A Photographer's Life: 1990-2005

Miracle in the Andes: 72 Days on the Mountain and My Long Trek Home
How To Please Your Website Visitors

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
Which Shampoo do you prefer?
The Miraculous Journey of Edward Tulane

You're Wearing That?: Understanding Mothers and Daughters in Conversation

Mommy?
Feeling Good-What Emotional Intelligence Is All About

Tannen (You Just Don't Understand; That's Not What I Meant; etc.) continues to study human interaction through conversation, this time attempting to peel back the layers of meaning that make up conversations between mothers and their teenage and older daughters. While Tannen intends to clarify the ways in which mothers and daughters relate to each other verbally (through direct conversation; indirect messages, or "metamessages"; compliments or insults disguised as judgment; etc.), her own message is muddled by an overabundance of anecdotes and examples and too much stating the obvious. In chapters such as "My Mother, My Hair: Caring and Criticizing" and "Best Friends, Worst Enemies: A Walk on the Dark Side," Tannen seeks to examine every angle of various discussions and makes obvious comments, like "Where the daughter sees criticism, the mother sees caring.... Most of the time, both are right." She then expands on her comment with lengthy and often unnecessary explanations. While Tannen is astute in her observation that "Our relationships with our mothers go on way beyond their lifetimes, no matter what age we are when we lose them," she fails to clear up the mysteries between mothers and daughters.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Start Lose Weight
Beautiful Lies: A Novel

My Secret: A PostSecret Book

The Greatest Story Ever Sold: The Decline and Fall of Truth from 9/11 to Katrina
The Force that Controls You!

My Secret is Frank Warren's second collection of PostSecret postcards. To give a quick overview of what this is all about - PostSecret is described as a "community art project" where strangers mail Warren a postcard with a very personal secret which they have never shared with anyone before. The Postcard is typically decorated with some sort of artwork that describes the secret being sent. Every Sunday Warren posts them on his PostSecret blog, but he has also published three collections of the postcards. My Secret: A PostSecret Book is the second of the three collections.

What is first notable about My Secret is that it is quite a bit smaller than PostSecret: Extraordinary Confessions from Ordinary Lives. Without measuring or weighing the book, I would suggest that My Secret is approximately half the size. What this means is that there is far less content for your dollar.

The second thing to point out is that some of these postcards may have been recycled from the first volume. I have not confirmed this by comparing the two books side by side, but some of the postcards were suspiciously familiar. If some of them were not reused, they are very similar to the postcards of volume one with mostly the same content.

This may come across as a knock on My Secret, and in a sense it is, but if we look at My Secret as an individual volume standing alone, the second complaint falls away. My Secret is a collection of some funny and heartbreaking secrets that anyone may have sent in. Considering the volume of postcards Warren has received, any of our neighbors may have a postcard on the website or in a book at any given time. This is what is special about the PostSecret project and in turn about each of the collections. Reading these collections tells the reader that he or she is not alone, that other people have felt this way and that the painful experience is not unique and this can be a way to heal. Reading these collections shows us that we all have something extraordinary about us that our friends and family may never guess. While it is the painful ones which may be most remarkable, there are also funny and happy and silly secrets.

It is ultimately impossible to separate My Secret from the other collections and from the PostSecret project as a whole, so I will close by saying this: My Secret is not as strong of a collection as the first volume. It is smaller and somewhat weaker. But, with that said, it is still worth the half hour or and hour which it will take to go through all of the secrets and get a glimpse into the lives of others, and in turn into ourselves.

-Joe Sherry
FREE package of Dove beauty products.
The Success Principles(TM): How to Get from Where You Are to Where You Want to Be

My Secret: A PostSecret Book

Barefoot Contessa at Home: Everyday Recipes You'll Make Over and Over Again

Good Improvements | About Us

My Secret is Frank Warren's second collection of PostSecret postcards. To give a quick overview of what this is all about - PostSecret is described as a "community art project" where strangers mail Warren a postcard with a very personal secret which they have never shared with anyone before. The Postcard is typically decorated with some sort of artwork that describes the secret being sent. Every Sunday Warren posts them on his PostSecret blog, but he has also published three collections of the postcards. My Secret: A PostSecret Book is the second of the three collections.

What is first notable about My Secret is that it is quite a bit smaller than PostSecret: Extraordinary Confessions from Ordinary Lives. Without measuring or weighing the book, I would suggest that My Secret is approximately half the size. What this means is that there is far less content for your dollar.

The second thing to point out is that some of these postcards may have been recycled from the first volume. I have not confirmed this by comparing the two books side by side, but some of the postcards were suspiciously familiar. If some of them were not reused, they are very similar to the postcards of volume one with mostly the same content.

This may come across as a knock on My Secret, and in a sense it is, but if we look at My Secret as an individual volume standing alone, the second complaint falls away. My Secret is a collection of some funny and heartbreaking secrets that anyone may have sent in. Considering the volume of postcards Warren has received, any of our neighbors may have a postcard on the website or in a book at any given time. This is what is special about the PostSecret project and in turn about each of the collections. Reading these collections tells the reader that he or she is not alone, that other people have felt this way and that the painful experience is not unique and this can be a way to heal. Reading these collections shows us that we all have something extraordinary about us that our friends and family may never guess. While it is the painful ones which may be most remarkable, there are also funny and happy and silly secrets.

It is ultimately impossible to separate My Secret from the other collections and from the PostSecret project as a whole, so I will close by saying this: My Secret is not as strong of a collection as the first volume. It is smaller and somewhat weaker. But, with that said, it is still worth the half hour or and hour which it will take to go through all of the secrets and get a glimpse into the lives of others, and in turn into ourselves.

-Joe Sherry
Quality Diet's Tips And Secrets
People : Magazine

A Photographer's Life: 1990-2005

Mommy?
Get rid of acne! Participate now for a year supply of skin products.

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
Alkaline Diet
World War Z: An Oral History of the Zombie War

You're Wearing That?: Understanding Mothers and Daughters in Conversation

Wolves by Emily Gravett
FREE package of Dove beauty products.

Tannen (You Just Don't Understand; That's Not What I Meant; etc.) continues to study human interaction through conversation, this time attempting to peel back the layers of meaning that make up conversations between mothers and their teenage and older daughters. While Tannen intends to clarify the ways in which mothers and daughters relate to each other verbally (through direct conversation; indirect messages, or "metamessages"; compliments or insults disguised as judgment; etc.), her own message is muddled by an overabundance of anecdotes and examples and too much stating the obvious. In chapters such as "My Mother, My Hair: Caring and Criticizing" and "Best Friends, Worst Enemies: A Walk on the Dark Side," Tannen seeks to examine every angle of various discussions and makes obvious comments, like "Where the daughter sees criticism, the mother sees caring.... Most of the time, both are right." She then expands on her comment with lengthy and often unnecessary explanations. While Tannen is astute in her observation that "Our relationships with our mothers go on way beyond their lifetimes, no matter what age we are when we lose them," she fails to clear up the mysteries between mothers and daughters.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
FREE package of Dove beauty products.
I Feel Bad About My Neck: And Other Thoughts on Being a Woman

A Photographer's Life: 1990-2005

From Baghdad, With Love: A Marine, the War, and a Dog Named Lava
Your FREE Designer Bag Here!

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
Efficient Lose Weight
Untapped Riches: Never Pay Off Your Mortgage--and Other Surprising Secrets for Building Wealth

You're Wearing That?: Understanding Mothers and Daughters in Conversation

Cesar's Way: The Natural, Everyday Guide to Understanding and Correcting Common Dog Problems (Hardcover)
Get rid of acne! Participate now for a year supply of skin products.

Tannen (You Just Don't Understand; That's Not What I Meant; etc.) continues to study human interaction through conversation, this time attempting to peel back the layers of meaning that make up conversations between mothers and their teenage and older daughters. While Tannen intends to clarify the ways in which mothers and daughters relate to each other verbally (through direct conversation; indirect messages, or "metamessages"; compliments or insults disguised as judgment; etc.), her own message is muddled by an overabundance of anecdotes and examples and too much stating the obvious. In chapters such as "My Mother, My Hair: Caring and Criticizing" and "Best Friends, Worst Enemies: A Walk on the Dark Side," Tannen seeks to examine every angle of various discussions and makes obvious comments, like "Where the daughter sees criticism, the mother sees caring.... Most of the time, both are right." She then expands on her comment with lengthy and often unnecessary explanations. While Tannen is astute in her observation that "Our relationships with our mothers go on way beyond their lifetimes, no matter what age we are when we lose them," she fails to clear up the mysteries between mothers and daughters.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Daily Diets Tips
Home with God: In a Life That Never Ends

You're Wearing That?: Understanding Mothers and Daughters in Conversation

House of Meetings by Martin Amis
Good Improvements

Tannen (You Just Don't Understand; That's Not What I Meant; etc.) continues to study human interaction through conversation, this time attempting to peel back the layers of meaning that make up conversations between mothers and their teenage and older daughters. While Tannen intends to clarify the ways in which mothers and daughters relate to each other verbally (through direct conversation; indirect messages, or "metamessages"; compliments or insults disguised as judgment; etc.), her own message is muddled by an overabundance of anecdotes and examples and too much stating the obvious. In chapters such as "My Mother, My Hair: Caring and Criticizing" and "Best Friends, Worst Enemies: A Walk on the Dark Side," Tannen seeks to examine every angle of various discussions and makes obvious comments, like "Where the daughter sees criticism, the mother sees caring.... Most of the time, both are right." She then expands on her comment with lengthy and often unnecessary explanations. While Tannen is astute in her observation that "Our relationships with our mothers go on way beyond their lifetimes, no matter what age we are when we lose them," she fails to clear up the mysteries between mothers and daughters.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Natural Health Way
At Canaan's Edge: America in the King Years, 1965-68

My Secret: A PostSecret Book

CanadianMedsWorld.com

My Secret is Frank Warren's second collection of PostSecret postcards. To give a quick overview of what this is all about - PostSecret is described as a "community art project" where strangers mail Warren a postcard with a very personal secret which they have never shared with anyone before. The Postcard is typically decorated with some sort of artwork that describes the secret being sent. Every Sunday Warren posts them on his PostSecret blog, but he has also published three collections of the postcards. My Secret: A PostSecret Book is the second of the three collections.

What is first notable about My Secret is that it is quite a bit smaller than PostSecret: Extraordinary Confessions from Ordinary Lives. Without measuring or weighing the book, I would suggest that My Secret is approximately half the size. What this means is that there is far less content for your dollar.

The second thing to point out is that some of these postcards may have been recycled from the first volume. I have not confirmed this by comparing the two books side by side, but some of the postcards were suspiciously familiar. If some of them were not reused, they are very similar to the postcards of volume one with mostly the same content.

This may come across as a knock on My Secret, and in a sense it is, but if we look at My Secret as an individual volume standing alone, the second complaint falls away. My Secret is a collection of some funny and heartbreaking secrets that anyone may have sent in. Considering the volume of postcards Warren has received, any of our neighbors may have a postcard on the website or in a book at any given time. This is what is special about the PostSecret project and in turn about each of the collections. Reading these collections tells the reader that he or she is not alone, that other people have felt this way and that the painful experience is not unique and this can be a way to heal. Reading these collections shows us that we all have something extraordinary about us that our friends and family may never guess. While it is the painful ones which may be most remarkable, there are also funny and happy and silly secrets.

It is ultimately impossible to separate My Secret from the other collections and from the PostSecret project as a whole, so I will close by saying this: My Secret is not as strong of a collection as the first volume. It is smaller and somewhat weaker. But, with that said, it is still worth the half hour or and hour which it will take to go through all of the secrets and get a glimpse into the lives of others, and in turn into ourselves.

-Joe Sherry
The Children's Hospital
The 9/11 Report: A Graphic Adaptation
The Miraculous Journey of Edward Tulane

A Photographer's Life: 1990-2005

CanadianMedsWorld.com

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
A Photographer's Life: 1990-2005
People : Magazine
I Like You: Hospitality Under the Influence

You're Wearing That?: Understanding Mothers and Daughters in Conversation

The 9/11 Report: A Graphic Adaptation
http://eat-healthy-every-day.blogspot.com/

Tannen (You Just Don't Understand; That's Not What I Meant; etc.) continues to study human interaction through conversation, this time attempting to peel back the layers of meaning that make up conversations between mothers and their teenage and older daughters. While Tannen intends to clarify the ways in which mothers and daughters relate to each other verbally (through direct conversation; indirect messages, or "metamessages"; compliments or insults disguised as judgment; etc.), her own message is muddled by an overabundance of anecdotes and examples and too much stating the obvious. In chapters such as "My Mother, My Hair: Caring and Criticizing" and "Best Friends, Worst Enemies: A Walk on the Dark Side," Tannen seeks to examine every angle of various discussions and makes obvious comments, like "Where the daughter sees criticism, the mother sees caring.... Most of the time, both are right." She then expands on her comment with lengthy and often unnecessary explanations. While Tannen is astute in her observation that "Our relationships with our mothers go on way beyond their lifetimes, no matter what age we are when we lose them," she fails to clear up the mysteries between mothers and daughters.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Fiasco: The American Military Adventure in Iraq
Cell: A Novel
Secrets of the Millionaire Mind: Mastering the Inner Game of Wealth

My Secret: A PostSecret Book

State of Denial: Bush at War, Part III
http://eat-healthy-every-day.blogspot.com/

My Secret is Frank Warren's second collection of PostSecret postcards. To give a quick overview of what this is all about - PostSecret is described as a "community art project" where strangers mail Warren a postcard with a very personal secret which they have never shared with anyone before. The Postcard is typically decorated with some sort of artwork that describes the secret being sent. Every Sunday Warren posts them on his PostSecret blog, but he has also published three collections of the postcards. My Secret: A PostSecret Book is the second of the three collections.

What is first notable about My Secret is that it is quite a bit smaller than PostSecret: Extraordinary Confessions from Ordinary Lives. Without measuring or weighing the book, I would suggest that My Secret is approximately half the size. What this means is that there is far less content for your dollar.

The second thing to point out is that some of these postcards may have been recycled from the first volume. I have not confirmed this by comparing the two books side by side, but some of the postcards were suspiciously familiar. If some of them were not reused, they are very similar to the postcards of volume one with mostly the same content.

This may come across as a knock on My Secret, and in a sense it is, but if we look at My Secret as an individual volume standing alone, the second complaint falls away. My Secret is a collection of some funny and heartbreaking secrets that anyone may have sent in. Considering the volume of postcards Warren has received, any of our neighbors may have a postcard on the website or in a book at any given time. This is what is special about the PostSecret project and in turn about each of the collections. Reading these collections tells the reader that he or she is not alone, that other people have felt this way and that the painful experience is not unique and this can be a way to heal. Reading these collections shows us that we all have something extraordinary about us that our friends and family may never guess. While it is the painful ones which may be most remarkable, there are also funny and happy and silly secrets.

It is ultimately impossible to separate My Secret from the other collections and from the PostSecret project as a whole, so I will close by saying this: My Secret is not as strong of a collection as the first volume. It is smaller and somewhat weaker. But, with that said, it is still worth the half hour or and hour which it will take to go through all of the secrets and get a glimpse into the lives of others, and in turn into ourselves.

-Joe Sherry
You're Wearing That?: Understanding Mothers and Daughters in Conversation
The Five People You Meet in Heaven
Stumbling on Happiness

A Photographer's Life: 1990-2005

The End (A Series of Unfortunate Events, Book 13)

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
Cell: A Novel
Nineteen Minutes: A novel by Jodi Picoult
The Miraculous Journey of Edward Tulane

A Photographer's Life: 1990-2005

http://eat-healthy-every-day.blogspot.com/

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
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A Photographer's Life: 1990-2005

http://eat-healthy-every-day.blogspot.com/

This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
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My Secret: A PostSecret Book

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My Secret is Frank Warren's second collection of PostSecret postcards. To give a quick overview of what this is all about - PostSecret is described as a "community art project" where strangers mail Warren a postcard with a very personal secret which they have never shared with anyone before. The Postcard is typically decorated with some sort of artwork that describes the secret being sent. Every Sunday Warren posts them on his PostSecret blog, but he has also published three collections of the postcards. My Secret: A PostSecret Book is the second of the three collections.

What is first notable about My Secret is that it is quite a bit smaller than PostSecret: Extraordinary Confessions from Ordinary Lives. Without measuring or weighing the book, I would suggest that My Secret is approximately half the size. What this means is that there is far less content for your dollar.

The second thing to point out is that some of these postcards may have been recycled from the first volume. I have not confirmed this by comparing the two books side by side, but some of the postcards were suspiciously familiar. If some of them were not reused, they are very similar to the postcards of volume one with mostly the same content.

This may come across as a knock on My Secret, and in a sense it is, but if we look at My Secret as an individual volume standing alone, the second complaint falls away. My Secret is a collection of some funny and heartbreaking secrets that anyone may have sent in. Considering the volume of postcards Warren has received, any of our neighbors may have a postcard on the website or in a book at any given time. This is what is special about the PostSecret project and in turn about each of the collections. Reading these collections tells the reader that he or she is not alone, that other people have felt this way and that the painful experience is not unique and this can be a way to heal. Reading these collections shows us that we all have something extraordinary about us that our friends and family may never guess. While it is the painful ones which may be most remarkable, there are also funny and happy and silly secrets.

It is ultimately impossible to separate My Secret from the other collections and from the PostSecret project as a whole, so I will close by saying this: My Secret is not as strong of a collection as the first volume. It is smaller and somewhat weaker. But, with that said, it is still worth the half hour or and hour which it will take to go through all of the secrets and get a glimpse into the lives of others, and in turn into ourselves.

-Joe Sherry
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A Photographer's Life: 1990-2005

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This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
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A Photographer's Life: 1990-2005

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This book has to be reviewed on two levels. First as a retrospective of Annie Leibovitz's photography from 1990 - 2005. On that level, the presentation is sumptuous and greatly enhances even the most mediocre photos. Few of these photos are as breathtaking as much of the work Leibowitz produced in earlier years. Most of the photos would, in fact, be indistinguishable from the work of thousands of others photographers were it not for their famous subjects, such as Al Pacino and Willie Nelson.

One troubling aspect of this collection for me was Leibowitz's seeming imitation of the styles of other photographers from the past such as Dianne Arbus and even Leni Riefenstahl, the infamous creator of the Nazi propaganda film "Triumph of the Will". Her portrait of the muscular torso of Sylvester Stallone is terribly reminiscent of Riefenstahl's style. Likewise her portraits of two Las Vegas dancers, resplendent in their bejeweled costumes, is compared with portraits of them as ordinary middle-aged women without makeup. Effective, but in many ways a reflection of Arbus's famous style. Portraits of Colin Powell and Norman Schwartzkopf look like those from virtually any high-end portrait studio.

The vitality and originality I used to associate with Annie Leibovitz is largely absent in this collection. On the whole, it is a disappointing portfolio.

Leibovitz perhaps intended this collection to be a different kind of statement, truly a statement about her "life". And it is, uncomfortably so perhaps.

There are many, many photographs of Susan Sontag, Leibvoitz's partner. Sontag is remembered (and reviled) by many for her strident anti-Americanism. It is difficult to reconcile these "loving" picures of Sontag taken by her lover with the Sontag who exorciated Americans very shortly after 9/11 and told them they deserved the disaster they got. Hard to put away feelings of animosity while seeing so many photos of her in Leibvoitz's book.

Leibovitz also includes many photos of her family. These are nothing more than snapshots for the most part, no matter how deftly they have been manipulated in the printing process. (I am really curious as to whether Leibovitz does her own printing. Much of the impact of many of her photos in this collection owes to their printing and the large presentation size, not their content or composition.)

In some ways, Leibovitz would have been better served by putting all of her family pictures into a separate section. As such it would have chronicled the physical decline of her parents while their children and grandchildren grew and would have been a powerful testament to familial love.

Leibovitz makes it clear that this is a deeply personal statement. She says "I cried for a month. I didn't realize until later how far the work on the book had taken me through the grieving proces. It's the closest thing to who I am that I've ever done." That sentiment may indeed account for the ordinariness of the photos in this book. Leibovitz is showing us her life - as the title implies - and not simply showcasing her best work. On the other hand, that presumes the admirer of Leibovitz's photography is interested in her personal life with Sontag and family and not just her photography. I'm sure some will enjoy this collection: I did not find it especially noteworthy.
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My Secret: A PostSecret Book

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My Secret is Frank Warren's second collection of PostSecret postcards. To give a quick overview of what this is all about - PostSecret is described as a "community art project" where strangers mail Warren a postcard with a very personal secret which they have never shared with anyone before. The Postcard is typically decorated with some sort of artwork that describes the secret being sent. Every Sunday Warren posts them on his PostSecret blog, but he has also published three collections of the postcards. My Secret: A PostSecret Book is the second of the three collections.

What is first notable about My Secret is that it is quite a bit smaller than PostSecret: Extraordinary Confessions from Ordinary Lives. Without measuring or weighing the book, I would suggest that My Secret is approximately half the size. What this means is that there is far less content for your dollar.

The second thing to point out is that some of these postcards may have been recycled from the first volume. I have not confirmed this by comparing the two books side by side, but some of the postcards were suspiciously familiar. If some of them were not reused, they are very similar to the postcards of volume one with mostly the same content.

This may come across as a knock on My Secret, and in a sense it is, but if we look at My Secret as an individual volume standing alone, the second complaint falls away. My Secret is a collection of some funny and heartbreaking secrets that anyone may have sent in. Considering the volume of postcards Warren has received, any of our neighbors may have a postcard on the website or in a book at any given time. This is what is special about the PostSecret project and in turn about each of the collections. Reading these collections tells the reader that he or she is not alone, that other people have felt this way and that the painful experience is not unique and this can be a way to heal. Reading these collections shows us that we all have something extraordinary about us that our friends and family may never guess. While it is the painful ones which may be most remarkable, there are also funny and happy and silly secrets.

It is ultimately impossible to separate My Secret from the other collections and from the PostSecret project as a whole, so I will close by saying this: My Secret is not as strong of a collection as the first volume. It is smaller and somewhat weaker. But, with that said, it is still worth the half hour or and hour which it will take to go through all of the secrets and get a glimpse into the lives of others, and in turn into ourselves.

-Joe Sherry
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