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 | | Let Us Now Praise Famous Men: The American Classic, in Words and Photographs, of Three Tenant Families in the Deep South by James Agee, Walker Evans ISBN-10: 9780618127498 ISBN-10: 0-618-12749-6 ISBN-13: 9780618127498 ISBN-13: 978-0-618-12749-8 Paperback 2001-08-14 Mariner Books Find Lowest Price |
Editorials | ||
Product Description In the summer of 1936, James Agee and Walker Evans set out on assignment for Fortune magazine to explore the daily lives of sharecroppers in the South. Their journey would prove an extraordinary collaboration and a watershed literary event when in 1941 LET US NOW PRAISE FAMOUS MEN was first published to enormous critical acclaim. This unsparing record of place, of the people who shaped the land, and of the rhythm of their lives was called intensely moving and unrelentingly honest, and is "renowned for its fusion of social conscience and artistic radicality" (New York Times). Today it stands as a poetic tract of its time, recognized by the New York Public Library as one of the most influential books of the twentieth century. With an elegant new design as well as a sixty-four-page photographic prologue of Evans's classic images, reproduced from archival negatives, this sixtieth anniversary edition reintroduces the legendary author and photographer to a new generation. | ||
Amazon.com Review Just what kind of book is Let Us Now Praise Famous Men? It contains many things: poems; confessional reveries; disquisitions on the proper way to listen to Beethoven; snippets of dialogue, both real and imagined; a lengthy response to a survey from the Partisan Review; exhaustive catalogs of furniture, clothing, objects, and smells. And then there are Walker Evans's famously stark portraits of depression-era sharecroppers--photographs that both stand apart from and reinforce James Agee's words. Assigned to do a story for Fortune magazine about sharecroppers in the Deep South, Agee and Evans spent four weeks living with a poor white tenant family, winning the Burroughs's trust and immersing themselves in a sharecropper's daily existence. Given a first draft of the resulting article, the editors at Fortune quite understandably threw up their hands--as did several other editors who subsequently worked with a later book-length manuscript. The writing was contrary. It refused to accommodate itself to the reader, and at times it positively bristled with hostility. (What other book could take Marx as the epigraph and then announce: "These words are quoted here to mislead those who will be misled by them"?) Response to the book was puzzled or unfriendly, and Let Us Now Praise Famous Men sputtered out of print only a few short years after its publication. It took the 1960s, and a vogue for social justice, to bring Agee's masterwork the audience it deserved. Yet the book is far more interesting--aesthetically and morally--than the sort of guilty-liberal tract for which it is often mistaken. On an existential level, Agee's text is a deeply felt examination of what it means to suffer, to struggle to live in spite of suffering. On a personal level, it is the painful, beautifully written portrait of one man's obsession. In its collaboration with Evans's photographs, the book is also a groundbreaking experiment in form. In the end, however, it is more than merely the sum of its parts. Let Us Now Praise Famous Men is, quite simply, a book unlike any other, simmering with anger and beauty and mystery. --Mary Park | ||
Reviews | ||
A timeless classic... James Agee's painstaking and honest masterpiece is an exercise in empathy. It is a beautiful, tortured writing that speaks to both the deplorable conditions of the Depression-era souther sharecropper and the humanity of trying to present them in a favorable light. Agee's writing style is at times erratic-- which helps to give the book its character. It is often self-doubting, as Agee calls himself a spy and frequently second guesses his role in accurately reporting the families' lives. Beautifully done and a groundbreaking classic in ethnographic fieldwork-- a must read! | ||
If nothing else, certainly brilliant and thought-provoking Let us Now Praise Famous Men, in all its poetry and prose, reminds me of an epic, like the Hindu Mahabharata or Homer's Iliad and Odyssey. The lyrical narrative reveals just as much, if not more about Agee, than his subjects. His writing style excludes his subjects as readers. His prose, which tends to be lofty and cerebral, is also beautiful and brilliant. But, I often wondered, who he was writing for? The New Yorker audience? The distance in his observations often left me feeling cold. I imagine these hardworking sharecroppers exhibiting some joy, some evidence of warmth, of hope. But I had difficulty finding it in Agee's voice. The length of Agee's sentences and paragraphs were long, each containing an entire scene, and I labored through them, hoping sleep would not steal me from a passage I might not finish. It was as though Agee too, was afraid sleep would come and steal him from his mission, and so kept hacking away at each sentence, adding commas and colons and semi-colons, lingering his thoughts across the page. Whatever level of consciousness Agee existed, I could not hang with him for any more than a couple of sentences, as I would fall off the page and have to find my way back into the scene. Where was I? You get the picture... Agee also uses parenthesis and colons, often not giving his parenthesis a mate: (This struck me as rather unusual and often, cold and detached--more like a voyeur. Did he fabricate his own method of communication using punctuation or was this being done elsewhere at the time? I felt left out of his thoughts when he did this, like when two people are communicating via sign language and you can't make out a word they're saying. Was he doing this in a way to urge us to "think," to stretch beyond the ordinary conventions and try something on that is foreign and unfamiliar, like his subjects and their hardship? | ||
Topic great, writers not so great. The eloquence of composition surely necessitated infinite use of superlatives and verbs, resulting in a requisite painstaking remostrance to the reader, thus fettering the effusion and disembogulation of the document. In other words, wouldn't it have been better to just leave all of the fluff out of the book and just write as if the reader is someone other than the Queen of England? If you can weed through all of excessive use poems and verbs, it's a halfway decent book | ||
I thought I hated it at points, but I've never been able to get it out of my head. This book is an amazing work of art. At times it's baffling, and at times almost impertinent--like when the author decides to describe every object in an entire home, and yet in all these things and in all the conflicting emotions it evokes, it creates a mood and a feeling and a setting that will seep into your skin and fog your brain for months. The writing is beautiful, the story it tells--of poor, sharecropping, depression-era families--is heartbreaking, and the experience of reading about it all is like a baptism by fire. This book just might re-wire your brain. I think this is a much better read than Agee's "A Death in the Family," and that one won the Pulitzer Prize. Read this, for sure. I read it on a bus trip across Guatemala, and the way Agee's descriptions of the old southern poverty fit the poor little towns full of Guatemalan coffee pickers was uncanny. Let Us Now Praise Famous Men, and let us start with James Agee. UPDATE: It's years later, and this book has never stopped haunting me. I think of it almost daily. If I were to review it today, I would definitely give it Five Stars. | ||
A Classic Excellent editon of this wonderful, classic work. A series of visual and verbal snapshots of the South as a third world country, the South of the 1930's. | ||