Introduction by Henri Duvernois.

Merce Cunningham was a principal dancer in the Martha Graham Dance company from 1939 to 1945, performing his first New York solo concert in 1944. Thus far, Cunningham's career has seen him choreograph nearly 200 works for both his own company and other dance troupes, including the New York City Ballet, Ballet of the Paris Opera and American Ballet Theatre. Published to coincide with an exhibition of his life and work that takes place in Barcelona, Turin and Porto, this work documents his career in all its diveristy. It contains historical essays on his work, a text recalling his last three years of activity, anecdotes, and writings by artists and dancers honoured to work with him.

REVIEWS: This 256-page volume is divided into four parts: an overview of the project, a section on the literary contributions, the visual contributions and documentation of the projects documentation. This is valuable book for women's studies and black women's studies as well as art history. The photos alone are priceless. I wholeheartedly recommend. This is such a wonderful book. Just the foreword by Maud Sulter alone makes it a worthwhile purchase. I loved the first section with the photographs with some familiar faces and some women I hadn't heard of.

This book is the first authorized biography of four twentieth-century American Indian ballerinas: Maria Tallchief, Rosella Hightower, Marjorie Tallchief, and Yvonne Chouteau. All raised in Oklahoma during the 1920s and 1930s, these women went on to achieve international fame, each uniquely responsible for changing the image of a ballerina. Lili Cockerille Livingston, who worked with all four of the ballerinas during her own career as a dancer, draws upon her extensive interviews with the women to bring their stories to life. In their own words, they tell about their childhoods in Oklahoma, their early rises to fame, the ups and downs of their personal lives, the challenges of combining marriage and motherhood with a dancing career, and their recent achievements as mentors and teachers of a younger generation of dancers. In tracing the diverse careers of the ballerinas, Livingston fills important gaps in the history of ballet. She sheds new light on the development of New York City Ballet, American Ballet Theatre, and the now-defunct Harkness Ballet and Grand Ballet du Marquis de Cuevas. In addition, she reveals the harshness of touring for dancers, the effect of World War II on the dance world, and revolutionary changes in choreography and training that took place during the women's performing years. Livingston also explores the tribal backgrounds of the women, showing how their rich cultural heritage contributed to their development as artists and their unique performing styles. At the same time she provides a fascinating glimpse into the worlds of the Osage, Choctaw, and Cherokee-Shawnee tribes to which the Tallchief sisters, Hightower, and Chouteau respectively belong.

Based on an enormously successful exhibition at The New York Public Library, The Hand of the Poet draws the reader into the real world of the poet - ink spots, tobacco stains, and all - by presenting a wide range of working drafts, letters, diary entries, photographs, and memorabilia. One hundred writers from the seventeenth century to the present day are represented. Biographies and portraits of each poet - alongside manuscripts of such legendary works as Yeats's The Wild Swans at Coole and W. H. Auden's Stop All the Clocks - make up a mosaic that offers powerful and often surprising revelations of the person behind the poem. Illustrated with over three hundred black-and-white photographs, The Hand of the Poet is for those new to poetry as well as those for whom poetry has been a life-long passion

In de brieven komen onder andere ter sprake: de publicatie Het dagboek van mevrouw Colijn, de Koninklijke van Gerretson en een uitgave m.b.t. een Gerbrandyherdenking.