Drew Friedman‘s portraits and caricatures, enlivened by expert draftsmanship and a jaundiced eye toward American culture, have graced the pages of magazines like Raw, Weirdo, SPY, National Lampoon, The New York Times, and The Wall Street Journal, among other more or less nefarious publications, for decades. His extraordinarily textured technique reveals in each stroke of his pencil the various personal peccadilloes, ethical strengths, and moral weaknesses of his subjects. So perhaps it’s no surprise that Friedman has finally turned his pencil towards All the Presidents in an album just published by Fantagraphics. You can order the book here.
I’ve been an enthusiast of both Drew and his father Bruce Jay Friedman (himself a piercing prose satirist whose anthology Black Humor was a treasured volume of my youth) since I was in short pants. He will be at the Strand Book Store this Thursday, October 3, for a conversation with the legendary comedian Robert Klein and a booksigning; you can sign up for this certain-to-be-delightful hour here. (Drew will also be at the Columbia University event celebrating a new history of Weirdo magazine — for which he drew the cover — later in October; more on that here.)
Drew Friedman‘s portraits and caricatures, enlivened by expert draftsmanship and a jaundiced eye toward American culture, have graced the pages of magazines like Raw, Weirdo, SPY, National Lampoon, The New York Times, and The Wall Street Journal, among other more or less nefarious publications, for decades. His extraordinarily textured technique reveals in each stroke of his pencil the various personal peccadilloes, ethical strengths, and moral weaknesses of his subjects. So perhaps it’s no surprise that Friedman has finally turned his pencil towards All the Presidents in an album to be published by Fantagraphics later this month. You can pre-order the book here.
I’ve been an enthusiast of both Drew and his father Bruce Jay Friedman (himself a piercing prose satirist whose anthology Black Humor was a treasured volume of my youth) since I was in short pants. He will be at the Strand Book Store on Thursday, October 3, for a conversation with the legendary comedian Robert Klein and a booksigning; you can sign up for this certain-to-be-delightful hour here. (Drew will also be at the Columbia University event celebrating a new history of Weirdo magazine — for which he drew the cover — later in October; more on that here.)
Many thanks to all of those who offered their own additions via comments and email to my impromptu “Philadelphia Bookshelf” over the past few days. I was gratified by the response, and the little men who keep track of these things tell me that the post last Wednesday was surprisingly popular, perhaps meeting a previously unmet need.
A special note of thanks to Billy Penn, a web site and daily newsletter from Philadelphia’s public broadcaster WHYY. It was a mention on their newsletter that drew all of these excellent suggestions, and I should note that the Billy Penn project itself deserves your attention and support. As a current exile from the City of Brotherly Love, I find that it keeps me generously up-to-date on current events in my old home town. (For meditations on Philadelphia history itself, you can’t do better than Hidden City Philadelphia.) If like me you’re a former Philadelphian but remain one in spirit, you should sign up for the newsletter and drop a few pennies their way. I plan on doing so today.
In my occasional Googling I’ve been unable to find a good list of books about Philadelphia — a city that once described itself as being “not as bad as Philadelphians say it is” — so I leap into the arena with my own below in the hopes that others may find it valuable. Certainly cities like New York and London have generated libraries, and Philadelphia has generated a few shelves as well — and in both cases, it’s hard to know where to start to dive into them. No doubt I’ll be able to add to this list with time, but this is enough to go on for now.
Roger D. Simon’s Philadelphia: A Brief History (Pennsylvania Historical Association, 2017) is a short (156 pages), breezy tour through the city that should be your first stop for Philadelphia’s history. Simon manages in these few pages to highlight the dynamics and contradictions that have been a part of the city’s life since its founding in 1682 by William Penn; he focuses particularly on the working classes that were instrumental in establishing the tenor and atmosphere of Philadelphia life. I reviewed it in a little more depth here.
Simon relies fairly heavily upon the now out-of-print Philadelphia: A 300-Year History (W.W. Norton/The Barra Foundation, 1982), which stretches comprehensively to 842 pages. Because each chapter was written by a different expert, it does have its ups and downs, but sometimes the devil is in the details, and you’ll find a lot of them here. The volume itself was a herculean effort, stretching over more than a decade in its composition, but it wound up being more than equal to Gotham, Edwin G. Burrows and Mike Wallace’s monumental history of a city 100 miles to Philadelphia’s north.
About ten years after the publication of the above book, Edward G. Rendell was elected Mayor of Philadelphia, and Buzz Bissinger’s chronicle of his first term, A Prayer for the City (Random House, 1997), brings the reader up to speed about Philadelphia history after 1982. Rendell was one of the city’s most charismatic mayors, but as Bissinger points out, the city was in fiscal, racial, and political crisis, and there was only so much charisma could do. But the book is far from being merely a treat for urban affairs policy wonks. Philadelphia’s problems are also exemplified in Bissinger’s profiles of four “typical” Philadelphians: a welder whose job at the Philadelphia Navy Yard is in jeopardy; a policy analyst working with Rendell; a criminal prosecutor; and an elderly woman from one of Philadelphia’s poorest neighborhoods.
The late historian John Lukacs, who lived for much of his professional career within 20 miles of Philadelphia, wrote primarily about world history, but he was also the author of a charming series of essays about Philadelphia in the early 20th century, Philadelphia: Patricians and Philistines, 1900-1950 (Farrar Straus Giroux, 1981). As his subtitle suggests, Lukacs provides portraits of several mostly-forgotten Philadelphians such as publisher Edward Bok, writers Owen Wister and Agnes Repplier, and politician Boies Penrose, all of whom made lasting contributions to Philadelphia’s patrician (and philistine) culture. Lukacs is witty and far from objective about their personalities and achievements (if you could call some of them that).
Out-of-print but worthwhile if you can find a copy, Herbert Kupferberg’s Those Fabulous Philadelphians: The Life and Times of a Great Orchestra (Scribner, 1969) covers the history of the Philadelphia Orchestra and, in part, its former home, the landmark Academy of Music. More than just a paean to the orchestra in its heyday under the batons of Leopold Stokowski and Eugene Ormandy, the book is also instructive in how the patrician class built and supported the orchestra, detailing both successes and failures in its outreach to patrons and audiences both wealthy and otherwise.
If you’re as interested in early American and colonial history as I am, you won’t want to be without George W. Boudreau’s Independence: A Guide to Historic Philadelphia (Westholme Publishing, 2016). Despite its title, it’s more than a tourbook; it’s an in-depth, well-illustrated survey of some of the most and least famous historical buildings and locations in the Philadelphia area, many of which have been restored and are still publicly accessible. It’s as readable as a novel and worth carrying about as you make your own investigations into the streets of the city.
For more recent excavations of Philadelphia history, you couldn’t do better than Philadelphia: Finding the Hidden City (Temple University Press, 2017), a lovely coffee table book — and more — from photographer Joseph Elliott and essayists Nathaniel Popkin and Peter Woodall. They visit many 19th- and 20th-century historical, domestic, and business sites upon which the dust of the past has drifted, often obscuring them from public sight, but these sites even now reveal a stratum of Philadelphia history that informs the city’s present and, quite possibly, its future. I review it in a little more depth here.
The Autobiography of Benjamin Franklin is one of two biographies that provide idiosyncratic insight into the city and those who populate it. Franklin himself is an inescapable presence in Philadelphia’s historical district, and rightly so: in many ways, and to many minds, he represents the practical, realistic spirit that is so much a part of the Philadelphia character. The Autobiography covers his experience as a youth and young man in Philadelphia, and perhaps the most charming passages come early in the book, when he walks up Market Street from the edge of the Delaware River, observing the personality of the city circa 1723. Thanks to restoration efforts, you can do so yourself now and get a good idea yourself of just what it was he observed. Among the best of the brief biographies about the man is Edmund S. Morgan’s Benjamin Franklin.
My idiosyncratic choice for the second exemplary Philadelphian is W.C. Fields, the subject of James Curtis’s excellent biography (Alfred A. Knopf, 2003). When I was in Philadelphia a few weeks ago, a tour guide wryly observed, “Philadelphians tend to listen politely to authority, then turn around and do whatever they want” — certainly a trait of Fields’ characters in films like The Man on the Flying Trapeze and It’s a Gift, put-upon middle-aged men with a fondness for the occasional mid-day nip. Unlike his con-man persona of his later films, Fields’ middle-class characters here are modest and humble (sometimes to the point of self-loathing), but capable of a grumbling, misanthropic wit which, I’ve found, is a specifically Philadelphian trait.
Finally, to round out the list, a little fiction. Philadelphia has produced few novels about itself to rank with, say, Edith Wharton’s about New York. But it has, like New York, produced a slew of excellent newspaper columnists — Pete Dexter, Clark DeLeon, Stu Bykovsky (who recently left the fine Philadelphia tabloid the Daily News — at least, it was fine during its heyday a few decades ago). Some of these columnists have gone on to write novels as well, and among the best is Third and Indiana (Viking, 1994), a bleak novel about Philadelphia’s drug-ridden Badlands by former Philadelphia Inquirer columnist Steve Lopez. Lopez is faultless in portraying the life and argot of Philadelphia’s working and petty criminal classes, as well as the defeated neighborhoods of North Philadelphia. A second highly-regarded Philadelphia novel, currently on my bedside table, is Dexter’s 1984 God’s Pocket, a somewhat lighter portrait (I understand) of South Philadelphia.
Last week saw the official publication of Identity and Diversity in New Music: The New Complexities, a new book from Routledge by my lovely wife, Marilyn Nonken. The title is pretty self-explanatory (except for that punning reference to one particular stream of contemporary music), but more to the point the book comes from an insider. Marilyn has been an important pianist on the new music scene since her 1993 debut recital; more recently, and while continuing to pursue a busy performance schedule, she’s been the Director of Piano Studies at NYU’s Steinhardt School, where she’s Associate Professor of Music. Her book is a concise and thoughtful but honest and critical look at the roles of identity and diversity in creating new audiences and performers, based upon a survey of important twentieth and twenty-first century musical organizations from both aesthetic and organizational (as well as uniquely personal) perspectives. So a toast to her later today at Cafe Katja.
It accepts conflict as a central and enduring reality and understands human society as a form of equipoise based upon the continuing process of compromise. It shuns ultimate showdowns and looks upon the ideal of total partisan victory as unattainable, as merely another variety of threat to the kind of balance with which it is familiar. It is sensitive to nuances and sees things in degrees. It is essentially relativist and skeptical, but at the same time circumspect and humane.
The last thing you could say, I think, about Trump and his supporters. Lemann adds, “It is a distinctive habit of mind and thought that actually forbids the kind of complete self-assurance that we often associate with very smart or committed people. You can see how the all-out quality of fundamentalist religion, or of salesmanship, or of ideologically driven politics, would have been anathema to Hofstadter.”
These books are grimly amusing, if you’re in the right mind. The same can be said of Nathanael West’s novels Miss Lonelyhearts and The Day of the Locust, which lies next to the Hofstadter book on my bedside table. West’s books are satire that transcends satire; both are set in milieux of popular culture (journalism in the case of the first, Hollywood in the second) and bitterly detail the trivialization of personal experience in American urban life. (West also took on a fascistic Trump-like figure in his more explicitly political A Cool Million, a parody of Horatio Alger’s self-help books.) Miss Lonelyhearts is sui generis; The Day of the Locust is one of my two favorite novels about Hollywood (the second being Terry Southern’s scurrilous and under-rated Blue Movie).
So I’ve got my weekend reading planned. If I don’t see you at Cafe Katja this afternoon, I’ll see you next week.