SOURCE: The Baffler
The historian Noel Ignatiev's memoirs offer insight into the labor roots of his radical politics.
SOURCE: Boston Review
by Daniel Steinmetz-Jenkins
A critique of the first volume of Obama's presidential memoir argues that the 44th President was unwilling to acknowledge the limits of the centrist liberal politics of the 1990s and unable to consider more progressive alternatives.
by J. Chester Johnson
The author's realization that his beloved grandfather had participated in a racist massacre in Elaine, Arkansas led him to an unlikely journey of reconciliation with a descendent of one of the victims of that campaign of terror, and an understanding of the need for honesty about how heritage can excuse racism.
by Max Eisen
"Once I put on these striped prisoner’s clothes, I felt like I was no longer a human being, only a number."
SOURCE: Public Seminar
He should know. He wrote on himself!
SOURCE: National Review
by Victor Davis Hanson
Robert Gates’s insider memoir is the latest in a dishonorable genre.
SOURCE: New York Times
The manuscript was written by a man named Austin Reed, a prisoner in upstate New York.
by James M. Banner, Jr.
Historians of 'Past and Present' by Stephen Frederick Godfrey Farthing, 1999. National Portrait Gallery, London. John Elliott is one of the sitters.Cross-posted from the Weekly Standard.
Mohammed Fairouz has never been shy about using his musical platform to explore political and social issues. Nor is the young New York-based composer allergic to popular culture in its most colorful forms. So for his latest work, "Symphony No. 4, In the Shadow of No Towers," which will make its world premiere Tuesday at Carnegie Hall, he is grappling with the aftermath of the attacks of Sept. 11, 2001, by adapting the 2004 graphic novel "In the Shadow of No Towers" by Art Spiegelman.Mr. Fairouz, who is 27 and grew up in New York and London, said he was initially attracted both to the book's structure and to its contemplative treatment of the events. "Graphic novels have a kind of architecture that is musical," he said. "I thought the way that it dealt with the event and its aftermath wasn't overly sentimental, but at the same time was respectful."But when he pitched the "No Towers" idea to Mr. Spiegelman, the Pulitzer Prize-winning author and illustrator of "Maus" was hesitant. A previous effort by another composer to create a multimedia production had yielded mixed results, so the artist's expectations were tempered. After hearing Mr. Fairouz's completed symphony, though, he was moved....
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