by Thomas Edward Frank ‧ RELEASE DATE: March 10, 2020
A thorough and thought-provoking examination of the roles houses of worship play in communities.
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A work studies a wide variety of causes and ripple effects of houses of worship closing their doors.
“Religious buildings,” Frank writes, “their spaces and programs, their very presence, have long been essential elements of the sense of place that grounds community life in America.” The author sees houses of worship as the centers of this extremely important sense of place, a concept that extends well beyond the specific religious intentions of the people and denominations that built them in the first place. Frank notes that this vital sense of place was often reflected even in the geography of houses of worship, which often tended to cluster near town centers or commons. He uses as his main example North Adams, Massachusetts, focusing his inquiries on the kinds of general questions such buildings tend to prompt. These questions include “What kind of place is this, and what place will it become?” And, the author asks, “who gets to” answer or even frame such questions? These queries become more pressing as local communities across America lose parishes and centers of worship at an increasing rate, with the buildings themselves being repurposed into apartments, condos, and city offices. In all of these cases, Frank probes the far-reaching effects of such closings. “Is the scale of these closings indicative of social change and accelerating dispersal of ethnic and neighborhood cohesion?” he asks. “Or do the closings themselves exacerbate these trends? Or both?”
Throughout the book, the author takes a bracing, factual tone, completely rejecting the idea that he’s indulging in mere nostalgia. The historical activities he’s engaged in, “remembering stories of the past, asking how buildings came to be, or who the people were who populated this house of worship and this community,” are, he points out, “explicitly anti-nostalgic.” Understanding this kind of history, he maintains, “is essential in planning for a constructive future.” Frank uses the case of North Adams very skillfully in order to both explore the issues and challenge his readers. He has some stern words for the callous or unthinking way municipalities—and church management teams—sometimes deal with the issues involved in closing houses of worship. When he describes, for instance, the somewhat fumbling way North Adams dealt with closing, consolidating, and renaming churches, he asks: “But a diocese” can just “announce the renovation of collective memory and the institution of new folkways?” Most of Frank’s readers have at least a few houses of worship in their own immediate settings, and perhaps many of them know of such places that have indeed been transformed into condos or office spaces. But all readers will be captivated by the author’s intelligent and unflinching insights into both the role that houses of worship play in their cities and the changes that can happen when they close their doors.
A thorough and thought-provoking examination of the roles houses of worship play in communities.Pub Date: March 10, 2020
ISBN: 978-1-61846-095-0
Page Count: 172
Publisher: Library Partners Press
Review Posted Online: Aug. 21, 2020
Review Program: Kirkus Indie
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by Amy Tan ; illustrated by Amy Tan ‧ RELEASE DATE: April 23, 2024
An ebullient nature lover’s paean to birds.
A charming bird journey with the bestselling author.
In his introduction to Tan’s “nature journal,” David Allen Sibley, the acclaimed ornithologist, nails the spirit of this book: a “collection of delightfully quirky, thoughtful, and personal observations of birds in sketches and words.” For years, Tan has looked out on her California backyard “paradise”—oaks, periwinkle vines, birch, Japanese maple, fuchsia shrubs—observing more than 60 species of birds, and she fashions her findings into delightful and approachable journal excerpts, accompanied by her gorgeous color sketches. As the entries—“a record of my life”—move along, the author becomes more adept at identifying and capturing them with words and pencils. Her first entry is September 16, 2017: Shortly after putting up hummingbird feeders, one of the tiny, delicate creatures landed on her hand and fed. “We have a relationship,” she writes. “I am in love.” By August 2018, her backyard “has become a menagerie of fledglings…all learning to fly.” Day by day, she has continued to learn more about the birds, their activities, and how she should relate to them; she also admits mistakes when they occur. In December 2018, she was excited to observe a Townsend’s Warbler—“Omigod! It’s looking at me. Displeased expression.” Battling pesky squirrels, Tan deployed Hot Pepper Suet to keep them away, and she deterred crows by hanging a fake one upside down. The author also declared war on outdoor cats when she learned they kill more than 1 billion birds per year. In May 2019, she notes that she spends $250 per month on beetle larvae. In June 2019, she confesses “spending more hours a day staring at birds than writing. How can I not?” Her last entry, on December 15, 2022, celebrates when an eating bird pauses, “looks and acknowledges I am there.”
An ebullient nature lover’s paean to birds.Pub Date: April 23, 2024
ISBN: 9780593536131
Page Count: 320
Publisher: Knopf
Review Posted Online: Jan. 19, 2024
Kirkus Reviews Issue: Feb. 15, 2024
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by Steve Martin illustrated by Harry Bliss ‧ RELEASE DATE: Nov. 17, 2020
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
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IndieBound Bestseller
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
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