Arts & Letters

• Colleen McDannell on Rebecca Sullivan's Visual Habits: Nuns, Feminism, and American Postwar Popular Culture

• Ilan Pappe on Idith Zertal's Israel's Holocaust and the Politics of Nationhood

• Mark M. Anderson on Peter Weiss's The Aesthetics of Resistance, Volume One

• Deirdre Bair on Vivian Gornick's The Solitude of Self: Thinking About Elizabeth Cady Stanton and Fierce Attachments

• Jennifer L. Roberts on Thomas Eakins's A Drawing Manual and Henry Adams's Eakins Revealed: The Secret Life of an American Artist

• Gerald Early on Mel Watkins's Stepin Fetchit: The Life and Times of Lincoln Perry

• Daniel Swift on Robert Boynton's The New New Journalism: Conversations with America's Best Nonfiction Writers on Their Craft, Marc Weingarten's The Gang That Wouldn't Write Straight: Wolfe, Thompson, Didion, and the New Journalism Revolution

• Lorin Stein on Peter Guralnick's Dream Boogie: The Triumph of Sam Cooke

• Arthur C. Danto on Jed Perl's New Art City: Manhattan at Mid-Century

• Lee Smith on Dane Kennedy's The Highly Civilized Man: Richard Burton and the Victorian World