue and visual art the book follows two wandering poets as they make their way from village to village, across a prison colony moon full of exiled rebels, robots, and storytellers. Part post-apocalyptic road journal, part alternate universe history of Hip Hop, and part “Letters to a Young Poet”-style toolkit for emerging poets and aspiring movement-builders, it's also a one-of-a-kind practitioners' take on poetry, power, and possibility. NOT A LOT OF REASONS TO SING is a: -post-apocalyptic road journal -alternate universe history of Hip Hop -“Letters to a Young Poet” -toolkit for emerging poets and aspiring movement-builders it's also a one-of-a-kind practitioners' take on poetry, power, and possibility.
Sixteen-year-old Emilie, stuck in a cosmic Groundhog/Valentine's Day nightmare where she discovers her family is splitting up and her boyfriend is cheating on her, decides to embark upon The Day of No Consequences, but when her repetitive day suddenly ends, she must face the consequences of her actions.
The New York Times bestselling novel from Garth Stein–a heart-wrenching but deeply funny and ultimately uplifting story of a dog’s efforts to hold together his family in the face of a divisive custody battle. Enzo knows he is different from other dogs: a philosopher with a nearly human soul (and an obsession with opposable thumbs), he has educated himself by watching television extensively, and by listening very closely to the words of his master, Denny Swift, an up-and-coming race car driver. Through Denny, Enzo has gained tremendous insight into the human condition, and he sees that life, like racing, isn't simply about going fast. Using the techniques needed on the race track, one can successfully navigate all of life's ordeals. On the eve of his death, Enzo takes stock of his life, recalling all that he and his family have been through: the sacrifices Denny has made to succeed professionally; the unexpected loss of Eve, Denny's wife; the three-year battle over their daughter, Zoë, whose maternal grandparents pulled every string to gain custody. In the end, despite what he sees as his own limitations, Enzo comes through heroically to preserve the Swift family, holding in his heart the dream that Denny will become a racing champion with Zoë at his side. Having learned what it takes to be a compassionate and successful person, the wise canine can barely wait until his next lifetime, when he is sure he will return as a man.