Results of the Los Angeles Times Book Prize in the year 2005.
Like her country, Karima—a widow with eight children—was caught between America and Saddam. It was March 2003 in proud but battered Baghdad. As night drew near, she took her son to board a rickety bus to join Hussein’s army. “God protect you,” she said, handing him something she could not afford to give—the thirty-cent fare.
The Washington Post’s Anthony Shadid also went to war in Iraq although he was neither embedded with soldiers nor briefed by politicians. Because he is fluent in Arabic, Shadid—an Arab American born and raised in Oklahoma—was able to disappear into the divided, dangerous worlds of Iraq. Day by day, as the American dream of freedom clashed with Arab notions of justice, he pieced together the human story of ordinary Iraqis weathering the terrible dislocations and tragedies of war.
Through the lives of men and women, Sunnis and Shiites, American sympathizers and outraged young jihadists newly transformed…[more]
In 2000, when The Informant was published, few would’ve imagined that a story about price fixing at Archer Daniels Midland could be as un–put–downable as the best crime fiction. Yet critics—and consumers—agreed: The New York Times reporter Kurt Eichenwald had taken the stuff of dry business reporting and turned it into an unparalleled page–turner. With Conspiracy of Fools, Eichenwald has done it again.
Say the name “Enron” and most people believe they’ve heard all about the story that imperiled a presidency, destroyed a marketplace, and changed Washington and Wall Street forever. But in the hands of Kurt Eichenwald, the players we think we know and the business practices we think have been exposed are transformed into entirely new—and entirely gripping—material. The cast includes but is not limited to George W. Bush, Dick Cheney, Paul O’Neill, Harvey Pitt, Colin Powell, Gray Davis, Arnold…[more]
Steve Bogira’s riveting book takes us into the heart of America’s criminal justice system. Courtroom 302 is the story of one year in one courtroom in Chicago’s Cook County Criminal Courthouse, the busiest felony courthouse in the country.
We see the system through the eyes of the men and women who experience it, not only in the courtroom but in the lockup, the jury room, the judge’s chambers, the spectators’ gallery. When the judge and his staff go to the scene of the crime during a burglary trial, we go with them on the sheriff’s bus. We witness from behind the scenes the highest-profile case of the year: three young white men, one of them the son of a reputed mobster, charged with the racially motivated beating of a thirteen-year-old black boy. And we follow the cases that are the daily grind of the court, like that of the middle-aged man whose crack addiction brings him repeatedly back before the judge. …[more]
An Italian village on a hilltop near the Adriatic coast, a decaying palazzo facing the sea, and in the basement, cobwebbed and dusty, lit by a single bulb, an archive unknown to scholars. Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.
The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn’t alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances. …[more]
When, in 1989, a collection of John Updike’s writings on art appeared under the title Just Looking, a reviewer in the San Francisco Chronicle commented, “He refreshes for us the sense of prose opportunity that makes art a sustaining subject to people who write about it.” In the sixteen years since Just Looking was published, he has continued to serve as an art critic, mostly for The New York Review of Books, and from fifty or so articles has selected, for this richly illustrated book, eighteen that deal with American art.
After beginning with early American portraits, landscapes, and the transatlantic career of John Singleton Copley, Still Looking then considers the curious case of Martin Johnson Heade and extols two late-nineteenth-century masters, Winslow Homer and Thomas Eakins. Next, it discusses the eccentric pre-moderns James McNeill Whistler and Albert Pinkham Ryder, the competing…[more]