Here are 17 books that American Visions fans have personally recommended if you like
American Visions.
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Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
This is my candidate for the Great American Novel. Read it for its storyline and its fascinating chapters on whales. Along the way, you’ll encounter discussions about race, religion, friendship, and the virtuous life.
Some of my students ask, “Why does Melville digress so much?” My response: persist in reading this work. What at first seems extraneous becomes vital. You’ll discover a masterpiece.
Melville's tale of the whaling industry, and one captain's obsession with revenge against the Great White Whale that took his leg. Classics Illustrated tells this wonderful tale in colourful comic strip form, offering an excellent introduction for younger readers. This edition also includes a biography of Herman Melville and study questions, which can be used both in the classroom or at home to further engage the reader in the work at hand.
Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
This book showed me how engaging, intellectual history can be written. It’s never enough to present information. If you respect your readers, as Delbanco does, keep them entertained. These twelve essays mix the personal, literary, and social in a lively and often surprising, frothy brew. I also like the way Delbanco makes the distant past relevant for today’s world.
Individual sentences are a delight. You’ll leave the book knowing much more about the life, times, and work of writers like Harriet Beecher Stowe, Edith Wharton, and Richard Wright.
Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
Time and again, I come
back to this work of criticism because of its daring arguments. Fiedler attempts nothing less than a
comparison of American fiction with English, French, and Russian literature.
If
some of his arguments will leave you scratching your head, others will make you
look at novels from an entirely different perspective and provide a new
understanding of works you thought you knew.
Lengthy analyses of Moby Dick, The Scarlet Letter, and Huckleberry Finn help to illustrate the duplicity with which themes of love and death are treated in American fiction
Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
No book has influenced my study of intellectual history more than Hauser’s work. His Social History is an enormous undertaking and is divided into four volumes. It covers the period from cave art to early movies.
Dip into it to read about Shakespeare, Rembrandt, or Tolstoy. What I find so impressive is the nuanced and convincing way Hauser relates changes in society to artistic creation.
First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced.
This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides…
I arrived in New York City from Germany thirty years ago with two suitcases and a typewriter. Since then, I try to combine my background as an art historian – I hold a M.A. in Art History and Anthropology from the University of Tübingen, Germany – with my experiences travelling around the world for seven years, and my love for writing. After a career in museum education (at the San Diego Museum of Art, the Mingei, and the Athenaeum) I founded Konstellation Press, an indie publishing company for genre fiction. The first of my four novels, Spring of Tears, an art mystery set in France, won the San Diego Book Award.
The author of The Killing Art is an artist himself and therefore writes from an insider perspective. The location is New York City and the art movement is the New York School of Art or Abstract Expressionism, which included the artists Jackson Pollock, Willem de Kooning, and Mark Rothko. The main protagonist is Kate McKinnon, an art historian and former cop, who sets out to write a book about these artists, but is pulled back into solving crimes as the paintings she writes about— and their owners—are slashed. I like the female protagonist in this book as well as the more contemporary setting and art.
History and fiction collide with deadly consequences in the third Kate McKinnon novel—a story of bitter revenge, where the past invades the present and a decades-old secret proves fatal
Kate McKinnon has lived many lives, from Queens cop to Manhattan socialite, television art historian, and the woman who helped the NYPD capture the Death Artist and the Color Blind killer. But that's the past. Now, devastated by the death of her husband, Kate is attempting to quietly rebuild her life as a single woman. Gone are the Park Avenue penthouse and designer clothes. Now it's a funky Chelsea loft, downtown…
I am the grown-up little girl who loved to read. I loved novels and children’s biographies—Amelia Earhart, Marie Curie, Annie Oakley. I imagined that if I could learn to write books that inspired readers and moved them to tears like my favorite books, I would have accomplished a great good. My first biography, The Peabody Sisters, took twenty years and won awards for historical writing. My second biography, Margaret Fuller, won the Pulitzer. But what matters more than all the prizes is when people tell me they cried at the end of my books. I hope you, too, will read them and weep over lives lived fully and well.
Anyone who admires the portraits of John Singer Sargent is sure to know his gorgeous Daughters of Edward Darley Boit, the exquisite grouping of four girls in white pinafores emerging from the shadowy rooms of an elegant Parisian apartment. But do you know the girls, and how Sargent came to paint them? And what became of them all? Erica Hirshler, a curator at Boston’s Museum of Fine Arts, where the painting is on permanent exhibition, has written a book that reveals all in a stylish and richly nuanced historical detective story.
John Singer Sargent’s renowned portrait “The Daughters of Edward Darley Boit” is examined in an aesthetic, philosophical, and personal tour de force that has been called “thoroughly absorbing” (New York Times Book Review); “brilliant and insightful”?(Wall Street Journal); “an attractive, well-illustrated scholarly book, further enlivened by the author’s warm and friendly tone” (Times Literary Supplement); “a uniquely crafted history” (The Magazine Antiques); “a brilliant work of criticism, without a word of jargon in it” (Maine Antique Digest); “sensitive and penetrating” (Choice); and “a meticulously researched account of [the Boits’] milieu, their eccentric lifestyle, its unintended effects on their daughters, and…
Denise Kiernan is a multiple New York Times bestselling author of narrative nonfiction books including The Girls Of Atomic City, The Last Castle, and We Gather Together. Throughout her career as a journalist and an author, she has explored underrepresented stories and characters and the impact they have had on history. These stories of the unsung offer fresh perspectives on historical tales we think we already know. At the heart of many of Kiernan’s nonfiction explorations are women from a variety of different backgrounds and time periods.
There are many ways to approach history. Donna Lucey brilliantly chose to usher readers into the world of the Gilded Age via the captivating canvases of that era’s most sought-after portraitist, John Singer Sargent. There are always more stories lurking behind Sargent’s luxurious depictions of his subjects, and Lucey gets beneath the paint and the posing to give us her own picture of four very real women whose lives are far more nuanced than any portrait sitting can convey.
With unprecedented access to newly discovered sources, Donna M. Lucey illuminates the lives of four women painted by the society portraitist John Singer Sargent. With uncanny clairvoyance, Sargent's portraits hint at the mysteries, passions and tragedies that unfolded in his subjects' lives. Elsie Palmer carried on a labyrinthine love life in a Rocky Mountain castle; Elizabeth Chanler stepped into a maze of infidelity with her best friend's husband; as the veiled image of Sally Fairchild emerged on the canvas, her sister was lured into an ill-fated life in art; and shrewd Isabella Stewart Gardner collected both art and young men.…
I’m not entirely sure how to describe myself other than as a committed writer and a devoted reader. Mine has been a fairly unconventional career. It has moved me from one spot on the globe to another and has placed me on both ends of the publishing equation—first, as a book publisher, and, next, as the author of a variety of books. I’m certain of a single shared fact: that no matter whether fiction or non-fiction, regardless of the subject, a story always rests on the success of engaging the reader.
The subject of this book is featured in a large portrait by John Singer Sargent, painted in 1881 and entitled “Dr. Pozzi at home.” It would be an understatement to say that the good doctor cut a fascinating figure. Julian Barnes does a wonderful job regaling us with Pozzi’s escapades and explaining how, by the time Pozzi died of a gunshot wound inflicted by a crazed patient, his fame had become international. Barnes is a wonderful raconteur, and he invites us into Pozzi’s colourful life with infectious charm, while offering his own erudite first-person ruminations.
'A bravura performance, highly entertaining' Evening Standard
The Booker Prize-winning author of The Sense of an Ending takes us on a rich, witty tour of Belle Epoque Paris, via the life story of the pioneering surgeon Samuel Pozzi.
In the summer of 1885, three Frenchmen arrived in London for a few days' shopping. One was a Prince, one was a Count, and the third was a commoner, who four years earlier had been the subject of one of John Singer Sargent's greatest portraits. The commoner was Samuel Pozzi, society doctor, pioneer gynaecologist and…
I have always loved reading biographies: we only get one life, but through stories of others’ lives we get to absorb into our own imagination their experiences and what they learned, or didn’t, from them. Having written poetry since childhood, I have long been an observer of myself and those around me, with a great curiosity about how people live and what motivates them. I’ve come to see that, no matter what genre I’m writing in, I’m driven to understand the connection between identity and place–for me, in particular, women in the southern U.S., and how each of us makes meaning out of the materials at hand.
I’ve been intrigued all my life by the women on my mother’s side of my family who were artists and writers. How did I fit into that familial line, and what could I learn from them?
Honor Moore’s investigation into her artist grandmother’s life drew me into her own examination of that question, and I was deeply moved by her mission of reviving her beautiful, brilliant grandmother’s reputation as an artist while offering an honest assessment of how societal pressures affected her mental health and problems with alcohol abuse.
Margarett Sargent was an icon of avant-garde art in the 1920s. In an evocative weave of biography and memoir, her granddaughter unearths for the first time the life of a spirited and gifted woman committed at all costs to self-expression.
In the course of everyday life, when I’m writing books for middle grade and young adult readers, board books spring to my mind. Sometimes they come from catching a glimpse of a child hugging a parent, or they may spring from a phrase I overhear or say myself. That sounds like a board book, I think, and I write it down quickly. Sometimes, I’ll wake in the night, and a board book text will come to me in rhyme. Along with writing board books, I’ve been recommending quality works at the readertotz blog since 2009 in order to raise the profile of the format. Authors, illustrators, and publishers must create the very best quality, and then we must support, enjoy, and celebrate the works. A simple eight words may introduce a first reader to a love of books for life.
Part of the This Little series, Joan Holub’s This Little Artist is an introduction to art history for our wee ones. Daniel Roode’s stylized figures with big round eyes illustrate greats such as Michelangelo, Mary Cassatt, and Jean-Michel Basquiat. A rhyme and portrait give an introduction on the left-hand page, and several facts follow to accompany the artist in their own setting on the right page. The book concludes with eighteen other artists and their techniques, as well as questioning what your reader might create. This is a little treasure of creativity and inspiration.
Learn all about artists who changed history in this engaging and colorful board book perfect for creators-in-training!
Painting, shaping, making art. With creative joy, hands, and heart.
Little artists have great big imaginations.
In this follow up to This Little President, This Little Explorer, This Little Trailblazer, and This Little Scientist now even the youngest readers can learn all about great and empowering artists in history! Highlighting ten memorable artists who paved the way, parents and little ones alike will love this creativity primer full of fun, age-appropriate facts and bold illustrations.
