Advertisement
| james agee let us now praise famous men: Let Us Now Praise Famous Men James Agee, Walker Evans, 2001-08-14 This portrait of poverty-stricken Southern tenant farmers during the Great Depression has become one of the most influential books of the past century. In the summer of 1936, Pulitzer Prize–winning writer James Agee and photographer Walker Evans set out on assignment for Fortune magazine to explore the daily lives of white sharecroppers in the South. Their journey would prove an extraordinary collaboration—and a watershed literary event. Let Us Now Praise Famous Men was published to enormous critical acclaim. An unsparing record in words and pictures of this place, the people who shaped the land, and the rhythm of their lives, it would eventually be recognized by the New York Public Library as one of the most influential books of the twentieth century—and serve as an inspiration to artists from composer Aaron Copland to David Simon, creator of The Wire. With an additional sixty-four archival photos in this edition, Let Us Now Praise Famous Men remains as relevant and important as when it was first published over seventy-seven years ago. “One of the most brutally revealing records of an America that was ignored by society—a class of people whose level of poverty left them as spiritually, mentally, and physically worn as the land on which they toiled. Time has done nothing to decrease this book’s power.” —Library Journal |
| james agee let us now praise famous men: Let Us Now Praise Famous Men James Agee, Walker Evans, 2001 Words and photographs describe the daily lives of typical sharecropper families in the American South. |
| james agee let us now praise famous men: Let Us Now Praise Famous Men at 75 Michael A. Lofaro, 2017 This collection of essays illuminates a multitude of aspects of James Agee and Walker Evans's Let Us Now Praise Famous Men. Among the seventeen essays are the following: David Moltke-Hansen, Consider the Ancient Generations: Share-Cropping's Strange Compulsion; Sara Gardner, A Southerner in New York: James Agee and Literary Manhattan in the 1930s; David Madden, Let Us Now Praise Famous Men Is the Moby-Dick of Nonfiction; Caroline Blinder, Ruses and Ruminations: The Architecture of Let Us Now Praise Famous Men; and Jeffrey Couchman, The Cinematic Eye of James Agee in Let Us Now Praise Famous Men.-- |
| james agee let us now praise famous men: Let Us Now Praise Famous Men James Agee, Walker Evans, 1969 Agee's colleague at Time in the 1940s, John Hersey, writes a major evaluation of Agee's work and the Agee legend in a new introduction to this literary classic. 64 pages of photos. |
| james agee let us now praise famous men: Cotton Tenants James Agee, 2013-06-04 A re-discovered masterpiece of reporting by a literary icon and a celebrated photographer In 1941, James Agee and Walker Evans published Let Us Now Praise Famous Men, a 400-page prose symphony about three tenant farming families in Hale County, Alabama, at the height of the Great Depression. The book shattered journalistic and literary conventions. Critic Lionel Trilling called it the “most realistic and most important moral effort of our American generation.” The origins of Agee and Evans’s famous collaboration date back to an assignment for Fortune magazine, which sent them to Alabama in the summer of 1936 to report a story that was never published. Some have assumed that Fortune’s editors shelved the story because of the unconventional style that marked Famous Men, and for years the original report was presumed lost. But fifty years after Agee’s death, a trove of his manuscripts turned out to include a typescript labeled “Cotton Tenants.” Once examined, the pages made it clear that Agee had in fact written a masterly, 30,000-word report for Fortune. Published here for the first time, and accompanied by thirty of Walker Evans’s historic photos, Cotton Tenants is an eloquent report of three families struggling through desperate times. Indeed, Agee’s dispatch remains relevant as one of the most honest explorations of poverty in America ever attempted and as a foundational document of long-form reporting. As the novelist Adam Haslett writes in an introduction, it is “a poet’s brief for the prosecution of economic and social injustice.” |
| james agee let us now praise famous men: And Their Children After Them Dale Maharidge, 2008-11-04 Winner of the Pulitzer Prize for Nonfiction in 1990 In And Their Children After Them, the writer/photographer team Dale Maharidge and Michael Williamson return to the land and families captured in James Agee and Walker Evans’s inimitable Let Us Now Praise Famous Men, extending the project of conscience and chronicling the traumatic decline of King Cotton. With this continuation of Agee and Evans’s project, Maharidge and Williamson not only uncover some surprising historical secrets relating to the families and to Agee himself, but also effectively lay to rest Agee’s fear that his work, from lack of reverence or resilience, would be but another offense to the humanity of its subjects. Williamson’s ninety-part photo essay includes updates alongside Evans’s classic originals. Maharidge and Williamson’s work in And Their Children After Them was honored with the Pulitzer Prize for nonfiction when it was first published in 1990. |
| james agee let us now praise famous men: Let Us Now Praise Famous Men James Agee, Walker Evans, 2016-08-29 In the summer of 1936, James Agee and Walker Evans set out on assignment for Fortune magazine to explore the daily lives of sharecroppers in the South. Their journey would prove an extraordinary collaboration and a watershed literary event when, in 1941, Let Us Now Praise Famous Men was first published to enormous critical acclaim. This unsparing record of place, of the people who shaped the land and the rhythm of their lives, is intensely moving and unrelentingly honest, and today-recognized by the New York Public Library as one of the most influential books of the twentieth century-it stands as a poetic tract of its time. With an elegant new design as well as a sixty-four-page photographic prologue featuring archival reproductions of Evans's classic images, this historic edition offers readers a window into a remarkable slice of American history. |
| james agee let us now praise famous men: Remembering James Agee David Madden, Jeffrey Jay Folks, 1997 Novelist, poet, screenwriter, journalist, film critic, and cult hero, James Agee was a man of many talents. This collection examines Agee's achievements from the perspective of family members, friends, and contemporaries to create a multifaceted portrait of a dynamic and influential man. Included are recollections and commentary from Agee's widow, his lifelong friend and teacher Father Flye, his editor David McDowell, and other notables, including John Huston, Andrew Lytle, and Walker Evans, with whom Agee collaborated on Let Us Now Praise Famous Men. For this edition, the editors have added new insights from such luminaries as Robert Fitzgerald, Dwight Macdonald, and Frederick Manfred, along with Agee critics Scott Bates, Edward Carlos, James Lee, Edwin M. Sterling, and William Stott. In addition, editor Jeffrey J. Folks has contributed a new preface outlining the state of Agee criticism in the years since the first edition was published in 1974. With liveliness and candor, Remembering James Agee evokes the life and personality of a writer and critic who holds a unique place in American letters. |
| james agee let us now praise famous men: James Agee Laurence Bergreen, 1978 In this first full-scale biography, Bergreen makes judicious use of unpublished letters and manuscripts and extensive interviews with people in Agee's life, presenting a compelling account of the personality and career of the novelist, journalist, screenwriter, film critic and poet. Rich in incident and implication, this volume sympathetically depicts his life, hurtled in a storm of marriages, liaisons and heavy drinking, and torn by the conflicting demands of journalistic success and a more private muse. ISBN 0-525-24253-8 : $20.00. |
| james agee let us now praise famous men: Make It Scream, Make It Burn Leslie Jamison, 2019-09-24 From the astounding (Entertainment Weekly), spectacularly evocative (The Atlantic), and brilliant (Los Angeles Times) author of the New York Times bestsellers The Recovering and The Empathy Exams comes a return to the essay form in this expansive book. With the virtuosic synthesis of memoir, criticism, and journalism for which Leslie Jamison has been so widely acclaimed, the fourteen essays in Make It Scream, Make It Burn explore the oceanic depths of longing and the reverberations of obsession. Among Jamison's subjects are 52 Blue, deemed the loneliest whale in the world; the eerie past-life memories of children; the devoted citizens of an online world called Second Life; the haunted landscape of the Sri Lankan Civil War; and an entire museum dedicated to the relics of broken relationships. Jamison follows these examinations to more personal reckonings -- with elusive men and ruptured romances, with marriage and maternity -- in essays about eloping in Las Vegas, becoming a stepmother, and giving birth. Often compared to Joan Didion and Susan Sontag, and widely considered one of the defining voices of her generation, Jamison interrogates her own life with the same nuance and rigor she brings to her subjects. The result is a provocative reminder of the joy and sustenance that can be found in the unlikeliest of circumstances. Finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay One of the fall's most anticipated books: Time, Entertainment Weekly, O, Oprah Magazine, Boston Globe, Newsweek, Esquire, Seattle Times, Baltimore Sun, BuzzFeed, BookPage, The Millions, Marie Claire, Good Housekeeping, Minneapolis Star Tribune, Lit Hub, Women's Day, AV Club, Nylon, Bustle, Goop, Goodreads, Book Riot, Yahoo! Lifestyle, Pacific Standard, The Week, and Romper. |
| james agee let us now praise famous men: And Their Children After Them Dale Maharidge, 2008-11-04 Winner of the Pulitzer Prize for Nonfiction in 1990 In And Their Children After Them, the writer/photographer team Dale Maharidge and Michael Williamson return to the land and families captured in James Agee and Walker Evans’s inimitable Let Us Now Praise Famous Men, extending the project of conscience and chronicling the traumatic decline of King Cotton. With this continuation of Agee and Evans’s project, Maharidge and Williamson not only uncover some surprising historical secrets relating to the families and to Agee himself, but also effectively lay to rest Agee’s fear that his work, from lack of reverence or resilience, would be but another offense to the humanity of its subjects. Williamson’s ninety-part photo essay includes updates alongside Evans’s classic originals. Maharidge and Williamson’s work in And Their Children After Them was honored with the Pulitzer Prize for nonfiction when it was first published in 1990. |
| james agee let us now praise famous men: You Have Seen Their Faces Erskine Caldwell, 1995 In the middle years of the Great Depression, Erskine Caldwell and photographer Margaret Bourke-White spent eighteen months traveling across the back roads of the Deep South--from South Carolina to Arkansas--to document the living conditions of the sharecropper. Their collaboration resulted in You Have Seen Their Faces, a graphic portrayal of America's desperately poor rural underclass. First published in 1937, it is a classic comparable to Jacob Riis's How the Other Half Lives, and James Agee and Walker Evans's Let Us Now Praise Famous Men, which it preceded by more than three years. Caldwell lets the poor speak for themselves. Supported by his commentary, they tell how the tenant system exploited whites and blacks alike and fostered animosity between them. Bourke-White, who sometimes waited hours for the right moment, captures her subjects in the shacks where they lived, the depleted fields where they plowed, and the churches where they worshipped. |
| james agee let us now praise famous men: Many are Called Walker Evans, 2004-01-01 Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, Let Us Now Praise Famous Men (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled Many Are Called. This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, Many Are Called is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans. Many Are Called came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat—the lens peeking through a buttonhole—he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s subway portraits. This beautiful new edition—published in the centenary year of the NYC subway—is an essential book for all admirers of Evans’s unparalleled photographs, Agee’s elegant prose, and the great City of New York. |
| james agee let us now praise famous men: He Brought Her Heart Back in a Box and Other Plays Adrienne Kennedy, 2020-11-17 In her first new work in a decade, Adrienne Kennedy journeys into Georgia and New York City in the 1940s to lay bare the devastating effects of segregation and its aftermath. The story of a doomed interracial love affair unfolds through fragmented pieces--letters, recollections from family members, songs from the time--to present a multifaceted view of our cultural history that resists simple interpretation. This volume also includes Etta and Ella on the Upper West Side and Mom, How Did You Meet The Beatles? |
| james agee let us now praise famous men: The Making of James Agee Hugh Davis, 2008 In The Making of James Agee, Hugh Davis takes a comprehensive look at Agee's career, showing the interrelatedness of his concerns as a writer. A full view of Agee's oeuvre, Davis argues, illuminates its deeply political nature and reveals a debt to various sources, particularly European surrealism, that have been little noted by previous Agee scholars. Davis challenges the view of Agee that has persisted since his death - that he is best understood primarily as a romantic individualist at odds with convention and the literary mainstream - and argues that this myth was largely constructed by friends and associates who were so immersed in the tenets of modernism that they distorted Agee's work (and aesthetic intent) in an attempt to purify it in modernist terms. In revealing a writer of far greater complexity than the myth allows, Davis explores, for example, the leftist poetry that Agee wrote in the 1930s, which was almost completely suppressed by his editors. He also throws a fresh light on Agee's collaboration with photographer Walker Evans on Let Us Now Praise Famous Men and reevaluates A Death in the Family in light of recent scholarship that has produced an almost entirely new version of the novel, one much closer to Agee's original intentions.--BOOK JACKET. |
| james agee let us now praise famous men: The Morning Watch James Agee, 2021-01-08 |
| james agee let us now praise famous men: James Agee: Film Writing and Selected Journalism (LOA #160) James Agee, 2005-09-22 [The author] had a passion for art in all its aspects, but it was the new art of the movies that was his greatest inspiration as a critic. [This book] has long been recognized as the single most influential American book about movies. Witty, probing, lacerating his moral criticisms, eloquent in his admiration of filmmakers from Charlie Chaplin to John Huston, [the author] is a critic who engages the reader no matter what subject he is writing about.-Back cover. |
| james agee let us now praise famous men: Brooklyn is James Agee, 2005 Propulsive, lyrical, jazzy, and tender, its pitch-perfect descriptions endure even as Brooklyn changes; Agee's essay--originally written in 1939 but published in 1968--is a New York classic. |
| james agee let us now praise famous men: James Agee: Let Us Now Praise Famous Men / A Death in the Family / Shorter Fiction (LOA #159) James Agee, 2005-09-22 Contains nonfiction work such as Let Us Now Praise Famous Men along with the Pulitzer Prize winning novel A Death In The Family and other fictional material. |
| james agee let us now praise famous men: Agee at 100 Michael A. Lofaro, 2012-02-25 Drawn mainly from the centennial anniversary symposium on James Agee held at the University of Tennessee in the fall of 2009, the essays of Agee at 100 are as diverse in topic and purpose as is Agee’s work itself. Often devalued during his life by those who thought his breadth a hindrance to greatness, Agee’s achievements as a poet, novelist, journalist, essayist, critic, documentarian, and screenwriter are now more fully recognized. With its use of previously unknown and recently recovered materials as well as established works, this groundbreaking new collection is a timely contribution to the resurgence of interest in Agee’s significance. The essays in this collection range from the scholarly to the personal, and all offer insight into Agee’s writing, his cultural influence, and ultimately Agee himself. Dwight Garner opens with his reflective essay on “Why Agee Matters.” Several essays present almost entirely new material on Agee. Paul Ashdown writes on Agee’s book reviews, which, unlike Agee’s film criticism, have received scant attention. With evidence from two largely unstudied manuscripts, Jeffrey Couchman sets the record straight on Agee’s contribution to the screenplay for The African Queen and delves as well into his television “miniseries” screenplay Mr. Lincoln. John Wranovics treats Agee’s lesser-known films--the documentaries In the Street and The Quiet One and the Filipino epic Genghis Khan. Jeffrey J. Folks wrestles with Agee’s “culture of repudiation” while James A. Crank investigates his perplexing treatment of race in his prose. Jesse Graves and Andrew Crooke provide new analyses of Let Us Now Praise Famous Men, and Michael A. Lofaro and Philip Stogdon both discuss Lofaro’s recently restored text of A Death in the Family. David Madden closes the collection with his short story “Seeing Agee in Lincoln,” an imagined letter from Agee to his longtime confidante Father Flye. The contributors to Agee at 100 utilize materials new and old to reveal the true importance of Agee's range of cultural sensibility and literary ability. Film scholars will also find this collection particularly engrossing, as will anyone fascinated by the work of the author rightly deemed the “sovereign prince of the English language.” Michael A. Lofaro is Lindsay Young Professor of American Literature and American and Cultural Studies at the University of Tennessee. Most recently, he restored James Agee’s A Death in the Family and is the general editor of the projected eleven-volume The Works of James Agee. |
| james agee let us now praise famous men: Chaplin and Agee John Wranovics, 2005-05-09 Chaplin and Agee charts the friendship between James Agee, author of Let Us Now Praise Famous Men and Pulitzer Prize-winning A Death in the Family and screenwriter for American classics including The African Queen, and Charlie Chaplin, who starred in a staggering number of films from 1914 to 1967. This friendship emerged in the midst of the tumult of the 1940s and 1950s, with the atomic bombings of Hiroshima and Nagasaki, McCarthyism and blacklisting. In print here for the first time is Agee's first screenplay, The Tramp's New World, lost until recently. The striking screenplay--a comedy so dark it was without precedent--was written for Chaplin's tramp character and set in post-apocalyptic New York. Chaplin and Agee also features many previously unpublished letters and photographs. As the story moves from Hollywood to Greenwich Village, these two figures come to life, revealing the untold story of the great bond between two influential twentieth-century artists. |
| james agee let us now praise famous men: Walker Evans Olivier Richon, 2019-06-18 An examination of one of Walker Evans's iconic photographs of the Great Depression. Kitchen Corner, Tenant Farmhouse, Hale County, Alabama shows a painstakingly clean-swept corner in the house of an Alabama sharecropper. Taken in 1936 by Walker Evans as part of his work for the Farm Security Administration, Kitchen Corner was not published until 1960, when it was included in a new edition of Walker Evans and James Agee's classic Let Us Now Praise Famous Men. The 1960 reissue of Evans and Agee's book had an enormous impact on Americans' perceptions of the Depression, creating a memory-image retrospectively through Walker's iconic photographs and Agee's text. In this latest addition to the Afterall One Work series, photographer Olivier Richon examines Kitchen Corner. The photograph is particularly significant, he argues, because it uses a documentary form that privileges detachment, calling attention to overlooked objects and to the architecture of the dispossessed. Given today's growing economic inequality, the photograph feels pointedly relevant. The FSA, established in 1935, commissioned photographers to document the impact of the Great Depression in America and used the photographs to advertise aid relief. For four weeks in the summer of 1936, Evans collaborated with Agee on an article about cotton farmers in the American South. The result of that project was the landmark publication Let Us Now Praise Famous Men, documenting three sharecropper families and their environment. These photographs were intimate, respectful portraits of the farmers, and of their homes, furniture, clothing, and rented land. Kitchen Corner powerfully evokes Agee's observations of the significance of “bareness and space” in these homes: “general odds and ends are set very plainly and squarely discrete from one another... [giving] each object a full strength it would not otherwise have.” |
| james agee let us now praise famous men: Let Us Now Praise Susan Sontag Sibyl Kempson, 2015 Sibyl Kempson's Let Us Know Praise Susan Sontag is an irrational musical contemplation of collision of art and journalism. |
| james agee let us now praise famous men: The Morning Watch James Agee, 1966 |
| james agee let us now praise famous men: You Don’t Belong Here Elizabeth Becker, 2021-03-02 The long-buried story of three extraordinary female journalists who permanently shattered the barriers to women covering war Kate Webb, an Australian iconoclast, Catherine Leroy, a French daredevil photographer, and Frances FitzGerald, a blue-blood American intellectual, arrived in Vietnam with starkly different life experiences but one shared purpose: to report on the most consequential story of the decade. At a time when women were considered unfit to be foreign reporters, Frankie, Catherine and Kate challenged the rules imposed on them by the military, ignored the belittlement of their male peers, and ultimately altered the craft of war reportage for generations. In You Don’t Belong Here, Elizabeth Becker uses these women’s work and lives to illuminate the Vietnam War from the 1965 American buildup, the expansion into Cambodia, and the American defeat and its aftermath. Arriving herself in the last years of the war, Becker writes as a historian and a witness of the times. What emerges is an unforgettable story of three journalists forging their place in a land of men, often at great personal sacrifice. Deeply reported and filled with personal letters, interviews, and profound insight, You Don’t Belong Here fills a void in the history of women and of war. ‘A riveting read with much to say about the nature of war and the different ways men and women correspondents cover it. Frank, fast-paced, often enraging, You Don’t Belong Here speaks to the distance travelled and the journey still ahead.’ —Geraldine Brooks, Pulitzer Prize–winning author of March, former Wall Street Journal foreign correspondent ‘Riveting, powerful and transformative, Elizabeth Becker’s You Don’t Belong Here tells the stories of three astonishing women. This is a timely and brilliant work from one of our most extraordinary war correspondents.’ —Madeleine Thien, Booker Prize finalist and author of Do Not Say We Have Nothing |
| james agee let us now praise famous men: Permit Me Voyage, by James Agee; with a Foreword by Archibald MacLeish James Agee, 1971 |
| james agee let us now praise famous men: Miss Lonelyhearts Nathanael West, 1969 Two classic short stories, one about a male reporter who writes an advice column, and the other, about people who have migrated to California in expectation of health and ease. |
| james agee let us now praise famous men: Yankee Greats Bob Woods, 2012-06-01 Yankee Greats features 100 baseball cards of the greatest and most popular Yankees from the celebrated trading-card company Topps. Showcasing original cards for hall-of-fame players such as Joe DiMaggio, Mickey Mantle, and Yogi Berra, and current heroes like Derek Jeter, this unique package provides a fun and fresh approach to revisiting America’s favorite pastime with one of baseball’s most beloved teams. Since the Yankee’s humble beginnings in 1903 as the New York Highlanders to today’s star-studded team, the Bronx Bombers have won 27 World Championships—more titles than any other professional sports franchise in history. Yankee Greats will let Yankee and baseball fans alike revel in and reminisce over so many of the players that helped make baseball what it is today, and these legendary cards will bring back fond memories for both young and old collectors. |
| james agee let us now praise famous men: The City Dwellers Charles Platt, 2017-08-31 A novel of a 21st century dystopia where urbanization has reached its limits. |
| james agee let us now praise famous men: At the Edge of the World Jean Mohr, John Berger, 1999 This book is a ecord, in words and more than 90 black-and-white photographs, of Mohr's journeys to such places as Romania, Karachi, NManilla, Algeria, Lapland and Nicaragura. It illuminates his ongoing concern with humanitarian issues as well as his bemused observations regarding clashes between international policy and local politics and personalities, between media hype and traditional magic. -- Jacket. |
| james agee let us now praise famous men: This Blessed Earth: A Year in the Life of an American Family Farm Ted Genoways, 2017-09-19 Winner of the Stubbendieck Great Plains Distinguished Book Prize 2019 selection for the One Book One Nebraska and All Iowa state reading programs Genoways gives the reader a kitchen-table view of the vagaries, complexities, and frustrations of modern farming…Insightful and empathetic. —Milwaukee Journal Sentinel The family farm lies at the heart of our national identity, and yet its future is in peril. Rick Hammond grew up on a farm, and for forty years he has raised cattle and crops on his wife’s fifth-generation homestead in Nebraska, in hopes of passing it on to their four children. But as the handoff nears, their family farm—and their entire way of life—are under siege on many fronts, from shifting trade policies, to encroaching pipelines, to climate change. Following the Hammonds from harvest to harvest, Ted Genoways explores the rapidly changing world of small, traditional farming operations. He creates a vivid, nuanced portrait of a radical new landscape and one family’s fight to preserve their legacy and the life they love. |
| james agee let us now praise famous men: Documenting Lives Astrid Böger, 1994 |
| james agee let us now praise famous men: Walker Evans John T. Hill, Heinz Liesbrock, 2015-11-25 This resplendent volume is the most comprehensive study of Walker Evans’s work ever published, containing masterful images accompanied by authoritative commentary from leading photography historians. The name Walker Evans conjures images of the American everyman. Whether it’s his iconic contributions to James Agee’s depressionera classic book, Let Us Now Praise Famous Men, his architectural explorations of antebellum plantations, or his subway series, taken with a camera hidden in his coat, Evans’s accessible and eloquent photographs speak to us all. This comprehensive book traces the entire arc of Evans’s remarkable career, from the 1930s to the 1970s. The illustrations in the book range from his earliest images taken with a vest pocket camera to his final photos using the then new SX-70 because his regular equipment had become too heavy to carry around. The book includes commentary from three of Evans’s longtime friends, photographers John T. Hill and Jerry Thompson and professor emeritus (Yale University) Alan Trachtenberg. Their insight and first-hand experience give depth to their critical writings on Evans’s work. In addition to offering a broad perspective on Evans’s work, the book also clarifies the photographer’s anti-art philosophy. Eschewing aesthetic hyperbole, Evans wanted his pictures to resonate with a wide audience. At the same time, his natural curiosity made him one of the most inventive photographers of all time. What these photographs and writings attest to is a huge and timeless talent, which came not from a camera, but from Evans’s uniquely hungry eye. |
| james agee let us now praise famous men: Complete Film Criticism James Agee, 2017 -From 1942 to 1948, James Agee wrote rather voluminous move reviews for Time and The Nation at a time when motion pictures captured wide swaths of the viewing public. This fifth volume in the Works of James Agee series includes Maland's historical introduction and his textual introduction as well as Agee's reviews from Time, The Nation, other published film criticism, and unpublished articles. Agee's Time reviews have never been published in their entirety, and early reviews from Agee's time at Exeter Academy are also included--- |
| james agee let us now praise famous men: Walker Evans Svetlana Alpers, 2023-11-07 A magisterial study of celebrated photographer Walker Evans Walker Evans (1903–75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans’s work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle. Alpers demonstrates that Evans’s practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans’s dual love of text and images, Alpers places his writings in conversation with his photographs. She brings his techniques into dialogue with the work of a global cast of important artists—from Flaubert and Baudelaire to Elizabeth Bishop and William Faulkner—underscoring how Evans’s travels abroad in such places as France and Cuba, along with his expansive literary and artistic tastes, informed his quintessentially American photographic style. A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world—to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time. |
| james agee let us now praise famous men: New Critical Essays on James Agee and Walker Evans C. Blinder, 2010-08-30 Coinciding with the increasing intersections between visual and literary studies, this timely reappraisal of Let Us Now Praise Famous Men sheds light on the book's unclassifiable status as part imaginative fiction, documentary effort, ethnographic study, and modernist prose. |
| james agee let us now praise famous men: Walker Evans Judith Keller, 1995-11-02 Walker Evans is widely recognized as one of the greatest American photographers of the twentieth century, and the J. Paul Getty Museum owns one of the most comprehensive collections of his work, including more of his vintage prints than any other museum in the world. This lavishly illustrated volume brings together for the first time all of the Museum’s Walker Evans holdings. Included here are familiar images—such as Evans’s photographs of tenant farmers and their families, made in the 1930s and later published in Let Us Now Praise Famous Men—and images that are much less familiar—such as the photographs Evans made in the 1940s of the winter quarters of the Ringling Brothers circus, or his very late Polaroids, made in the 1970s. In addition, many previously unpublished Evans photographs, and variant croppings of classic images, appear here for the first time. Author Judith Keller has written a lively, informative text that places these photographs in the larger context of Evans’s life and career and the culture—especially the popular culture—of the time. In so doing, she has produced an indispensible volume for anyone interested in the history of photography or American culture in the twentieth century. Also included is the most comprehensive bibliography on Walker Evans published to date. |
| james agee let us now praise famous men: Still Lives in "Let Us Now Praise Famous Men" and their Possible Meanings Elaine Miriam Frank, 2015-03-23 Seminar paper from the year 2015 in the subject American Studies - Literature, grade: 1,3, LMU Munich (Department of American Literature), course: Literature and Photography, language: English, abstract: In 1936 Fortune Magazine asked James Agee and Walker Evans to write an article about the living conditions of farming families in the countryside of the Middle South of the United States. After it refused to print their article, they decided to compile a book out of Evans’ documentary photographs and Agee’s descriptive words in order to deliver an authentic insight into the hard-working poor life of farm workers through living with “three representative white tenant families.” When first looking at Walker Evans’ photographs in Let Us Now Praise Famous Men taken in times of postmodernism, the picture of a pair of boots catches the eye immediately, due to the incontrovertible similarity to a “remarkable still life painting” of modernist times: Vincent van Gogh’s canvas a pair of boots. As this piece of painted art inherits a pool of possible interpretations, it is worth attempting to analyze the possible meanings of it, its adaption by Walker Evans, as well as the vibrant still life descriptions given by James Agee in Let Us Now Praise Famous Men. After analyzing and comparing the variety of interpretations of Vincent van Gogh’s painting from 1887 to Walker Evans’ photographic adaption from 1938 to clarify in what way the photograph a pair of shoes is an adaption of Van Gogh’s modernist still life, a couple of chosen written still life descriptions given by James Agee will be analyzed. The goal of this analysis is to compile the variety of interpretations of certain daily used items by the farm-workers, in order to grasp the poor tenants’ families’ lives better and the intentions behind Agee’s detailed descriptions. |
| james agee let us now praise famous men: Quartet for the End of Time Johanna Skibsrud, 2014-09-23 The year is 1932, and America is roiling with unrest. Angry WWI veterans, embittered by the ruinous poverty inflicted by the Great Depression, join forces and, calling themselves the Bonus Army, march on Washington to demand payment of the wartime bonus promised them for their service during the war. Arthur and Douglas Sinclair, an impoverished veteran and his son, make the arduous journey from Kansas to join the march. Alden and Sutton Kelly, the rebellious children of a powerful Washington judge, become involved with the veterans’ struggle, causing an irreparable rift in the Kelly family. When the Bonus march explodes in a violent clash between government and veteran forces, Arthur is falsely accused of conspiracy and disappears. The lives of Douglas, Alden, and Sutton are forever changed—linked inextricably by the absence of Arthur Sinclair. As these three lives unfold in the wake of the Bonus riots, we are taken to unexpected places—from the underground world of a Soviet spy to Hemingway’s Florida and the hard labour camps of Roosevelt’s New Deal Projects in the Keys; from occultist circles in London to occupied Paris and the eventual fall of Berlin; and finally, to the German prison camp where French composer Olivier Messiaen originally wrote and performed his famous Quartet for the End of Time. Taking us on an unforgettable journey through individual experience and memory against the backdrop of seismic historical events, Quartet for the End of Time is both a profound meditation on human nature and an astonishing literary accomplishment from one of Canada’s most original voices. |
| james agee let us now praise famous men: Walker Evans: the Interview , 2019-05-21 In 1971, Art in America published an interview with Walker Evans conducted by Leslie George Katz, writer and publisher of the Eakins Press. The interview is charming and illuminating in its clarity and candor. Nearing the end of his life, Evans speaks freely about his influences and how he got started as a photographer (I was damn well going to be an artist and I wasn't going to be a businessman, he remembers), and reflects back on his work and his thinking. The interview has become legendary, consulted by curators, scholars and students for half a century and considered a definitive source for insights into the process, philosophy and personality of one of America's greatest photographers. In 1995, the Eakins Press Foundation republished Evans' interview in a deluxe clothbound edition titled Walker Evans Incognito. More than 20 years later, this new edition brings the Evans interview back into print in an elegant and affordable volume for a new generation. Walker Evans scholar Anne Bertrand introduces the interview and its publication history, and contributes notes throughout the text that provide important contextual information. Walker Evans: The Interview offers an opportunity to rediscover the man behind the famous images, in his own words. Born in St. Louis, Missouri, Walker Evans (1903-75) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era's most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune magazine, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975. Leslie George Katz (1918-97) was the founder and publisher of the Eakins Press Foundation. Until his death in 1997, he wrote extensively about American art and culture, and through his sustained efforts to celebrate his heroes--Thomas Eakins, Walt Whitman, and Walker Evans--found a way to define a new sort of democratic, patriotic intellectualism. |
James' or James's | Page 2 - Creative Writing Forums
Oct 3, 2020 · James' or James's. Discussion in 'Word Mechanics' started by Lacy, Oct 3, 2020. Tags: apostrophe; ...
Sherlock Holmes pastiches recommendations? - Writing Forums
Jul 1, 2023 · In 1893, Sherlock Holmes and Henry James come to America together to solve the mystery of the 1885 death of Clover Adams, wife of the esteemed historian Henry Adams -- …
My character doesn't talk... - Writing Forums
Jun 15, 2011 · My main character is a man named James. He suffers from depression. He doesn't talk for the first three chapters of the book, because he has no one to talk to, and is detached …
When do you end a sentence, and how do you lengthen one …
Dec 13, 2009 · The King James was only a translation, thus a change to the wording of the Bible, in order to make it more comprehensible to the common man. The New English - and a slew of …
Pen Names - Multiple pen names? | Creative Writing Forums
Feb 3, 2023 · Jayne Ann Krentz (romantic suspense)/ Jayne Castle (paranormal romance)/Amanda Quick(historical romance)/Stephanie James(erotic romance) and others; I …
How do you feel about the use of the word 'overall' in this …
Jun 6, 2013 · It was luck that had (blablabla), and overall, it was luck that had brought him James." I think your best bet is going to be to use whichever best fits the tone and voice of the …
James Burke End of Scarcity | Creative Writing Forums - Writing …
Mar 21, 2012 · James Burke End of Scarcity. Discussion in 'The Lounge' started by matwoolf, Jan 5, 2018. Will someone ...
Should these be separate paragraphs? - Writing Forums
Jun 29, 2020 · a) “We should go for a walk,” James said, “the woods are beautiful at this time of year.” Alice dropped the spoon she was drying and bent down to pick it up. “It would do you …
First person talking to reader? - Creative Writing Forums
Jan 24, 2019 · Discussion in 'Word Mechanics' started by James E, Jan 24, 2019. Hi guys and girls, I'm new here, so hello. I have an introduction I would like to be in the first person but with …
Differences between supernatural and non-supernatural horror
Apr 30, 2017 · It's horrible but never really scary or even creepy. I love creepy. I must say, though, that a whole lot of modern supernatural horror, both in movies and literature, is not creepy. But …
James' or James's | Page 2 - Creative Writing Forums
Oct 3, 2020 · James' or James's. Discussion in 'Word Mechanics' started by Lacy, Oct 3, 2020. Tags: apostrophe; ...
Sherlock Holmes pastiches recommendations? - Writing Forums
Jul 1, 2023 · In 1893, Sherlock Holmes and Henry James come to America together to solve the mystery of the 1885 death of Clover Adams, wife of the esteemed historian Henry Adams -- …
My character doesn't talk... - Writing Forums
Jun 15, 2011 · My main character is a man named James. He suffers from depression. He doesn't talk for the first three chapters of the book, because he has no one to talk to, and is detached …
When do you end a sentence, and how do you lengthen one properly.
Dec 13, 2009 · The King James was only a translation, thus a change to the wording of the Bible, in order to make it more comprehensible to the common man. The New English - and a slew of …
Pen Names - Multiple pen names? | Creative Writing Forums
Feb 3, 2023 · Jayne Ann Krentz (romantic suspense)/ Jayne Castle (paranormal romance)/Amanda Quick(historical romance)/Stephanie James(erotic romance) and others; I was listening to an …
How do you feel about the use of the word 'overall' in this sentence ...
Jun 6, 2013 · It was luck that had (blablabla), and overall, it was luck that had brought him James." I think your best bet is going to be to use whichever best fits the tone and voice of the story, the …
James Burke End of Scarcity | Creative Writing Forums - Writing …
Mar 21, 2012 · James Burke End of Scarcity. Discussion in 'The Lounge' started by matwoolf, Jan 5, 2018. Will someone ...
Should these be separate paragraphs? - Writing Forums
Jun 29, 2020 · a) “We should go for a walk,” James said, “the woods are beautiful at this time of year.” Alice dropped the spoon she was drying and bent down to pick it up. “It would do you …
First person talking to reader? - Creative Writing Forums
Jan 24, 2019 · Discussion in 'Word Mechanics' started by James E, Jan 24, 2019. Hi guys and girls, I'm new here, so hello. I have an introduction I would like to be in the first person but with the …
Differences between supernatural and non-supernatural horror
Apr 30, 2017 · It's horrible but never really scary or even creepy. I love creepy. I must say, though, that a whole lot of modern supernatural horror, both in movies and literature, is not creepy. But …
