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Told through the eyes of the grandmotherly Sister Mary Bradley, this is a heartwarming description of life in Harlem.
A collection of photographs depicting everyday life in New York City by the first Black artist to receive a Guggenheim Foundation Fellowship.
The second collaboration between father and son Thomas Roma and Giancarlo T. Roma, The Waters of Our Time is a book that could only be done in the latter part of this renowned photographer's career and with the unique contemplation of his watchful son. A retrospective of sorts, the book contains 142 of Roma's photographs spanning most of his career, beginning on the cover with a picture taken from his first roll of film shot in 1972, and a fictional text by Giancarlo T. Roma, written as a first-person narrative recollection in the voice of an older woman who has spent her life in Brooklyn. The written story begins on the book's cover and is interwoven with the photographs, lending a reflective quality to the interplay between them. In this way, the project is a true collaboration, resembling the making of a movie in reverse, where the pictures function as the script and the text acts as the moving images, coming in response. The title comes from the song "Follow" (written by Jerry Merrick and famously sung by Richie Havens, also a Brooklyn native), whose lyrics are reproduced throughout the book, and serves as kind of a sound track to the story, adding to the cinematic quality. The Waters of Our Time was conceived as an homage to Roy DeCarava and Langston Hughes' book The Sweet Flypaper of Life published in 1955, a cherished part of the elder Roma's library. The book remains true to Flypaper in terms of design (size, layout, font), but differs greatly in process. Whereas Hughes selected and sequenced DeCarava's photographs before writing the text for Flypaper, Roma selected and sequenced his own photographs first, leaving Giancarlo to write the text in the white space between pictures for The Waters.
Poet Langston Hughes' only novel, a coming-of-age tale that unfolds amid an African American family in rural Kansas, explores the dilemmas of life in a racially divided society.
Together in one volume are 250 representative photographs from the collection of a few thousand which Eudora Welty took during the 1930s, '40s, and '50s. It is a dazzling record of Welty's unique and special vision.
For more than fifteen years, Edward Weston kept a diary in which he recorded his struggle to understand himself, his society, and his medium. Seldom has an artist written about his life as vividly, intimately, or sensitively. His journal has become a classic of photographic literature.A towering figure in twentieth-century photography, Weston sought to awaken human vision. His restless quest for beauty and the mystical presence behind it created a body of work unrivaled in the medium. For more than fifteen years, Edward Weston kept a diary in which he recorded his struggle to understand himself, his society, and his medium. Seldom has an artist written about his life as vividly, intimately, or sensitively. His journal has become a classic of photographic literature.A towering figure in twentieth-century photography, Weston sought to awaken human vision. His restless quest for beauty and the mystical presence behind it created a body of work unrivaled in the medium.
NATIONAL BOOK AWARD LONGLIST The first English-language story collection from “one of Iran’s most important living fiction writers” (Guardian), “a playful, whip-smart literary conjuror: a Kundera or Rushdie of post-Khomeini Iran” (Wall Street Journal) In Seasons of Purgatory, the fantastical and the visceral merge in tales of tender desire and collective violence, the boredom and brutality of war, and the clash of modern urban life and rural traditions. Mandanipour, banned from publication in his native Iran, vividly renders the individual consciousness in extremis from a variety of perspectives: young and old, man and woman, conscript and prisoner. While delivering a ferocious social critique, these stories are steeped in the poetry and stark beauty of an ancient land and culture.
By the mid-1940s. Gordon Parks had cemented his reputation as a successful photojournalist and magazine photographer, and Ralph Ellison was an established author working on his first novel, Invisible Man (1952), which would go on to become one of the most acclaimed books of the twentieth century. Less well known, however, is that their vision of racial injustices, coupled with a shared belief in the communicative power of photography, inspired collaboration on two important projects, in 1948 and 1952. Capitalizing on the growing popularity of the picture press, Parks and Ellison first joined forces on an essay titled "Harlem Is Nowhere" for '48: The Magazine of the Year. Conceived while Ellison was already three years into writing Invisible Man, this illustrated essay was centered on the Lafargue Clinic, the first nonsegregated psychiatric clinic in New York City, as a case study for the social and economic conditions in Harlem. He chose Parks to create the accompanying photographs, and during the winter months of 1948, the two roamed the streets of Harlem together, with Parks photographing under the guidance of Ellison's writing. In 1952 they worked together again, on "A Man Becomes Invisible", for the August 25 issue of Life magazine, which promoted Ellison's newly released novel. Invisible Man: Gordon Parks and Ralph Ellison in Harlem focuses on these two projects, neither of which was published as originally intended, and provides an in-depth look at the authors' shared vision of black life in America, with Harlem as its nerve center.