
Aleksei Navalny Among National Book Critics Circle Award Winners
A posthumous memoir by the Russian opposition leader Aleksei Navalny, which detailed his fight against autocracy and corruption in Russia and was published eight months after he died in prison, won a National Book Critics Circle Award for autobiography.
Announcing the award, Rebecca Hussey, a member of the autobiography committee, praised the memoir, 'Patriot,' as a masterpiece and 'an eyewitness account of history, and a work of moral imperative and literary intelligence.'
Hisham Matar's novel 'My Friends,' a story about a Libyan man living in exile in London, won the fiction prize.
The awards, which were announced Thursday at a ceremony at the New School in New York City, are among the most highly regarded literary prizes in the United States. The winners are chosen by book critics instead of committees made up of authors or academics, which is how most literary prizes are administered.
The organization, which dates to 1974, is made up of more than 800 critics and review editors. This year's awards recognized works published in 2024 and were open to authors of books published in English in the United States.
Along with awards in categories like biography, criticism, autobiography, fiction and poetry, the group also recognizes individuals and organizations for their work in support of literary culture.
This year, Lauren Michele Jackson, a contributing writer at The New Yorker and the author of 'White Negroes,' received the Nona Balakian Citation for Excellence in Reviewing. The award, named in honor of a former editor at The New York Times Book Review, goes to an N.B.C.C. member for literary criticism.
The service award was given to Lori Lynn Turner, the associate director of the New School's creative writing program.
Sandra Cisneros, the author of the groundbreaking novel 'The House on Mango Street,' whose work helped pave the way for Mexican American and other Latino writers, received the lifetime achievement award.
Third World Press, one of the largest independent Black-owned presses in the U.S., which was founded in 1967 and has published major Black writers such as Amiri Baraka, Sonia Sanchez and Gwendolyn Brooks, won the Toni Morrison Achievement Award.
Below is a list of this year's award-winning titles.
'Patriot: A Memoir' by Aleksei Navalny, translated from Russian by Arch Tait with Stephen Dalziel, is a memoir Navalny started writing after surviving a near-fatal poisoning with the lethal nerve agent Novichok in Siberia in 2020, and continued writing while in prison, where he died at age 47.
'Candy Darling: Dreamer, Icon, Superstar' by Cynthia Carr, is a biography of the transgender actress and star of some of Andy Warhol's films.
'There's Always This Year: On Basketball and Ascension,' is Hanif Abdurraqib's best seller about how sports can anchor us to a sense of place, told through the story of a 2002 basketball game in Columbus, Ohio, where he grew up.
'My Friends' by Hisham Matar, follows a young Libyan man who is granted asylum in London after he is targeted for attending an anti-Qaddafi protest, and has to rebuild a new life exile.
'Challenger: A True Story of Heroism and Disaster on the Edge of Space' by Adam Higginbotham, is a propulsive and devastating account of the 1986 explosion of the space shuttle Challenger, and the causes behind the disaster.
'Wrong Norma' by Anne Carson, is a collection of verse that often reads like essays or prose, and covers such wide ranging subjects as snow, Joseph Conrad, Flaubert, poverty, Roget's Thesaurus and Carson's father.
'A Last Supper of Queer Apostles' by Pedro Lemebel, translated from Spanish by Gwendolyn Harper, is a selection of essays about political and cultural icons including Che Guevara and Elizabeth Taylor, the messy aftermath of following the collapse of authoritarian rule under Augusto Pinochet and living through the AIDS epidemic in Chile.
'Feeding Ghosts: A Graphic Memoir' by Tessa Hulls, is a graphic memoir that tells the story of the author's family, folding in reflections on Chinese history, immigration, and trauma.
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The Hill
3 days ago
- The Hill
Putin gifts Trump an authoritarian kitsch portrait
If a picture is worth a thousand words, then how much are paintings worth? Surely much more, as they also reveal the artist's intentions and the subject's self-image. A case in point is the painting of President Trump that Vladimir Putin asked Steve Witkoff to give him in April. According to the New York real estate developer-turned-diplomatic globetrotter, it was 'a beautiful portrait,' and Trump was 'clearly touched by it.' The artist is 69-year-old Nikas Safronov, celebrated as a People's Artist of the Russian Federation, Honored Artist of Russia, Academician of the Russian Academy of Fine Arts, Professor of Ulyanovsk State University, honorary citizen of Ulyanovsk and honorary citizen of Baku. Portraits are his specialty. A Russian source says he's known as the 'genius of kitsch,' a 'Russian Casanova' and 'our Salvador Dali.' I don't know about the Casanova bit, but the first and third descriptions apply — only with the qualification that Safronov is an exceedingly poor Dali. Perhaps I'm being too insensitive to Russian artistic tastes, but Safronov's work most closely resembles the kind of paintings one encounters for sale in subway stations or parks: hyper-realistic celebrities with oversized heads and eyes, set against familiar backgrounds with easily recognizable monuments. Like a bad Dali, Safronov is a master of kitsch. This says a lot about both Putin the giver and Trump the receiver. Putin's love of pomp and taste for palatial dwellings suggest he has a soft spot for kitsch. Trump is no less enamored of bad taste, as the interiors of his apartments demonstrate. Putin, in gifting Safronov's portrait, presumably knew that Trump would appreciate it. He knew just how to play him — an unsurprising conclusion given how Putin has played Trump with respect to resolving the Russian war against Ukraine. Let's take a closer look at the portrait itself. It depicts a huge Trump immediately after the failed assassination attempt in Butler, Penn. The top of his right ear is bloodied, a streak of blood extends toward his mouth and his right fist is raised in defiance; his left hand, holding a MAGA cap, is at his side; his eyes peer into the distance. The peering bit is standard for portraits of dictators: whether Mao, Stalin or Hitler, they all look into the joyous future only they can see. But it's the background that makes the portrait an example par excellence of kitsch. For it depicts the Statue of Liberty, right arm raised a la Trump, parts of the New York and New Jersey skyline, and an enormous American flag. The question that an observer might be tempted to ask: So, where exactly is Trump standing in this image? Safronov, the honorary citizen of distant Ulyanovsk and Baku, may be forgiven for his ignorance of New York and New Jersey geography, but Trump could only have been found in this position while standing on the Staten Island ferry as it sails across New York harbor. But why, then, would he be bloodied if he's on a ferry? It is in the nature of kitsch to overdo symbolism and combine things that cannot be combined. But the really weird thing about the painting is the American flag, which, as we all know, consists of 50 stars. Safronov's consists of 45. Is that a sign of innumeracy, or an instance of poetic license? Worse, the flag is depicted backwards: the stars are usually in the upper left-hand corner; in Safronov's version they are in the lower left-hand corner and the flag is pointing downward. Is Safronov sending Trump a political message about America's decline? And has Trump noticed that, through oversight or intent, he and his country have been dissed? Safronov told CNN that 'It was important to me to show the blood, the scar and his bravery during the attempt on his life. He didn't break down or become afraid, but raised his arm to show he is one with America and will bring back what it deserves.' And what, pray tell, does America deserve? Safronov seems to suggest it is Trump. The important point is that the portrait that appeals so much to Trump and Putin is standard authoritarian kitsch. Why dictators have a thing for ridiculous poses in unlikely settings is a topic for another column. But both Trump and Putin fit that mold — which may say something about the uncertain state of democracy in America and its complete absence from Russia. Alexander J. Motyl is a professor of political science at Rutgers University-Newark. A specialist on Ukraine, Russia and the USSR, and on nationalism, revolutions, empires and theory, he is the author of 10 books of nonfiction, as well as 'Imperial Ends: The Decay, Collapse, and Revival of Empires' and 'Why Empires Reemerge: Imperial Collapse and Imperial Revival in Comparative Perspective.'


Atlantic
3 days ago
- Atlantic
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Los Angeles Times
4 days ago
- Los Angeles Times
Miami City Ballet brings ‘Swan Lake' to Segerstrom
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