Still Looking

When, in 1989, a collection of John Updike’s writings on art appeared under the title Just Looking, a reviewer in the San Francisco Chronicle commented, “He refreshes for us the sense of prose opportunity that makes art a sustaining subject to people who write about it.” In the sixteen years since Just Looking was published, he has continued to serve as an art critic, mostly for The New York Review of Books, and from fifty or so articles has selected, for this richly illustrated book, eighteen that deal with American art. After beginning with early American portraits, landscapes, and the transatlantic career of John Singleton Copley, Still Looking then considers the curious case of Martin Johnson Heade and extols two late-nineteenth-century masters, Winslow Homer and Thomas Eakins. Next, it discusses the eccentric pre-moderns James McNeill Whistler and Albert Pinkham Ryder, the competing American Impressionists and Realists in the early twentieth century, and such now-historic avant-garde figures as Alfred Stieglitz, Marsden Hartley, Arthur Dove, and Elie Nadelman. Two appreciations of Edward Hopper and appraisals of Jackson Pollock and Andy Warhol round out the volume. America speaks through its artists. As Updike states in his introduction, “The dots can be connected from Copley to Pollock: the same tense engagement with materials, the same demand for a morality of representation, can be discerned in both.” On Just Looking “Some of these essays are marvelous examples of critical explanation, in which the psychological concerns of the novelist drive the eye from work to work in an exhibition until a deep understanding of the art emerges.” —Arthur Danto, The New York Times Book Review “These are remarkably elegant little essays, dense in thought and perception but offhandedly casual in style. Their brevity makes more acute the sense of regret one feels to see them end.” —Jeremy Strick, Newsday

Fred Gordon shares his life story in this Autobiography Still Looking Up, living independently in a wheelchair. It's inspirational, encouraging and sometimes unbelievable. He holds nothing back telling his story.

New from the author of the national bestseller The Hearts of Men: a novel about one man’s quest to end his cheating ways. Women have flocked to Genesis Styles ever since he was a teenager. He’s a good-looking, smooth-talking former pro-basketball player, but he has a problem: He has never been satisfied with just one woman. Then he meets Terri and everything changes. Sort of. Genesis knows that Terri is perfect for him, and he asks her to marry him. But Genesis just can’t seem to stop cheating on Terri nearly every chance he gets. Genesis’s best friend, Prodigy, constantly warns him that he’s going to mess up the best thing ever to happen to him, but Genesis is not ready to listen. After dealing with a family crisis, Genesis realizes the importance of his relationship with Terri, and he begins to change his cheating ways. He knows that once he says “I do,” everything will fall into place. But it may be too late, because one of his past indiscretions comes back to haunt him, and now Terri may have a few surprises of her own. . . .

Book Delisted

In Still Looking, John Updike has collected together his thoughts and observations on American art to produce an eye-opening follow-up to his 1989 art criticism classic Just Looking. Beginning with early American portraits and landscapes, he goes on to extol two late-nineteenth-century masters, Winslow Homer and Thomas Eakins, considers the eccentric pre-modern painter and graphic artist James McNeill Whistler, discusses the competing American Impressionists and Realists of the early twentieth century - and concludes with appreciations of the art of Edward Hopper, Jackson Pollock and Andy Warhol. The resulting collection of essays is proof that Updike is still looking and seeing what only he can describe. 'As a writer Updike can do anything he wants' Margaret Atwood 'John Updike writes with a steady brilliance about the world out there' Guardian

In this, the only up-to-date critical work on still life painting in any language, Norman Bryson analyzes the origins, history and logic of still life, one of the most enduring forms of Western painting. The first essay is devoted to Roman wall-painting while in the second the author surveys a major segment in the history of still life, from seventeenth-century Spanish painting to Cubism. The third essay tackles the controversial field of seventeenth-century Dutch still life. Bryson concludes in the final essay that the persisting tendency to downgrade the genre of still life is profoundly rooted in the historical oppression of women. In Looking at the Overlooked, Norman Bryson is at his most brilliant. These superbly written essays will stimulate us to look at the entire tradition of still life with new and critical eyes.

"Finalist in the 2019 Australia & New Zealand Photobook Award Listed as one of the Best Antipodean Photobooks 2019. Still Looking Good is triadic collaboration between siblings Oliver Connew (dancer/choreographer) and Alice Connew (photographer) that brings together dance, sound and a visual aesthetic that are drawn from and reference pervasive socio-political forces that organise modern human activity, as understood by the artists. Originally presented by Oliver as a performative piece titled Things That Move Me, Oliver invited Alice to aid him in reimagining the concepts as short film and Still Looking Good was born. The book was initiated by Alice and concludes the collaboration."--Publisher's website (accessed 22/12/2020).

A moving collection of poetry about navigating mid-life, full of humour and wit, from acclaimed novelist Farzana Doctor This debut poetry collection from acclaimed novelist Farzana Doctor is both an intimate deep dive and a humorous glance at the tumultuous decade of her forties. Through crisp and vivid language, Doctor explores mid-life breakups and dating, female genital cutting, imprints of racism and misogyny, and the oddness of sex and love, and urges us to take a second look at the ways in which human relationships are never what we expect them to be.