![]() ![]() It is also worth remembering, as she does, that U.N. Sometimes the author’s refractive approach works very nicely, though, as when she observes that Stradivarius’ violins were made from defective wood sold by the Turks to their sometime enemies, the Venetians, an example of art rising from war, albeit an indirect one. ![]() While the statement “seventy percent of the earth is covered by water-our bodies made of nearly the same percentage” is surely true, it doesn’t add materially to how we understand the form of torture known as waterboarding, the larger issue under discussion. Working through the art of one of her students, who had been stationed at Abu Ghraib, and through a conscientious objector in World War II who had been painting since youth, the author delivers small, apothegmatic pieces that sometimes approach prose poems and sometimes fit rather loosely in the narrative frame. Imagine that the late Uruguayan writer Eduardo Galeano-quoted at points here-had taken an interest in art and its way of interpreting and resisting history, and you have at least a flavor for Sentilles’ ( Breaking Up with God, 2011, etc.) essayistic approach to some of the horrors of our time. ![]() A sometimes-scattered though always lyrical meditation on art and artists as witnesses to war, terror, and other dark hallmarks of our time. ![]()
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