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Cover of PERPETUA

PERPETUA

by Rome in a public spectacle for their refusal to recant their faith. Their story is recounted by Perpetua herself, in a short document that was soon after augmented by an editor/redactor. Ruden approaches the story of Perpetua with reverence, but primarily with the eye of a scholar. Her treatment is far from a hagiography or even a work of Christian history but instead serves as a close literary examination of this ancient text. Perpetua is seen as a truncated, overlooked, and even exploited female author, her own account, riveting and meaningful on its own, touched up, added to, and misused by others over time. “In forty years of studying ancient literature,” Ruden notes, “I have never seen an author so openly shoved to the side, shushed, and interrupted.” Ruden’s efforts seem aimed to clarify Perpetua’s role in the eyes of fellow academics. She exposes those forces in the church and in culture who have misrepresented and misused Perpetua (Augustine of Hippo is an example), while also diving headlong into a level of literary analysis that the lay reader may find unhelpful. A page and a half devoted to Perpetua’s use of the word ego (“I”), in reference to herself, is an example. Ruden notes in conclusion that “it is high time to move [Perpetua’s] story into the brighter light she powerfully deserves.” Ruden’s treatment does not, unfortunately, move Perpetua into that brighter light for the average reader."3.7/5(3)

Cover of PICKLE ON WHEELS

PICKLE ON WHEELS

by the end of the story, Pickle, Coco, and Felix are all skating together, three links in a chain of friendship. The repeated emphasis on process over results conveys a lovely lesson that never becomes preachy. Kantorovitz’s spare, muted artwork is enchanting in its simplicity, depicting the pains of failing at a new hobby and the joys of finally triumphing\u003B she also displays a keen eye for precious details such as Pickle’s handwritten thank\u002Dyou letter to Grandma and knee patches on the protagonist’s now\u002Dmended trousers."4.0/5(11)

Cover of PIGEONHOLED

PIGEONHOLED

by one columnist as “the Guardian’s black journalist who writes ‘black stories.’” Ironically, his first column for the paper, about Bosnia, was spiked because the editor wanted him to add an “ethnic sensibility.” Born in Hertfordshire to Barbadian parents, Younge knew very few Black people. “When I entered a pub in most Scottish cities or any rural area in Britain, there was always this fragment of silence as I single\u002Dhandedly integrated the space.” Starting out in journalism, he says, felt like going into one of those pubs. Two decades later, Black journalists made up only 0.2% of staffers at British outlets. Younge is highly critical of mainstream media that have few Black decision\u002Dmakers but put Black journalists in front of cameras, mistaking photo opportunities for equal opportunities. Invoking wisdom from James Baldwin, Langston Hughes, and Shonda Rhimes, he acknowledges that while he aims to speak to the Black community in a relevant voice, “I hope I am never deluded enough to think I can speak for it.” He insists that though he may not represent Black people, “it’s important that I don’t misrepresent them. For it would also be reckless to contribute to an atmosphere in which relatively vulnerable people were made more vulnerable by my work.” After all, being Black in Britain means one is more likely to be stopped, searched, arrested, incarcerated, unemployed, underpaid, or homeless. By honestly reflecting on the complex challenges of his career, Younge hopes “to broaden the space for what we all might write.”"4.1/5(25)

Cover of Pitman’s Broadway Theatre at 100

Pitman’s Broadway Theatre at 100

by towns beyond it. As movie theaters became commonplace later in the 20th century, the theater largely moved back to live performances. A husband and wife eventually bought the theater outright and still own it today\u003B it continues to thrive as a culture center of Pitman and South Jersey more broadly. Eldredge’s history uses a combination of anecdotal examples, biographical detail, and broader historical context, including details of local politics, to create a sweeping narrative of the Broadway. There are many specific details that make the history feel especially vivid, and the many interviews help to personalize the events of its story further. Sometimes, the book can feel a little bit disorganized\u003B in particular, its strict chronology can work against it, making it difficult to trace recurring themes clearly. However, this is a small complaint, and it’s easy to perceive the clear love and pride that the author feels for that local institution."

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