Art History Books

This book is an interesting story that gives the reader a bit to think about concerning the actual and fascinating lives of these two people. It is well written, and in fact, some passages are stunning. However, its pace often slows to a limp, and I felt as though it should have been concluded in half the number of pages.

I devoured this book. The prose is gorgeous. The story is both controversial and thought provoking. Even by today's standards, it is a story that will have many wagging their tongues. Yet, I came to sympathize and care deeply about the main characters, even if I didn't always agree with the decisions they made. It provoked me to think about women's roles and choices, and how far we've come. After finishing the novel, I felt touched, wiser, and fulfilled having read it. It is now one of my all time favorite books.

Interesting and well written, but it helps to remember that this is a work of fiction since some of the events stretch credulity.

Loving Frank by Nancy Horan is, in its simplest form, about a woman with deep emotional struggles set in the backdrop of the early nineteen hundreds. But this novel is anything but simple. This is the story of Mamah Borthwick Cheney who had to make tough choices in an effort to follow what her heart was feeling and about the high price she had to pay.

At this point I needn't tell you that this story isn't about the legendary architect Frank Lloyd Wright, but about the sordid details of the affair and the way the tabloid blew this relationship way out of proportion. It's funny when you think about it, really. Today, nearly one hundred years after the event the media still craves the blood of celebrities who make similar decisions.

If there is anything bad to say about this novel (and I'm reaching here) is the book takes a few chapters to get the steam engine going. Bud like I said, that's really stretching. Nancy Horan does an exquisite job in bringing this story to life. You'll find yourself sympathizing with Mamah Borthwick Cheney as her love for Mr. Wright tears apart this seemingly love stricken woman. From the inspiring choice by one family and the consequences that resulted this is a must read for all fans of true love.

I'd also recommend reading the highly rated novel: The Fates by Georgiou: Fates (classic)

I read this book for my book club. I wasn't excited about it, since I am not a fan of Frank Lloyd Wright's architecture, but it's more about his personality and now I understand the architecture concepts more. Next time I am back east I will go visit Falling Water which is very near my in-laws' house! Great book, lots to talk about at our book club meeting. Unexpected ending...

I learnt more about reading and writing fiction from this little wonder than anything else. Its also an opinionated, amusing joy to read.
I leant it to a freind who loves it to, but I cant wait to get it back again.

I should say up front that James Wood is living my dream. A staff writer for the New Yorker, chief literary critic for The Guardian, professor of the practice of criticism at Harvard University, and a respected novelist to boot (and he's only five years older than I am!), Wood might be the closest thing we have to a successor to Edmund Wilson. So any criticisms that follow can probably be chalked up to little more than jealousy--the literary equivalent of suggesting that Wood has fat ankles.

How Fiction Works is a compact, even squat little hardcover, the very materiality of which seems bent on recalling an era and ethos of reading "before theory," as it were. Somehow the 4.5" x 7" format--coupled with wide margins, classic font, and running page heads that indicate the content of each page--manage to evoke the sorts of predecessors that Wood himself invokes: Ruskin's Elements of Drawing and E.M. Forster's Aspects of the Novel. The materiality of the book primes a certain approach, a certain horizon of expectation for the reader and seems to effect a first shift in readerly stance that Woods' criticism would encourage: attention to the craft.

If the title sounds like a dreary, mechanical textbook for Creative Writing classes the world over, in fact the book is as much for readers as writers. This is a work of criticism, not a Writers-Workshop-in-a-box. Nor is this a book which sets out to demystify the novel as if Wod were a member of the guild willing to share with us the secrets of the illusionist. While it is attentive to concrete realities of mechanics, How Fiction Works is not a disenchantment of the novel, disclosing to us the code or formula that makes fiction work. In fact, any reader will thank Wood for breaking open fiction in new ways in the opening chapter on narration alone. Like all good criticism, Wood names and articulates our intuitions and gut reactions. For instance, he names exactly the discomfort I have long felt about straight-up, confident, magisterial third person narration one finds in someone like Jane Austen (or Joyce Carol Oates, for that matter?). On this point he cites W.G. Sebald:

Given that you have a world where the rules are clear and where one knows where trespassing begins, then I think it is legitimate, within that context, to be a narrator who knows what the rules are and who knows the answers to certain questions. But I think these certainties have been taken from us by the course of history.


Wood goes on to provide a breezy but profound analysis of different kinds of narration which almost turns into a reverie on free indirect style. In this context he provides a stinging critique of Updike's failures in this respect in his 2006 novel, Terrorist, where the narrator's language refuses to bend "toward its characters and their habits of speech." Of course, some novels are exercises and experiments bent on seeing the extent to which this is possible. Faulkner's The Sound and the Fury comes to mind, but more recently, something like Kieron Smith, Boy in which James Kelman tries to be the ventriloquist of a boy from working class Glasgow. But such a project is always beset by a bit of a ruse. After all, how likely is it that a tough young Glaswegian is going to take the time to pen a 432 page memoir, even if it is in the dialect that Kelman seeks to reproduce?

Wood is out to explain how fiction works, not in order to provide a template for would-be writers to go enact a formula, but more for readers who appreciate good criticism as a portal into the further enchanting mysteries of fiction (as when we ask ourselves sometimes, "Now, just how does this paper-and-ink artifact manage to do this to me?"). While Wood tips his hat to Barthes, this is not a "theory-driven" account of literature. Indeed, there is something kind of "lunch box"--or rather, "tool box"--about it in its meat-and-potatoes attention to the basic elements of narration, detail, character, language, register, and dialogue (ending with a short theoretical riff on one of Wood's enduring interests: the question of realism).

The range of Woods' interlocutors is almost dizzying (from Homer to Cormac McCarthy), but a couple of heroes keep asserting themselves: Flaubert and Henry James, even thought both were prone to what Wood sees as the persistent temptation of the modern novel--an aestheticist wallowing in detail (see Updike). But Flaubert and James are simply the leading voices of a rich choir that Wood orchestrates, with parts for Cervantes and Defoe as well as Pynchon and Delillo.

It's on this point that I would register one criticism. In what is, without question, a landmark book that I have already profited from quite immeasurably, I do find Wood sometimes wears his learning a little heavily. To be more precise, there are times when he slides from being precocious to being just rather obnoxious. Take, for instance, an opening "Note on Footnotes and Dates" in which Wood feels it necessary to point out that "I have used only the books that I actually own--the books at hand in my study--to produce this little volume." Why tell us that? Perhaps to deflect critics who will decry books that have been ignored--though, in that case, the criticism would still hold, wouldn't it? For instance, one can imagine politically correct assistant professors of English lamenting the "Eurocentric" nature of Wood's book ("Where is the Indonesian, post-colonial fiction?!") and thus Wood trying to head them off at the pass by saying, "Look, I was just working with what I had to hand." But then the criticism would be: "Not only is this 'little book' Eurocentrist and still-colonial, but James Wood is! He doesn't have any Indonesian, post-colonial fiction in his personal library!"

Instead, what is intended as a mark of humble constraints (in producing "this little volume") comes off as backhanded pomposity. This is augmented by the function of several of the scant footnotes in the text which seem like little more than Wood showing off. These includes little asides which catalogue instances of self-plagiarism in Tolstoy, Dickens, James and McCarthy (p. 65); or the convention of allegorical names in Tolstoy, Thackeray, Wordsworth, and Evelyn Waugh (p. 115); or the cast of minor characters with writers' names in Proust, Bernanos, Updike, Jones, Tolstoy (again!), and others (p. 162). Methinks Wood doth indulge a bit. (Read: fat ankles!)

Finally, let me take up one particular piece of criticism in which Wood, contrary to his otherwise exemplary practice, seems to miss the point precisely because he fails to appreciate a theological point in literature. (In The Broken Estate: Essays on Literature and Belief, Wood has shown his superiority to a critic like Christopher Hitchens precisely in his ability to appreciate theological nuance.) The context is his marvelous discussion of free indirect style. Not surprisingly, he holds up Henry James' What Maisie Knew as a model. Though told from the third person, Wood notes how James' manages to make the narrative bend to the voice and world of young Maisie Farange, who is bounced between her divorced parents and attaches herself to one of her governesses, Mrs. Wix. Mrs. Wix had a daughter, Clara Matilda, who died tragically just when she was about Maisie's age, and Maisie often accompanies Mrs. Wix to Clara's grave in the cemetary at Kensal Green. Wood wants us to focus on James' ability to write from the third person in a way that invites us to inhabit young Maisie's confusion, torn between her mother (who speaks poorly of the lowly Mrs. Wix) and the governess, but also confused by the absence of Clara Matilda. He hones in on this passage:

Mrs. Wix was as safe as Clara Matilda, who was in heaven and yet, embarrasingly, also in Kensal Green, where they had been together to see her little huddled grave.

Wood suggests that "James's genius gathers in one word: 'embarrasingly.'" Whose word is "embarrasingly," he asks? "It is Maisie's: it is embarrassing for a child to witness adult grief, and we know that Mrs. Wix has taken to referring to Clara Matilda as Maisie's 'little dead sister.'" Wood is exactly right that "embarrasingly" is Maisie's language, and thus rightly notes James' ability to bend the narrative--even in the third person--to Maisie's world so that we hear Maisie and not (just) James. But Wood seems to completely misinterpret just what is "embarrassing" for Maisie. It is not witnessing Mrs. Wix's grief. It is, rather, the theological tension that even young Maisie experiences: how can Clara Matilda be in heaven and in Kensal Green? Wood seems to completely miss the also in the passage. It is the conjunction that is the cause of embarrassment.

These minor criticisms aside, How Fiction Works leaves one eager to read anew.

This book works for me on many levels.

It was great fun to read the many thoughtful reviews and comments here on Amazon. I found the Reviews of Charlus, Stanley H. Nemeth and madman particularly thoughtful and insightful; I found the Comments of Doug - Haydn Fan', especially Doug - Haydn Fan, The Ghost of M, Thomas Plotkin, and Stanley Nemeth first rate. Literary fireworks of the first order, all engendered by Wood's little volume, and I enjoyed the show very much.

A similar collection of reactions -- less erudite in general -- appeared in "The New York Times Book Review" for August 31. It's fascinating that a major critic can engender so much passion and so much learning, all at the same time.

Wood helps me deepen my understanding, appreciation and pleasure in reading great fiction. Five years ago Edith Grossman released a wonderful translation of Don Quixote. After reading Wood's review in "The New Yorker", I re-read Cervantes's great work with deeper pleasure. "[I]t is worth reminding ourselves of the gross, the worldly, the violent, and, above all, the comic in "Don Quixote"--worth reminding ourselves that we are permitted the odd secular guffaw while reading it. If all of modern fiction comes out of the Knight's cape, one reason might be that Cervantes's novel contains the major comic tropes, from the farcical to the delicately ironic." Comment 1, fn 1.

Wood infuriates me, and teaches me. He analyzes an essay by Orwell in which a condemned man avoids a puddle on the way to his execution. "There was no logical reason for the condemned man to avoid the puddle. It was pure remembered habit."

But wait a minute: could the condemned man have been saving his shoes for another inmate? Perhaps he was a Buddist avoiding killing a living thing hidden in the puddle; the Life of Pi teaches us that practicing religion at the end of our lives may help us avoid missing "a better story". Perhaps the prisoner hoped for a pardon? Was his avoidance similar to Commander Scobee's last recorded act pressing the communication button on Challenger? Pincher Martin: The Two Deaths of Christopher Martin describes two deaths in moments. Johnson, according to Boswell, thought hanging "concentrates [one's] mind wonderfully." Was that prisoner's act truly "a margin of surplus".

The previous paragraph is my pale imitation of one of Wood's often repeated effects; as Kirn describes it in the "Times" review: "He drops his quotations and references as copiously, easily and freely as a man on a bench in Central Park scattering cups of birdseed." [Footnote 2.]

Wood's references compliment me when I am reminded of remembered reading. They challenge me when I know most, but not all of the references, and inspire me to search out the gaps in my learning. They irritate and intimidate me when I don't know any of the references at all.

Wood's book provides a good index and a very useful chronology of his major references. His book would have been greatly improved for me if he had provided a glossary of terms -- I'm not sure exactly what he means by Modern and Post-Modern fiction, and not at all sure what fiction preceded Modern fiction. What exactly is "lifeness" -- and how can "fiction" be imbued with "lifeness"? -- at one level they seem to be contradictory ideas. Is "lifeness" different from "the real, which is at the bottom of my inquiry."

I would also have liked a glossary because his terms collapse into each other: "when I talk about free indirect style, I am really talking about point of view, and when I am talking about point of view I am really talking about the perception of detail, and when I am talking about detail I am really talking about character and when I am talking about character I am really talking about the real ...." I'm not sure I understand the margins of the these words and phrases and others he uses throughout his book.

The search function here on Amazon helps a bit -- I don't footnote Wood's words in this Review because one can search for his words there -- but this is one book where Kindle would come in very handy with book in hand. To really understand Wood, I need to re-read Madame Bovary (the Wall translation), and Wood has inspired me to read A House for Mr. Biswas for the first time. A Kindle at my side with Wood on board would enhance both journeys.

At the end of the day, though, I wonder if I'm really the "common reader" Wood is speaking to; should a "common reader" need these aids when Wood has "tried to reduce what Joyce calls 'the true scholastic stink' to bearable levels." In a discussion of dislikeable characters, Wood writes: "A glance at the thousands of foolish 'reader reviews' on Amazon.com, with their complaints about 'dislikeable charcters,' confirms a contagion of moralizing niceness."

Wood took a similar whack at Amazon reviewers and also at reading groups in an article in "The Guardian" earlier this year:

'But a great deal of nonsense is written about characters in fiction - from those who believe too much in character and from those who believe too little. Those who believe too much have an iron set of prejudices about what characters are: we should get to "know" them; they should not be "stereotypes", they should "grow" and "develop"; and they should be nice. So they should be pretty much like us. A glance at the thousands of foolish "reader reviews" on Amazon, with their complaints about "dislikeable characters", confirms a contagion of moralising niceness. Again and again, in book clubs up and down the country, novels are denounced because some feeble reader "couldn't find any characters to identify with", or "didn't think that any of the characters 'grow'"."

As a Reviewer here on Amazon and as a member of a couple of book clubs, I may not be Wood's "common reader". I might be better off reading some of interesting alternative texts suggested by Wood and the Amazon folks in the reviews and comments here: Viktor Shklovsky, Roland Barthes, Percey Lubbock's The Craft of Fiction, Edmund Wilson's Axel's Castle: A Study of the Imaginative Literature of 1870-1930, "discussing the symbolists", C.S. Lewis for "telling and exact readings of writing and especially the art of storytelling", Nabokov "especially on Gogol" and his memoir, Speak, Memory, Flannery O'Connor in Mystery and Manners: Occasional Prose, and even the "Glenn Gould Reader" on why Gould didn't like Mozart as much he liked Bach: "it was aesthetics and not mere taste."

Despite my doubts and some excellent alternatives, I'll undoubtedly continue to follow Wood's work as well, with pleasure and perhaps with a Kindle at hand. I'm sure I'll deepen my enjoyment of fiction.

Robert C. Ross 2008


Addendum: I wonder if Wood's attack on "silly" Amazon reviews and book clubs might have been in response to attacks on The Emperor's Children by Claire Messud, Wood's wife. The most negative review at the moment is by D. West "Bones", who writes: "In my opinion, none of the main characters are anywhere near as adorable as the author keeps insisting they are. Their most notable characteristic is a non-stop (and rather interchangeable) flow of campy repartee that might convey intellect, success, pretension, heartbreak, or whatever to someone steeped in their milieu but which kept me at a considerable emotional distance." D. West offers her copy of the book free to the reader, as does a the writer of a Comment, who offers up the eight copies from her book club. B.

Beautiful writing and sharp insights throughout. The Wood Channel could do for literature what ESPN did for sports if Wood would sacrifice a bit his devotion to The Canon. This turns out to be the conceit of selecting books only from his library. Its admission standards start to feel claustrophobic after a while. Flaubert and H. James admirers will find endless refreshment from these pages. If you hated Madame Bovary and couldn't lift up Dostoevsky long enough to get from Raskolnikov's crime to his punishment, you will find yourself searching in vain for a wider selection of stories, authors, and techniques. Wood turns messy received literary tradition into fresh, exciting, and understandable language. He's the Constance Garnett for the rest of us. But his inattention to more unorthodox fictional workings might leave some literary X Games enthusiasts hungry for more.

Several comments leave an impression to at least one not academically qualified to have wandered into a symposium for MBA/PhD credentialed professionals.

Give classicists their due in literary art forms, this common reader also enjoys contemporaries, such as David Guterson's introspective The Other,
circa 2008.

I don't care How Fiction Works, as long as a story works for me, written then or now.

With Marjane Satrapi's animated film playing in theatres and available on disc, I almost jumped at the chance to read her book, the part-comic/part-memoir of Satrapi's childhood in Tehran, Iran.

To avoid confusion with more current events, `Marji' (as she was called as a child) recalls her upbringing in a Marxist family, the fall of the last Shah regime, the Islamic Revolution of 1979, and Iran's war against Iraq in the 80's. While Satrapi's words are powerful enough to get in your head and stay there, her simple black-and-white drawing style captures the laughter, the tears, and the raw emotion felt throughout the story. Though only an individual account, the story itself is quite vivid in describing how Iran had left a world of tyranny and chaos--only to wind up in another. Though controversial in its own right, "Persepolis" is still a riveting book for those seeking intelligent reading.

This comic is unrated: Violence, Adult Language, Adult Situations.

I feel I learned more about the history of Iran through the eyes of a little girl who was practically forced to become an adult by the age of 14 than most textbooks. Marjane Satrapi, or "Marji" captured my attention, thanks to the successful marriage of her "crudely-drawn" panels and approachable narrative. While I have yet to read the sequel, I feel I know this individual on a personal level as the book fills us in on her deepest fears and hopes and conflicts.

Although this book is written like a comic book, don't take it lightly. The story is a deep and meaningful one. It is a pretty fast read but not as fast as you'd think...I highly recommend it!

This book was a very easy read. Unfortunately, the plot was a little too easy to follow, and certain parts have nothing to do with the rest of the book. The illustrations, however, have a quirky charm, and the story telling is sweet and entertaining.

Our local community college is using this book as a common book experience for all incoming freshmen. It's a good choice for three reasons: 1) the subject matter (a young girl's experiences in revolutionary Iran) is timely and meaningful for coming-of-age college freshmen trying "to find themselves" 2) the graphic novel format is immediately engaging and easy to digest, and 3) the protagonist's story lends itself to myriad thematic explorations. In all, I was interested in and satisfied with this book. In fact, I couldn't put it down--I read it in an hour and a half. Apparently, there's a movie, too. That's next on my list.

I was required to buy this book for Art 131 and while it gives good term descriptions it gives little information to interest the reader and want them to go into an art degree.

I've received and read the book, and enjoy the content. However, compared to many other books in the marketplace, I'm having a hard time comprehending where there is over $100 worth of value. It seems that everytime something is written by an academic and presented as a textbook, regardless of the content or quality, that the price is jacked up by 3 to 4 times what it is really worth. I'd suggest looking for a used version of this book unless you really want a pristine copy to show off to others.

This book is pretty comprehensive. I am using it for a basic photography class. It covers a lot of subjects, but none in great detail. The newer versions actually covers a bit of digital photography as well.

This was a required text for my Photography 101 class and well worth the price ($20 less here than at the college book store). This book covers all the basics of photography tog et you started and the information is clearly illustrated by accompanying photos. This will be one I'll definitely be keeping as a reference.

textbook needed for photography class. Its new and arrived on time. One can also be satisfied with the older edition of the book- especially for a beginner.

This is the book! If you are studying for the CPP test this is the one. It is comprehensive to a fault. The explanations of photo concepts are complete and easy to understand. The only problem is that the book is so big that it is falling apart. Wish me luck on the test!

This textbook was so well written and put together, that I'm going to take the course that deals with the second volume. The pictures of artwork were amazing.

Good book with a lot of images and art knowledge. Good for reading to understanding more about art.

This is an excellent textbook and well worth the price. It's more like a history of art and culture.

I purchased this book for my Graphic Design history class. The book is well written and it is very informative.

i bought this product as new. i could tell the book had not been or had hardly been opened b/c of the sound it makes when you open a new book. the pages are clean and crisp. it was only the book jacket that protects the hard cover that had a few marks on it, but overall i'm very happy with it. =)

This book provides an excellent resource on the graphic design industry with in-depth information on typography and how different art movements affected graphic design. It is well written and has great pictures with detailed descriptions. I recommend it for every graphic designer's personal library.

After using all the editions, the latest isn't up to the late Phil Meggs' standards. In its attempt to
be concise and concept oriented, it omits much cultural and marginal information that was
interesting and flavorful. This edition is not as delicious as the others. I'm thinking of switching
textbooks for my students.

i was one of the few among my peers who had never read one of the Maus books. When i finally got around to it, i was blown away by its excellence. This is a masterpiece (and i do not use the term lightly). Do yourself a favor and don't miss it.

I must say that I find this work hard to properly describe in terms of how I feel about it. I think that it was a fascinating look at one man's experience in the Holocaust, but an equally important aspect is Art's interaction with his father during their conversations. This seems like an honest portrayal, especially since Art isn't afraid to include things that may make him look bad (he isn't always the most sympathetic son). I think connecting the story of what happened then, and how it's effects are apparent for the rest of a person's life (although different people reacted in different ways) is interesting. The way this is written is especially effective, because it truly feels like Vladek is telling you his story first hand.
As for the artwork, although it isn't my favorite style, it seems to fit for this story. The simple, unpolished look is compatible with this story which is honest and raw. Finally, I would like to add that the second installment of this comic is darker, and more depressing and sad at times, but once you read Maus I, you must (and will want to) read Maus II in order to feel any closure with the story.

As a Jew Living in Israel, holocaust related books are important to read, but it's hard to do it actually. I can remember several holocaust-era semi-biographic novels which are great but those are the exceptions. Most of the books are a bit bothersome though true.
Maus just captured me.I consider it one of the best books I've ever read in my life. It was just breath-taking, adding to that the fact that this was my first graphic novel ever, not to say first comic ever.
I gave it to my wife, her parents, brother and so on. The book came back to me after 6 month. all worn out.
The book touched me in the deepest levels, and was able to do what many other holocaust books tried to do and failed. Take you inside one of the the darkest eras of human kind. You NEED to read to. You have to read it.

Maus, A Survivor's Tale is a son's pictorial version of his father's story of survival during WWII.

Both haunting and mesmerizing, sometimes funny and touching, this is a story of perseverance and about what the Jews had to suffer through at the hands of the Nazis in WWII Poland. Spiegleman never sugar-coats what his father had to endure in order to keep he and his wife alive. A true work of art.

Horribly distorts the true suffering of WWII victims. The Poles who are portrayed as pigs and the Jews who are portrayed as RATS is not a good beginning. The Poles and the Jews suffered the most. The Polish Catholics lost 3 million, in what has become known as the Forgotten Holocaust. The Poles lost another 2 Million to Stalins barbaric Gulags. When the Nazis were defeated, the Soviet Communists took over and were more barbaric to the Poles than the Nazis, although both brutally oppressive and cruel to the Polish nation. Maus/Rat, whatever you call it, uses a horrible and untrue depiction of the Poles. The Poles were the first to go to Auschwitz and die. Polish teachers, school children (giggling and playing having no idea what horror awaited them, my God), professors, nuns, priests were the first victims of Auschwits, for the wars first 2 years. Jews were not taken to auschwitz until May of 1942! The Germans had already slaughtered 1 Million Polish Catholics before the Jewish campaign even started! The Poles still defide Hitler saving more Jews than any other country. What makes this more incredible is that, Only in Poland were entire Polish-Catholic families, towns and villages executed for, as little as, handing a Jew an apple. in Denmark, Sweden, Hollannd, Norway, a slap on the hand was given - that's it! These countries, also had some of the most brutal Nazi organizations,.i.e., they collaborated eith the Nazis, as Poland DID NOT! For a true and purely objective learning, and not one man's version, bias or hate towards the tortured Poles, and other nations, read a short but to the point book with tons of info, perfect for Jr, High, High School and Adults: Andrew Hempels" Poland in WORLD WAR II; also Richard lukas' The FORGOTTEN HOLOCAUST;Poles Under Nazi Occupation (talks about everyone's suffering); finally, and a great litttle book on Auschwitz with big returns is AUSCHWITZ by Sybille Steinbacher. Steinbacher's book is easy to read and very clear; gets to the point and very objective. These books are so centered and incredibly objective,i.e., no embellishments, just truth and fact. The Rat book is a despicable generalization and distortion of truth. Scholars and Educators: Please, be sensitive and 'Take the bull by the horns.' Enjoy the summer - you.ve earned it.

Okay, this is seriously one of the most brilliant books I have ever read, and I have Henry (who is also brilliant) to thank for introducing this to me. (Thank you, Henry.) Although this book has been around since '93, I suspect it's nowhere near as recognized as it deserves to be, but with time that will change, I hope.

The full title is "Understanding Comics: The Invisible Art," and what Scott McCloud does is explain what we take almost completely for granted, not just about comics, which he convincingly raises to a fine art, but also about the way we 'see,' and think we see, the world around us, especially as it is represented in words and images.

It's an important book because he talks in deceptively simple terms about how we perceive reality. McCloud shows the reader, through the seemingly "childish" mechanism of comics, how we think about what we perceive. Therefore, it's an epistemological text, and those are always of tremendous interest to me. It's also a book about how creativity works, and that's a central theme to my research. I've spent most of my adult life dealing with 90% of what he encapsulates in 215 densely packed (and highly entertaining) pages. Did I mention that the entire work is written in the form of a comic book? No? Well, it is.

It purports to be about comics, but that is only the tip of the philosophical iceberg. It's a study of how to think about words and images, and how we have come to use them, not just in Western society, but also in the East. He calls this the "invisible art," the effect of the combination of words and pictures, and if you read this, you'll get a much better understanding of the term "closure," which is the phenomenon of what the brain does when interpreting the gaps between words and pictures (in comics, this gap is represented visually by the space between each frame of words and images). We make up a story in our minds to close this gap, and it's a crucial piece of the story-telling process, this 'silence' that leads the reader to decide what really happens.

Scott McCloud combines semiotics (the discussion of the meaning of signs and signifiers), art history, rhetorical analysis (why it's so brilliant), cognitive and neurological research (another reason it's so brilliant), with an analysis of art and literature's influence on human social dynamics. The synthesis he reaches makes the invisible, visible, and will help the reader understand how comics evolved and where they come from. Hopefully, it will give the reader a new appreciation for the comics art form.

I have studied the theory behind virtually every aspect of what he's talking about, except comics, and so I know the sources he's relying on to get to the information he's condensed for the reader, and I also know you won't like those sources, but you will like this book because it's accessible in a way semiotics, rhetorical analysis, and the finer points of art history, are not. But if you read this book, that's part of what you'll be reading, and you'll be glad you did.

You don't wanna miss this lesson guys. Mccloud just forgo himself. A must-have book for all comic readers.

This is an important book that everyone should read. I would give it twenty stars if I could.

I've long been interested in both art and comic books (I have collected them for over 50 years). While the library shelves are full of wonderful books that explain what traditional artists are trying to do and why they succeed, I've often found the books to be pretty boring. In recent years, such books have gotten bogged down into abstruse language that is much less appealing than the art which is the subject.

But in those years, I've never seen anything that was very helpful in discussing the rules of comic art, except some books about pop art when that was popular that examined how the pop art was different from comic art. Naturally, I was blown away when I found that Understanding Comics is a far more comprehensive, thoughtful, and accessible book about interaction with art than I have ever read. Although the subject is ostensibly comic strips and comic books, it's clear to me that that Mr. McCloud has a deep and powerful understanding of all art. Some of his conceptual displays of where different forms of art fall in different dimensions of choice (degree of realism, abstraction, and message) are unbelievably powerful.

I hope that some art historian will stumble on this book and recast the history of art to explain and relate different styles to one another using this book's methods. There would be a lot more art lovers if that were the case.

Ultimately, the book's main benefit is to help the reader appreciate that comic art can be a higher and more effective form of art than either pure images or written words by requiring a mastery of more elements . . . elements that are more powerful in grabbing attention and conveying meaning.

Yet the book stays in humble form, a comic book. The powerful ideas sneak up on you as Mr. McCloud deconstructs the elements of comic art expression into chapters on defining what kind of art comics are ("sequential art" for short); explaining where various comics fall on the spectrum of reality, story, and abstraction; the way we fill in the spaces around the lines and between panels with our minds, allowing us to participate in creating the story and the experience; how time is expressed in various ways; the role of lines in creating our understanding and responses; how words and images can interact; a conceptual look at creating comic art; the effect of color; and a synthesis of the book in historical and conceptual terms.

If you want to enjoy both traditional art and comic art more, read this book. It's the Rosetta stone for non-artists in appreciating the images, stories, and messages that artists want to share with us through these media. You'll never be the same . . . and the change will be good for you!

Bravo, Mr. McCloud!

This is the type of book that looks at a genre and sees it's roots clearly in the basic structure of art and human perception. This is not a book about costumes and secret identities, but about how comics use the basic human archetypes and symbolic language to speak to us in metaphor. THIS BOOK WILL SHOW YOU HOW TO APPRECIATE ART, NOT JUST COMICS. Every art student should have this in their library.

As previous reviewers have mentioned, Scott McCloud is passionate about comics; part of the purpose of writing the book, it seems is to justify the argument that comics are indeed art. I found this a moot point, although his evidence was interesting. Another reason behind the book, it seems, is to explain the message behind comics: the epistomological leaps we take when we read them, the artisitic decisions made when they are created, and the evolution the art form has taken. This was not only the strongest and most interesting part of the book, but also much less preachy.

I enjoy comics, from 19th century broadsheets to the Sunday funnies and the occasional graphic novel. Until now, however, I never really thought about the conscientious decisions the artist makes between realism and meaning when drawing them. Similarly, I had never critically thought about the fundamental differences between Asian (especially Manga) comics and Western comics. McCloud has shed much light on these topics, and explains these differences and decisions clearly, without pretense.

Avid readers of comics, aspiring comic artists and purists may find McCloud a bit pedantic - for the novice such as myself, I was fascinated, as a whole new world has been opened to me through his explaination. Why the four stars then? I took a star for his argument about comics as "art". I suppose there are those who believe comics are not art (or are "low" art at the most); while I disagree with this (and side with McCloud), I thought the argument was out of place, and ultimately moot. Still, a recommended read.

This book is absolutely fascinating! The historic relations to the content is helpful and provides even more insight throughout the chapters. The book wastes NO time with puffy sentences or grand introductions.... instead the author's every sentence has substance, and you begin to actually learn something right from the beginning. The book is a great tool to completely rebuild yourelf, as well as teaching you the 'art of seduction.' The book is intellegent and complex, yet it's written in a way that is easy to comprehend because it deals directly with its title. The book never loses the focus, and it is on point from beginning to end.

The chapters/sections are just flat out amazing... it's like the proverbial 'light bulb' turning on in your head.

Not only does the book support its title, but it's also a great description of the human condition in general.

Very objective - Provides factual evidence - Non-biased - And downright illuminating.

I just read Mystery's book, then the new book by Billy Conroy, then this book. Kind of a crash course in picking up women. Unfortunately, this book was third best. I enjoyed Cougars, Poptarts & One Night Stands much better, making it difficult to finish this one. Not enough real world examples here, and not enough laughter. JMO.

I wasn't really impressed by this book as much as I was by 48 Law of Power. The Art of Seduction was more of a history book that wasn't very well organized. Don't get me wrong, you'll probably be able to pick up a few tips and tricks from this book, but if you want more of a manual on seduction, check out some other authors (Neil Strauss, etc). Art of Seduction is decent, but I really just should have spent my time re-reading The 48 Laws of Power.

Like his other exercises in opportunism (on power and war) Mr. Greene falls into that category of writer who leaps on people's insecurities by providing a "how-to" manual in checklist form. As if the art of generalship or political power or sexual conquest was as simple as assembling an Ikea bookshelf. All you need are the right instructions.

This will no more help you understand or become a Casanova than a "23 Laws of being a Fashion Model" will turn you into Heidi Klum. Save your money.

This book covers certain concepts and ideas that you have probably been exposed to throughout your life, however the eloquent and exotic stories the author had woven into each chapters make his arguments potent. Even if you do not agree with the methods this book offers, you will still enjoy reading about it. i also recommend for this kind of topic my favorite book I Love You. Now What?: Falling in Love is a Mystery, Keeping It Isn't