Thursday, August 25, 2005

Great News for C.J. Box

Penguin has chosen to include OUT OF RANGE by C.J. Box in its "Great Reads Guaranteed" program, which means that they're so sure you'll like that they'll give you your money back if you don't. Now you have no excuse not to run out and buy a copy!

Monday, August 22, 2005

It Certainly Makes Sense

Book Sense, a nationwide consortium of over 1,000 independent booksellers, has chosen Laura Whitcomb's A CERTAIN SLANT OF LIGHT to appear on its Children's Picks List for Fall 2005. Congratulations, Laura!

Wednesday, August 10, 2005

The Naming of Bad Cats

Jim Edgar's BAD CAT has been selected as a humor finalist for the Quill Awards. The new national book award program, sponsored by NBC and Publishers Weekly, allows the readers, not the critics, to determine the best books of the year. To cast your vote, visit the Quills Foundation website or select Borders stores between August 15 and September 15. Congratulations to Jim and all those naughty kitties!

Monday, August 08, 2005


ARTNews has very nice things to say about Avis Berman's new book in its Summer 2005 issue:
Surprisingly, this slim volume is the first devoted exclusively to Hopper's depictions of New York City. Combining more than 50 paintings, watercolors, and etchings with an elegant essay by historian and critic Avis Berman, it sums up both the life of the man and the uniqueness of his work.

One of the mysteries of Hopper's paintings is why they still seem so contemporary seven decades after he created them. Berman distills the vast number of writings on the artist and clarifies the hallmarks of his vision.

Hopper ignored the city's soaring skyscrapers, bustling crowds, and architectural icons (he never painted the Brooklyn Bridge or the Empire State, Chrysler, or Flatiron buildings). Instead, his signature New York images, such as Early Sunday Morning (1930) and Nighthawks (1942), are unrelentingly horizontal, intimate, and anonymous. His images deal in spatial and psychological ambiguities--windows that both separate and unite, intrusive angles, unexpected vantage points, glaring sunlight and deep shadow. Hopper, Berman comments, "portrays architectural exteriors and human interiors at the same time."

Carefully chosen quotes from the artist and earlier writers add to our appreciation of the images. Like her subject, Berman extracts with deceptive simplicity the essence of Hopper's progression from his early days in Paris to his stark masterpieces of the 1930s and 1940s.