I loved how LaShanta ends the story in a way that is least expected. This ending is one that will take you by surprise. Get your hands on a copy. I know you will love it. Rating: 5 stars. Many different experiences, interwoven together, set the stage to produce the tears, character and strength behind the man who lives today! Many of us never know or understand why people are the way that they are today. Miles was exposed to a lascivious lifestyle at a very early age. His experiences shaped his thinking and dealings with women that afforded him the extraordinary fantasy-like experiences that undoubtedly were pleasurable at times but made it very difficult to maintain and cultivate meaningful relationships.
Miles explores his past, his feelings and those cataclysmic experiences that seem to turn his world upside down at times. Chase Pryze and his identical twin brother, Caine, are taken from their drug-addicted parents, and separated at birth. Each twin suffers through a harsh childhood, and believes the other twin leads a charmed life. The streets make the twins hard and hungry for the grind. At the age of twenty-two, the twins meet face-to-face as rival drug lords; each seeking to destroy the other.
Chase will not go down without a fight, and neither will Caine. Through taut narrative and dialog, Eyes on the Pryze explores the lies, greed, and deceit living in the twins' camps, which threaten to cause each brother to lose everything; including his life at the hands of his twin. The story was an interesting read, but just a little short on character development. I felt like something was missing and the grammatical errors threw me. Young Adults What did you like most about this book? The fact that Zena moved on from Malik and did not fall back into the same ole same with a man.
What did you like least about this book? Too many grammatical errors. Any suggestions for how this book could have been better? More character development Reviewed by: M. Overall I felt that this book was a very good read. When Sammie began telling her story, I expected the bad, but the things that the author revealed through Sammie were very shocking. Her childhood was stolen from her and she was manipulated by her "Daddy," whom she cherished above all things. Her grandmother was pure evil and even though she had her reasons, it didn't justify the things she did to Sammie.
Sammie let her demons take her to a place that no child should have to go, but considering the circumstances and everything she went through, it's no wonder she didn't turn out even worse. I think she could have been saved, but she always put her dad above all else and he turned out to be her biggest demise.
Friends and coworkers. What did you like most about this book? I liked the author's ability to create her character's vivid imagination. There were a few editing issues. The author could focus more on the character development of Brenee and Moore. Reviewed by: LaShanta Charles. It was evident that the author did thorough research as well as outlined the book. There were unforeseen plots and events that kept the reader well engrossed in the story. I'm pretty sure I read this story within days because I was hooked from page one. I look forward to reading more from this author.
Just Read Book Club What did you like most about this book? I enjoyed the plot of the book as it was unexpected. I love a good suspense novel.
I also loved the structure of the book and the grammar and the formatting. Very well done. I didn't expect the threesome in this book but it didn't make me dislike the book. In fact, it had me intrigued because I wondered how it would all turn out for the detective, Nikki, and NaTasha. I like thrillers and I've heard great things about this one. I liked how the author was able to weave a mystery into the BDSM lifestyle. You will not be disappointed in this series. I, for some reason, thought of the Soyer brothers especially Isaac and Raphael because of their portrayal of the impoverished conditions during the Great Depression.
Field: Yes. They have been referred to as very specific Depression-era figures. De Kooning was definitely, as John just said, tapping into both that classical portrait tradition as well as responding to the prevalent mood of his immediate surroundings at the time. He also discussed knowing vaudeville performers and circus performers. His first girlfriend in New York, Virginia Diaz, was a tightrope walker, so these are people who were around him at that time. Rail: Most definitely.
Elderfield: And I think that once he gets to that point, there comes a huge change in his work. And, yes, I think we would. I think the achievement is there, although we would think of him as a far more limited artist. Rail: Similar to his simultaneous embrace of abstraction and figuration, which seems to have existed from the outset of his career, I always felt that he was attracted to two or more artists simultaneously.
Would you say that kind of simultaneous attraction to two or more things remains consistent throughout his life? It seems unformed and unregulated as a kind of assemblage of influences. And in jettisoning it he really pushed to one side the development of everything since the mid s.
There is that sense of finality about the painting. Yet after having made this great painting, he turns around and, what is it, Lauren, a month later? Mahony: Yes. Rail: Amazing. But where did this all come from? We can even say that de Kooning had a certain natural and technical skill, which he never contended with, on one hand. But on the other, he had an unusual sense of commitment to what he loved, and a huge appetite for learning.
He seemed to absorb it all, and he could tell you the exact details of what he was taught in each of the four years at the Academy. Mahony: Well, what we have set up in the first room is really showing this two-sided training he had in Rotterdam. Actually, de Kooning had painted a still life in , before his academic training commenced. I also like to point out his use of tracing paper, which was a constant component of his painting process, where he derives his compositions from those drawings. He would cut them up, then pin them to different locations on the canvas in order to test out a different idea, and see how they would work with the rest of the painting, and so on.
Mahony: Right. Quite a few of them, if they survived after being put on top of wet surfaces of oil paint, without getting cut up or thrown away, were declared as finished works of art.
Elderfield: Yes. We have this record of him working on pictures for a long time, which really meant that he would develop them quickly and get rid of them just as quickly, and do it again and again. Even in verbal form: we found in one interview he would tell a particular story and in another he tells the same story almost identically. Or sometimes in the same interview. So we can safely say that de Kooning is involved in these sort of constant replicatory changing processes all the time, I think, in a very, hands-on way with his medium. That kind of free invention with the medium, which obviously was there all the way through, I think is not simply a kind of anecdotal interest, or an interest in terms of his biography, but an interest in recognizing it in the paintings, which is one way he gets you to engage with them.
Of course you can argue that great paintings are the ones that could actually stop you in your tracks and make you look at them. Rail: Which, when not done right, can get very muddy. With absolutely vivid blues on top of reds without the muddying bit. Actually, this business of him saying at one point that he boils his brushes, which seems totally weird, but obviously if the brush is so soft he can slide it with the loaded paint across the surface on the canvas. And the other thing, of course, is the more medium added to the mixing of the paint, the more the elements of pigment are dispersed, and therefore light, or light hitting the white canvas behind the color and coming back out, illuminates the pictures.
Rail: That makes sense. They still have extraordinary power in spite of various speculations or readings. Rail: No doubt. It must have initially started just before the black paintings.
We know that Robert Motherwell created his Subjects of the Artist school, which only lasted for a year from to And we know that it was Matta who introduced automatic drawing first to Motherwell and William Baziotes. I think this is something which de Kooning actually did not want. Just recently seeing the very early Pousette-Darts at Luhring Augustine October 28 — December 17, was an amazing example of this issue.
But precisely this is what these projects are supposed to do. Rail: Absolutely. But regarding your early comments on the movement of the wrist in the black paintings, John, when exactly do you think de Kooning was liberated into a full arm sweep? Elderfield: Is that right, Jennifer? But by certainly he was back to his old method beginning with figural drawing and then letting the image come out of it.
That actually continued until In the final gallery of the exhibit, only the three paintings that are on the back wall, do not show a lot of preliminary work. Even the very spare, minimal ones show a lot of preliminary work, being condensed into that form. He told Harold Rosenberg that he really wanted to capture the sense of atmospheric light and the light of the coastal landscape in his work.
Also, something else that happens during this phase, from to de Kooning would take small squares of cardboard or paper, which measure about 7 by 8 inches, and which he had painted on, and enlarged them or use them as sort of compositional studies or inspiration for larger canvases. The same ratio as his large canvases which, he preferred 70 by 80 or 77 by 88 inches, as the two formats. Rail: Was Mercedes Matter the one who suggested to Franz Kline, once she saw his small black ink drawings of interiors, especially with rocking chair, and table, and so on, that he should blow them up with a slide projector to make them into large paintings?
Elderfield: I think de Kooning was involved in this. What he suggested, gave away, he took back later. Again somebody needs to do a show of de Kooning in Rome. They are very exuberant and joyful. He did scrape it down and he got rid of the initial drawing so he did spend a lot of time contemplating redoing it over and over again. Rail: And then gradually, by mid s, he begins to basically bury her body under the earth, which becomes landscapes. I think that he, having gone through this one more time, seems to struggle a little bit.
And this is why sculpture, drawing, lithography all seem to be the other activities that really absorb him. Rail: Yeah, thalo green and Prussian blue are both disastrous colors. And I think it was almost an equivalent to the kind of difficulty he set for himself by the predominant whites in the early to late s so he could actually mobilize his art again. I pointed it out to Richard Shiff, when Terry Winters and I were all at the exhibit at the same time.
dynipalo.tk: The Knife in My Back 2 (Delphine Publications Presents) (Volume 2) (): Stacey Covington Lee: Books. Editorial Reviews. About the Author. Stacey Covington-Lee is a native of Atlanta, Georgia. She has written multiple manuals and training guides for various.
Elderfield: Well, you can just imagine him looking at his palette and scraping this leftover paint and whacking it on the surface. So did de Kooning. So when we look at these pictures and we see these anomalies, they are what keep the painting open. De Kooning takes the latter case. But in all truth, de Kooning had been doing this all his life. Recognizing that what he saw was his great pictorial advantage: to have paintings where the image seems disengaged from the ground and seems to be sliding off of the picture. And Adam is then redeemed by the blood of Christ, the second man.
How remarkable. Nevertheless, the two components of his art were there in that early still life, which were the flat patterning in the background and the volume being the coffee pot and the cup on the table in the foreground. But the mechanics, obviously essential to the whole thing, which are not consciously structured. What could this writing, this work, do?