An exquisite pictorial love letter to Black children around the world.
A photographic celebration of the beauty and versatility of Black children and their hair.
The acclaimed husband-and-wife child photography team transforms what began as the arresting AfroArt series on Instagram into a beautiful, inspiring photography book. As the Bethencourts write, “we didn’t just want to question traditional beauty standards—we wanted to shatter them. We wanted to create images that flew in the face of the established spectrum of acceptable standards of beauty.” The result is a showcase of the “talent, drive, determination, and ingenuity in our [Black] youth across the diaspora.” Some of the children featured hail from across the U.S., London, and Paris. Others are adorned in brilliantly colored fabrics and accessories from the countries where they live or have familial roots, including Ethiopia, South Africa, Kenya, and Senegal. All of the models are meticulously styled in bold, ornate fashions, with equally bold, creative hairstyles. Their ensembles and accoutrements honor Black people’s majestic ancestral past, rich present, and dauntlessly imagined futures. Whether clad in white cotton Sunday morning dresses with saddle shoes or intricate metal and beaded jewelry, this “next generation of free thinkers and cultural innovators” displays their power. Some images are accompanied by notes on the children’s interests and the adversities they face. There’s the contemplative gaze of 10-year-old, science-and-math–loving Celai, the “youngest professional runway model to walk in an all-adult lineup in New York Fashion Week”; the pure joy of a trio of little girls wearing roller skates; and 9-year-old Darryl, whose family had a hard time finding a school in Nairobi that allows dreadlocks. There are activists and aspiring astronauts; friends Pokuaa and Sarah, who excel at academics and sports but can’t go to school every day because they also work to support their farming families; and a 13-year-old CEO who founded her own clothing line to fight racism and colorism.
An exquisite pictorial love letter to Black children around the world.Pub Date: Oct. 20, 2020
ISBN: 978-1-250-20456-1
Page Count: 256
Publisher: St. Martin's
Review Posted Online: Aug. 18, 2020
Kirkus Reviews Issue: Sept. 1, 2020
BOOK REVIEW
BOOK REVIEW
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
A cheeky, gossipy dual biography.
A study of two writers uncomfortably entwined.
After Eve Babitz (1943-2021) died, her biographer Anolik came upon a letter from Babitz to Joan Didion (1934-2021) that startled her. Filled with “rage, despair, impatience, contempt,” it read like a “lovers’ quarrel.” “Eve was talking to Joan the way you talk to someone who’s burrowed deep under your skin, whose skin you’re trying to burrow deep under.” That surprise discovery suggested a “complicated alliance” between the two. In sometimes breathless prose, with sly asides to the “Reader,” Anolik draws on more than 100 interviews with Babitz and many other sources to follow both women’s lives, tumultuous loves, and aspirations before and after they met in Los Angeles in 1967, sometimes straining to prove their significance to one another. “Joan and Eve weren’t each other’s opposite selves so much as each other’s shadow selves,” she asserts. “Eve was what Joan both feared becoming and longed to become: an inspired amateur.” At the same time, “Joan was what Eve feared becoming and desired to become: a fierce professional.” Didion had just won acclaim for Slouching Towards Bethlehem when Babitz, newly arrived from New York, began socializing with her and her husband, John Gregory Dunne. The reticent Didion and the sensual, energetic Babitz could not have been more different, and Anolik clearly prefers Babitz. “I’m crazy for Eve,” she admits, “love her with a fan’s unreasoning abandon. Besides, Joan is somebody I naturally root against: I respect her work rather than like it; find her persona—part princess, part wet blanket—tough going.” Their relationship—hardly a friendship—fell apart in 1974 when Didion and Dunne were assigned to edit Babitz’s autobiographical novel, Eve’s Hollywood. Babitz, resentful of Didion’s attitude and intrusion, “fired” her, pursuing her writing career on her own. Didion soared to literary fame; not, alas, Babitz.
A cheeky, gossipy dual biography.Pub Date: Nov. 12, 2024
ISBN: 9781668065488
Page Count: 352
Publisher: Scribner
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: Aug. 1, 2024
BOOK REVIEW
BOOK REVIEW
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