Anyone curious about Weston or wanting to own a representative selection of his work should buy this book. This IS Weston. This is not a few selected prints of his on a single theme, this is a wide representation of the best of Weston's work. One will find for oneself that ALL of Weston's pictures are about passion, that's what makes a picture a Weston. Here in this book are beautifully reproduced plates of his finest images, every one exuding shape and energy, and exquisite composition, none just ordinary. There are images of factories, fields, sand, wood and also the human body, all of which have been captured in all its glory by Weston. He teaches us that there is energy, art and passion in an amazing number of ways. Don't miss this fine book.

It was a nude Weston's photo of Tina Modoti, layed down on a rural house floor, in México, that had put me on the trail of both. Since then I've been delighted with the sensibility and the astonishing "color" of the B&W photos of them, nudes bodies, "nude" nature, what ever... It was the first time, almost ten years ago.

Review Summary: Edward Weston was trained as a portrait photographer and expanded his vision to include many natural shapes, including seashells, nudes, vegetables, trees, landscapes, and eroded rocks. He also did a little industrial photography, where the forms he saw also revealed pure shapes of interest to him. These shapes usually had a modernist feel to them that brings to mind Plato's theory of forms, pure ideas behind what we see every day. This book is fine overview of all phases of Mr. Weston's career, and contains many interesting and valuable essays about his career. The book is improved by having over 80 images that had not been published before this volume. The 320 duotone images are on very fine paper and are extremely well reproduced. Many would have benefited from being printed in larger sizes. If you decide to own only one book of Edward Weston's work, I suggest you choose this one.

Viewer Caution: This book contains many nude images of women, men and children that would surpass what would allow the material to obtain an R rating as a motion picture.

Review: Edward Weston's photography reveals a personal fascination with form, shape and shadow that provide a unique vision into the natural world. He was especially intrigued to see how the shapes of one object or subject could complement another. For example, his female nudes are often posed outdoors in sand dunes or beach settings where the gentle curves play off of one another. Where he focuses on eroded rocks, each one combines with another to express the equivalent of an abstract sculpture, standing out exposed by the erosion around the harder rock that forms the image.

While his landscapes could be every bit as majestic as Ansel Adams's best work, Weston's tastes and interests developed mostly independent of the leading photographers of his time. That independence gave him a greater versatility as a photographer and a more personal style. Few would mistake his ability to locate the patterns within nature and human-made objects for the work of any other photographer. To me, the artist closest to his vision was Georgia O'Keeffe.

My favorite images from this book include: Ruth Shaw, a portrait, 1922; Armco Steel, 1922; Nude, 1925; Dancer, 1927; Chambered Nautilus, 1927; Cypress, Point Lobos, 1929; Bedpan, 1930; Pepper, 1930; Soil Erosion, Carmel Valley, 1932; Church at "E" Town, 1933; Nude, 1935 (first one); Bug Tracks in Sand, 1935; Whale Vertebrae, 1934; Dunes, Oceano, 1936; Nude Series of Charis, Oceano, 1936; Zabriskie Point, 1937; Tree, Lake Tenaya, 1937; Point Lobos, 1940; Dillard King, Monteagle, Tennessee, 1941; Civilian Defense, 1941; and Nude, 1945.

While you look at these works, you will imagine that Edward Weston is at your side . . . pointing out details that you might not have noticed. His photography always has that character of being a reflection of his eye, rather than what the casual observer would naturally see. Both realities have equal validity, but your mind and eye will prefer Weston's.

In the biographical material, you will learn about his weakness for changing partners and how that helped to provide his muse. Many of the models for his female nudes are his lovers (including his second wife, Charis) and his nudes of children are of his son. His passion for Tina Modotti brought him to Mexico and helped draw his attention to many fascinating scenes.

After you finish enjoying this work, I suggest that you think about what inspires you. What would you be happiest and most proud being remembered for as your source of inspiration? How can you express yourself in more personal ways that show your most inner self?

May your passion inspire the goodness in others!

"It was midnight. The light of the full moon followed the tired old car. Tomas was tired too. Hot and tired. He missed his own bed, in his own house in Texas. Tomas was on his way to Iowa again with his family..." Tomas' family were migrant workers. As his parents toiled in the fields during the day picking corn in the hot Iowa sun, Tomas and his brother, Enrique, tried to stay cool under the shade of trees, listening to the old stories told by their grandfather, Papa Grande. "Tomas, you know all my stories, " he said. "There are many more in the library. You are big enough to go by youself. Then you can teach us new stories." The library was large and cool, and had more books than Tomas had ever imagined. But more importantly, the librarian was very kind and took the young boy under her wing. And with her help, opens up a whole new world for Tomas; the love of books and learning..... Based on the story of Tomas Rivera, a migrant worker who grew up to become an educator and eventually chancellor of the University of California at Riverside, Tomas And The Library Lady is a heartwarming and inspiring story. Pat Mora's sweet, simple, and quiet text is complemented by Raul Colon's gentle and evocative illustrations and together word and art detail the joys of reading, and the wonderful impact one person can have on a young life. Perfect for children 4-8, Ms Mora includes a short biography of Tomas Rivera at the end to complete the story.

This is a short story of a boy named Tomas, who needs more stories than his grandfather can tell, and so he goes to the library. Poor, migrant and Hispanic, he finds a friendly, caring librarian who provides him with the books he needs to nurture his spirit. The illustrations are warm and textured, lending a rich (almost biblical) quality. The experiences of Tomas, and his fertile imagination, are easily recognizable to children of all ages. The historical note on his later success in life is added incentive to keep going to the library for good books, like this one!

This book is the wonderful true story of Tomas Rivera who was the son of migrant workers and became the chancellor of the University of California at Riverside.

My sister and nephews were in town and they took a trip to the library with their Nana(my mom). I believe that my sister grabbed this book, because it mentioned the library lady. I liked the fact that the author dedicated this book to Tomas Rivera and "for librarians who lure us in."

I read this book to my oldest nephew while he was here. He was absolutely mesmerized by this book. The author draws you in with the tale of Tomas Rivera's life and how his life changed when he discovered the library. The illustrations in the book were beautifully drawn and colorful.

Tomas lived with his Mama, Papa, Papa Grande and his little brother, Enrique. His parents were migrant workers. They picked fruit in Texas in the winter and in Iowa in the summer. They were on their way to Iowa for the summer.

Tomas had always enjoyed listening to his Papa Grande's stories, and he knew all of them by heart. So, Papa Grande encouraged Tomas to go to the library in Iowa and tell them more stories. The next morning when he reaches the library he becomes very intimidated by the big library. Well, things change once he meets the library lady.

She is so warm and inviting to Tomas that Tomas spends the whole day at the library reading. Using her own card, the library lady checks out two books for Tomas to take home and read. While reading, Tomas gets lost in adventures with dinosaurs.

During the course of the summer, Tomas teaches the library lady some Spanish, while she encourages him to read more books. There is a tearful goodbye as Tomas gives the library lady some pan dulce(sweet bread) and she gives him a book.

I'm glad that the author put a note about the story at the end of the book. The note gives a brief synopsis of Tomas Rivera's life.

The major reason I liked this book is the fact that it is encouraging children to read. Reading is the big key to education and success. Also, I think that it is encouraging adults to read to their children, which is definitely important. This book is definitely designed for four to eight year olds.

Tomas and the Library Lady should be a part of every child's life.

"Love to Mama: A Tribute to Mothers," edited by Pat Mora, is anthology of poems by Latino authors (Mexican American, Puerto Rican, Cuban, and Venezuelan). Each poem celebrates mothers and/or grandmothers. The poems are accompanied by the wonderful illustrations of Ecuador native Paula S. Barragan M.

These poems celebrate relationships, food, bilingualism, and family history. Some of my favorite selections include Cristina Muniz Mutchler's "Mi abuela" ("Many grandmothers like to bake cookies and cakes / mi abuela likes to make tortillas y empenadas"), Rane Arroyo's "My Tongue is Like a Map" ("Sometimes I dream in English and Spanish"), and Mimi Chapra's "Mi mama cubana" ("When mi mama cubana cooks arroz con pollo, / her smile is wider than a slice of watermelon"). Many other authors are featured, including Judith Ortiz Cofer and Francisco X. Alarcon.

This book is an excellent tribute to both Latino cultures and to mothers and grandmothers. Barragan's richly colored illustrations crackle with energy, and can also be very tender. Highly recommended to anyone with fond memories of a mother and/or grandmother, regardless of the reader's own cultural heritage.

This a wonderful poetry/picture book anthology by Pat Mora. The poems are full of music and picture, and the illustrations are vibrant and add to the reader's creativity and imagination.

Clearly, the poet-anthologist selected the poems with great care. (I suppose the labor was something like finding the beads to make the necklace, the glowing pearl necklace.) Mora's selection demonstrates her keen insight when it comes to the diversity of U.S. Latinas/os. The poems speak to the strength of our mothers and grandmothers and their amazing wonderfulness. Daily, as these poems describe, our Mamas surprise us with their love.

The poem "Abuelita Wears a Dress" by award-winning poet Rigoberto Gonzalez merits re-reading for its imagery, lyricism, and tickle.

This was one of the most wonderful gifts I received upon graduation in May, 2001. I hug this book after I read it to the little ones. And adults, too. Thank you, Pat Mora.

Okay, I admit it: I'm biased here. I was lucky enough to have one of my poems accepted for this beautiful anthology of poems by Latina/o writers honoring mothers and grandmothers. But, setting aside my small contribution (I receive no royalties...I've already been paid!), this beautifully produced collection not only includes work from some of our most treasured Latina/o writers (Virgil Suarez, Pat Mora, Judith Ortiz Cofer, Francisco X. Alarcon, to name a few of the thirteen contributors), but each poem is handsomely illustrated by Ecuadorian artist, Paula Barragan, who uses bright, inviting colors and images that draw both young and old into each poem. Because most of the authors use a little Spanish, the book includes an easy-to-read glossary with a pronunciation key. Despite being aimed at the younger reader, adults will enjoy this collection as they read it to their children because each poem will conjure up memories of the love, joy and comfort given by mothers and grandmothers. Though this book just came out, it has already received rave reviews including one from the venerable Kirkus Reviews. It is a perfect gift for Mother's Day!

Superb. I am a professional photographer, and i really admire Smiths work. This book is a great collection of some of his images.
The publishers did a good job reproducing the photographs, nice detail and tone. Definitely worth the price.

An excellent display and text of one of one of the world's great photojournalists. I would recomend this book highly to any fan of E. Eugne Smith

SMITH BOOK REVIEW

Having risked hernia to browse the impressive new book of an old friend and neighbor, ( W. Eugene Smith; Photographs 1934-1975 John T. Hill/Gilles Mora) what first grabs is the space, air and light enveloping these intense images with almost a loving caress, a sense of freshness and sunlight never possible in our dim, dingy-dusty claustrophobic Sixth Avenue loft building, where, just outside my studio door, were piled stacks upon stacks of his work mounted on black 16x20 dogeared mats, just waiting to be stolen, but which were, in fact, attributed by many visitors to some magical drugstore, and could I, please, arrange to have their wedding pictures made there, too? Gene couldn't sell one print for even twenty-five bucks in those days. Every night when I came home to sleep there was the despairing Clement Attlee staring upward at the bare light bulb over my doorway.

That was forty years ago, and twenty since Gene went to that great blast of ferrocyanide in the sky, and much ado about him has taken place in the interim. New York fifties mindset was Freudian psychoanalysis; everyone went to a shrink. Any prominent individualistic tendencies were often condemned to one definition of neurosis or another, and in the rather small and specious world of photography , Gene's maverick determination stood out in high relief. Businessmen photographers-- like the young Lee Friedlander, himself awash in Freudophilia, considered Gene a 'spoiler', pretentious-precious, and went instead to sit at the feet of the polymorphous Walker Evans; yes, "pomposity" was pretty much the legend that Gene's exit from LIFE brought down around his head. Not a team player at all; tsk tsk. And in his brave repudiation of corporate moloch, Gene valiantly pratfalled himself right into the lap of utter poverty.

To large extent, Gene's persona seemed to require a struggle against impossible odds; it focused and sharpened him to the high standards he demanded from himself , and he was no slouch when it came to grandstanding, often with tears, his anti-Goliath position. He built his own Myth of Smith, his self-invented public (relations?) image, fine when LIFE was footing the bill, but now, inside our firetrap former whorehouse , there was real rent to pay, real electric bills, bona fide empty refrigerators. That is about when we began to get acquainted--- I never really bought the Myth; for me he was just the strangely interesting guy downstairs who became a great pal.

Outside the loft, Gene was quick to acquire the packagable cliche of the garret-starved self-destructive artist. Compared to Van Gogh, he earned some residue of American Puritan contempt; this man whose great humanity was most evident in his work was treated most inhumanely by his peers.

Inside the loft, for many years the two of us were in daily contact, working and trying to exist under extremely difficult economic circumstances, and we often had one helluva good time!! I found him to be a genial, generous, courageous---often outrageous-- warm wildly witty man, always humble, sensitive, shy and hard-working, sharing a great interest in art, with a remarkable philosophical perspective. We jabbered of Welles and Chaplin , wide angle lenses, witches, Goya, Haiti, Satchmo, Stravinsky, O'Casey, Joyce, Kazan, war, suicide, politics, cock-fought over girls, guzzled cheap scotch, and swung with the jazz that regularly took place in my studio , as if great mind trips could avert the cold fact of the necessity to eat. I remember one hot summer day, making cream cheese and molasses sandwiches for us on cinamon bread. Gene argued that we didn't have to buy the molasses because we could get the iron from our rusty tap water. As a rule, his antic humor and punning sense managed always to keep things slightly off-balance; this man who had such a profoundly dramatic instinct and attraction for the tragic had also a capricious spirit of the absurd in the way he conducted his daily life; Van Gogh with a manic dash of Robin Williams.

And astonishingly productive. Yet always the gloomy impassioned chairoscuro came out of the darkroom-- prints blacker than black, then mounted on black, dense, intense, often in layout strangulation, making sure; I , W. Eugene Smith , won't let you go gently into that unferrocyanided good night. Sans assignments, now more artist than journalist, for years on end Gene shuffled his prints, made and remade PITTSBURG, photographed our jazz and our personal La Boheme, tried a failed book, a failed magazine, and finally luck brought him The Jewish Museum show and then his crescendo, Minimata.

One night in Bradley's in 1975, Gene said, "Well, Dave, I finally got there at last. I've got ten thousand dollars in the bank for the first time. Of course, it's only going to be there about a week."

Jump cut posthumous; an icon, passed away amongst us, is now suddenly acknowledged. Many who jeered him, refused him recognition, now come out to sycophant, to pedestal, to celebrate his life-- including LIFE itself. Gee, we're SO sorry; but let's exploit!

Those twenty-five dollar prints buckled the registers at auctions, and giant profits were made; yes, the same old art-woe story--- just at the time Vinnie the Gogh himself was pulling down millions in Sotheby sales. The dark side of Gene, finally, surely, took care of his children and at least one of his wives.

We get a brilliant and sensitive biography by Jim Hughes, a soso documentary, worldwide traveling shows. And then it seemed over. "There's no money left around for Gene Smith anymore" comments executor John Morris in the late eighties, handing his stewardship over to Gene's bastard son.

Now, surprise! comes this current coffee table dominatrix which gives Gene's babies, his pictures, the opportunity to have a life of their own in renewal. SNAP!! Of course one can argue anew the merits of the individual essays and which choices are the best, etc., but for myself-- having gone to bed amidst these images for many years, there's something new about them now; suddenly welcome. There is a spank-spank/no-no here; not all of what we see are Gene's own prints, very much against the artist's wishes, but the damage is by no means on the level of, say, Clement Greenberg's sanding off the paint on David Smith's sculptures after his death. And most of these choices help illuminate Gene's way of seeing and working. There are also textual inaccuracies; Hall Overton did not own the loft bldg. I had rented three floors, and Hall rented originally from me, and my friend Sid Grossman sent over Harold Feinstein to share Hall's floor. When Harold left, he brought in Gene.

I liked John Hill's technical essay at the closure. I was with Gene the night MAD EYES burnt out all the surrounding background, with ritual Clan MacGregor celebration, for neither of us-- one painter, one photographer-- gave a whit about 'objectivity'.

This spacious book-bomb adds honor and light to these master photographs, allowing them their own life and breathing room not usually available. Gene's insistence on control force-gilded his lilies, giving barely any space in his layouts to let the eye feel free to wander on its own volition. Now one can look afresh with impunity, and they look a bit different--even better.

In any event, Gene, now busily groping angels, can no longer argue in his own defense, no longer joke, weep, holler, cajole, rage, pun. And he doesn't need to.

You know? This fellow really had one goddamned great eye and sense of when.

David X Young

Oct 22 1998

I bought this book when it first came out. I've lived in Grant, Montana and Kilgore and Hamer, Idaho, where some of these photos were taken. I've met every man on the cover and I've been fortunate enough to have some of these men sit at my dinner table with us. My husband and I have been lucky enough to work side by side with these men. They are the real thing. David Stocklein captures the true essence of the west and these men with his photos. Great Photography, plus, great men to work with. Well done.

Cowboy Gear by David Stoecklein offers a rare glimpse into the real life trappings of both modern day and old time cowboys. His taste for the real western spirit shines through. I have had the opportunity to meet Mr. Stoecklein on several occasions and truly feel he has a love of the cowboy lifestyle that is evident in his pictures. This book is a real history lesson for those interested in cowboy gear.

Stephen's writing is polished and clear--very refreshing for this type of book. This is an interesting read, one wishes they could sit next to the fire and chat with Jo Moro. A must for anyone's bookshelf!

What a rare find! What a loss for those who never knew Mora

Nicely written and beautifully illustrated children's fable. Everything you want in a children's book. I'm giving it to my grandaughter!

This book is wonderful! I read it all the time.Why I give this book 5 stars is because this book is really fun to read and I think that children might like this book too.The ant talks about how he might eat it when he is jut so small.

Kids with good reading skills and a bilingual background will enjoy Abra Cadabra, Patas de Cabra, a Spanish/English story of a ten-year-old boy's journey to take a message from one community to another. He faces trials and troubles along the way but soon proves his abilities.

A couple of years ago, I had the remarkable luck to have one of my poems edited by Pat Mora for the children's poetry anthology, Love to Mama (Lee & Low Books, 2001). The grace, care and loving attention she gave to my simple lines -- communicated through several e-mails -- confirmed in my heart what my mind already knew: Ms. Mora is one of our literary treasures. "Aunt Carmen's Book of Practical Saints" puts her joy of language on perfect display. In poems that resonate regardless of your religious beliefs, she shows how one can communicate joy, sorrow and hopes through prayer to various "santos/as" who are shown here in beautiful photographs of statues and paintings. This is a handsomely-produced volume of heart-felt, finely-crafted poetry from one of our finest poets. I also enjoyed Ms. Mora's "code switching" -- i.e., mixing Spanish with English -- which gives the poems a wonderful flavor. It is a joy to read.

I received this book for Christmas last year. I think it is a good book for any child from 4 and up. It is fun to read and it has very nice drawings. I think kids should read it, especially if they like animals and even more if they like cats.