The Hall of Horowitz

Tim Page

Alfred Eisenstaedt/Time Life Pictures/Getty Images

Vladimir Horowitz Live at Carnegie Hall—some thirty hours of music—doesn’t include every performance the pianist played there (he made his house debut in 1928, more than a decade before the invention of magnetic tape would have permitted such sustained recording) but offers extensive documentation of performances ranging from 1943 through 1976.

Janet Malcolm’s Cut‑Up Books

Gideon Lewis-Kraus

Both Janet Malcolm’s writing and her collages are preoccupied with what happens on the margins of knowing, or in its wake. Malcolm has always had great confidence in what she’s come to know—she writes with such a sure hand—yet at the same time she is well aware of the limits of what we might ever feel assured in saying. In “A House of One’s Own,” her essay on Bloomsbury, she writes that “we have to face the problem that every biographer faces and none can solve; namely that he is standing in quicksand as he writes. There is no floor under his enterprise, no basis for moral certainty.” The abyss is there and she nods at it and goes about her business.

A Stylized Sherlock

Michael Dirda

Robert Viglasky/Hartswood Films for Masterpiece

While Sherlock continues to be exceptionally entertaining, I can’t help but wonder if it has grown a little too self-aware and too reliant on punning riffs for its titles, plots, and in-jokes. Even “The Giant Rat of Sumatra”—the most tantalizing of those untold cases for which the world is not yet prepared—is repurposed in this episode. Every element in “The Empty Hearse” feels a bit overstylized, artificial, almost going beyond the tongue-in-cheek. At regular intervals, too, the action actually pauses so that the camera can linger on the Byronically handsome Cumberbatch, brooding Batman-like over the city of London.

Eiffel Tower

Vicente Huidobro, translated by Eliot Weinberger

  

Guitare du ciel
Guitar of the sky

                              Attracting words
                              to your telegraphy
                              like a rosebush its bees

Brassaï’s Cloak of Night

Luc Sante

© Estate Brassaï - RMN-GP

Youths of my generation learned about Brassaï from his eye-opening Secret Paris of the 30s (1976). There were pictures of thugs, bums, prostitutes, brothels, drag balls, lesbian bars, interracial dances—who knew such things even existed forty years earlier? But then our fascinated naïvety was rewarded by further contemplation of the photographs, which were humane, sympathetic, endlessly inquisitive, beautifully composed, and drew every possible bit of poetry from the enveloping cloak of night—not more than half a dozen pictures were taken in daylight. Brassaï: Paris Nocturne is the first major book on the photographer since then.

Maps and Monsters

Marina Warner

Biblioteca de Seminario Arcivescovile

If animals are not only bons à manger but also bons à penser (good to eat, good to think with), according to the celebrated dictum of Claude Lévi-Strauss, then monsters, while perhaps less inviting to the palate, make even better food for thought. Themselves the direct and fanciful products of attempts to understand phenomena, they appear in a wonderful variety of forms on the maps drawn up by medieval and Renaissance cartographers, as Joseph Nigg and Chet van Duzer show in two resplendently illustrated and thoughtful recent studies. Scylla and Charybdis, sea serpents and pristers offer a range of explanations for natural phenomena, such as whirlpools and reefs; indeed the abundant stories that Homer and Ovid tell draw up a wonderful narrative geography as much as a mythical history.

The Stunned Days of Sandy

Michael Greenberg

Museum of the City of New York

In February 2013, the Museum of the City of New York sent out a broad invitation, to both amateurs and professionals, to submit images of Hurricane Sandy——photographs snapped on cell phones, film, digital cameras or whatever else happened to be at hand. Culled from these submissions is the exhibition “”Rising Waters,”” and it confirms an impression I had in the days and weeks after the storm: that still photographs and written language, both imbibed in silence, convey the spirit of the catastrophe more truthfully than moving images.

How the Greeks Got There

Christopher Carroll

The New York Public Library

“Measuring and Mapping Space,” at the Institute for the Study of the Ancient World through January, aims to explain how Greeks and Romans thought of the world around them, and how these beliefs were in turn represented in maps, globes, and even coins and pottery. Unfortunately, though a number of ancient geographical treatises still exist today, almost no actual maps have survived. But the show’s curator, Roberta Casagrande-Kim, has dealt with this brilliantly. By displaying, among much else, a striking collection of illustrated Renaissance manuscripts on geography and cosmology—themselves reconstructions of the work of classical geographers like Ptolemy—the exhibition manages at once to suggest not just what ancient maps may have looked like, but how ancient geography influenced modern notions of topography and geography.

The Book of Little Bighorn

Thomas Powers

A Lakota War Book from the Little Bighorn, Peabody Museum Press

The warring life of the Northern Plains tribes that resisted white invasion in the 1860s is the subject of A Lakota War Book from the Little Bighorn: The Pictographic “Autobiography of Half Moon.” The book is a collection of seventy-seven Lakota and Cheyenne drawings, accompanied by extensive analysis and commentary by the social anthropologist Castle McLaughlin. It will be published next year by Harvard’s Houghton Library, where the drawings were stored but little noticed for eighty years. What sets these drawings apart from others of their kind is the persuasive argument made by McLaughlin that most of the drawings, and the book as a whole, represent an Indian account of episodes during the conflict known as “Red Cloud’s War” (1866–1868), and that it may be possible to identify three of the artists.