As a young girl growing up in the 1980s-90s, cartoonist Liz Prince preferred wearing sneakers, a boys’ blazer and a baseball cap instead of wearing dresses. She role-played Ghostbusters with her guy friend Tyler, and played right field on her local little league team. This preference for “non-girly” things continued through her adolescence and is the subject of Tomboy, her new memoir for teens.

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The cover image for this 2009 boo was shot by Jaems Karales during the 1963 march from Selma to Montgomery.

During the past few years we’ve seen a boom in books on the Civil Rights Movement.

Here are just a few of our recent favorites (plus one DVD). Click on the link to place a hold on the title.

Controversy and Hope: The Civil Rights Photographs of James Karales (2013)
by James Karales

Photojournalist James Karales (1930–2002) documented the 54-mile Selma to Montgomery March for Voting Rights in 1965. This beautiful new book presents many of his images from the era, including some published for the first time ever.

Controversy and Hope can be found with our New Nonfiction Materials in the Commons area on the Main Floor of the Library.

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People had been telling me to stay clear of this one but to my complete surprise (and to the surprise of those who warned me to stay away), I liked this one. I mean, it’s not something I think I would buy for my personal collection but I would definitely watch it again, mostly because so much happens in each frame I’m sure I missed a lot of action. Yes, it is violent, but like the Kill Bill movies, the violence seems “unreal.” The type of violence I just cannot stomach is “real” violence like Saving Private Ryan and Braveheart. I mean, those violent incidents happened (something quite similar if not what is actually on the screen). The violence in Sin City is unbelievable and so far-fetched though it’s still not “rehearsed” like one of my least favorite films of all time, A Clockwork Orange. In that Kubrick film, the violence is choreographed to music…almost like a ballet. I don’t mean that kind of “unreality” when talking about Sin City. It’s more like “comic” violence…which is not just a coincidence since this film is based on a series of graphic novels by Frank Miller (who also co-directed the film). OK—moving on from the violence…the structure of the film is unique. Three story lines all get their own screen time, only to merge in the end. The first story shows an aging, ill cop who needs to save one last victim from the clutches of a ruthless, evil criminal. The next story revolves Marv, a harsh, mean thug with a heavy heart of a hooker who died in his arms. (No, I’m not joking.) The final story deals with a good guy who’s trying to save the woman he loves from the bad guys, all while saving the world at the same time. Shot in black and white, this film is like a modern day film noir movie on speed. It’s faster and sharper than any classic noir but keeps that same “femme fatale” feeling of the films of the 1950s. Visually, this is a creative and stunning film…something you might not ever see again. Story-wise, it’s also sharp and innovative.


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