Hurricane StoryFrom Broken Levee Books
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Hurricane StoryFrom Broken Levee Books
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"Like a mournful fairytale, Jennifer Shaw’s beautifully staged tableaux are alternately sweet and menacing, filled with emotion but never spilling over into sentimentality. The poetic marriage of words and photos makes Hurricane Story a children’s book for grown-ups.” —Josh Neufeld, creator of A.D.: New Orleans After the Deluge"Even if you think you've seen it all where Katrina's concerned, trust me, you're going to love Shaw's marvelous memoir."—The Times-Picayune"This is the kind of book that reminds you that books can be beautiful objects." —The Los Angeles Times"Hurricane Story is a tabletop, toy box Odyssey. With simple objects, trenchant statements, and exquisite camera vision, Shaw relates an epic tale of displacement, creation and discovery." — George Slade, curator, Photographic Resource Center, Boston"An engaging variation on a near mythic theme."—Gambit WeeklyHurricane Story is a spellbinding odyssey of exile, birth and return told in forty-six photographs and simple, understated prose. This first-person narrative told through dreamlike images of toys and dolls chronicles one couple’s evacuation from New Orleans ahead of the broken levees, the birth of their first child on the day that Katrina made landfall, and their eventual return to the city as a family. Shaw’s photographs, at turns humorous and haunting, contrast deftly with the prose.This ebook edition includes an introduction by Rob Walker, author of Letters From New Orleans and former “Consumed” columnist for The New York Times Magazine; an afterword by Steven Maklansky, who was assistant director for art and curator of photographs at the New Orleans Museum of Art when Katrina made landfall; and a radio interview of the author by Susan Larson on WWNO's The Reading Life.
Hurricane StoryFrom Broken Levee Books- Published on: 2015-09-21
- Released on: 2015-09-21
- Format: Kindle eBook
About the Author Jennifer Shaw grew up in Milwaukee, studied photography at RISD, and then moved to New Orleans in pursuit of the artist’s life. She teaches the disappearing art of darkroom photography at the Louise S. McGehee School and works as a fine art photographer. She was a founding officer and board member of the New Orleans Photo Alliance and directs their annual PhotoNOLA festival, in addition to chasing after two young sons.Jennifer’s photographs have been published in B&W Magazine, Shots, Light Leaks Magazine, The Oxford American, The Sun and The New Orleans Review. Her work is exhibited internationally and held in public collections, including the New Orleans Museum of Art, the Ogden Museum of Southern Art, and the Houston Museum of Fine Arts. Shaw has also been featured in Plastic Cameras: Toying With Creativity (Focal Press, 2010) and Before During After (UNO Press, 2010).
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3 of 3 people found the following review helpful. Not a typical New Orleans title By Richard Derus Rating: 5* of fiveThe Book Report: Very, very pregnant photographer, husband, dogs, and cats, all escape New Orleans barely ahead of Hurrican Katrina. Son is delivered, family is displaced, much of New Orleans is destroyed, to our lasting national shame, and family returns to rebuild and resume living in the place they love and call home. The story isn't new, and it's not the first time anyone anywhere has told it in this words-and-images fashion.My Review: But no one else anywhere has Ms. Shaw's extraordinary and amazing eye; her terse prose style, so beautifully suited to both story and images; or her quite astounding luck in being published by this amazing press, Chin Music.The book itself is worthy of being purchased simply to put on your front room's most prominent table. It is gorgeous. Bound in real cloth (my dog is still sniffing it, she's never encountered real cloth binding before) which is printed (let me assure you that this technique is faaar from simple, and its failure rate is significant; the technical demands on the printer, the designer, and the person making the color separations are quite significant; and the aesthetic that demanded this *exactly*right* production is quite rarefied) with an eerie, atmospheric image of great subtlety, the object itself begins its acquaintance with you by offering an uneasy glimpse into the mind of its makers. This will not be a candy-coated, literal, easy-to-process exercise in the journalism of indignance.Opening the book, one reads the perfectly serviceable prose of two brief essays, one by Rob Walker, a former New Orleanian, and one by Ms. Shaw. Now we are mise en scene (oh, the badness of the pun), and the next page-flip takes you to spread 01: "We left in the dark of night." That's all she says in words. The photo facing the page bears a moment of painful clarity, expressed in a simple image of a red toy truck's tailgate retreating down a highly textured, shining road. The dark world closing in claustrophobically around this single spot of life, vividly red, the beautiful shining cobblestone-like texture of the road, the smoothness of the chiaroscuro (used properly, readers of Louise Penny's latest book!)...well, I could wax rhapsodic until you beg for mercy, but I won't. No point. Has to be experienced.The use of toys and models to create the photo story is delightful. If I see one more image of people on a roof waving at the news copter while their house gives way beneath them, I shall scream blue murder. I avoid picture books of 9/11 for the same reason: I can't bear it. I've seen it! I've seen it! Stop smacking me! I won't look! But Shaw doesn't smack me. She wallops me ten minutes after I've seen her images. Dolls, with their awful starey eyes, usually make me uneasy. They still do here, but they are meant to, and they are deployed in simple, uncontrived story-telling, not some absurd, doomed effort to be archly Commenting On Life. The documentary "Marwencol" has much the same effect on me, and the same affect on its medium, as Shaw's dolls do.And I must mention one thing in particular: Shaw's son is represented here by the King Cake baby. It's a nice, quiet, unpretentious symbol of her son's heritage. To someone without New Orleans knowledge, it's invisible and unnecessary to appreciate the story; to someone who knows what the symbol is, it's poignant and fitting.Love New Orleans or loathe it, care about personal stories or not, this beautiful object should be in your home if for no other reason than to demonstrate quietly that you have excellent aesthetic taste and a real love for the object we call book. And the best part? It's only $18.Buy one. Tell me I'm wrong. I dare you.
3 of 3 people found the following review helpful. NATURES WRATH AND AFTERMATH By NATURE LOVER In contrast to many written Katrina memoirs, the visual images here create a feeling for the situation that faced many New Orleaneans. On several service trips as an advisor to Illinois State Students, we worked on homes of folks stuck in Houston Tennessee or other venues, because they found a job that fed their families but kept them from returning to work on their homes. People farther afield (some of them masking racism) deplored the fact that outsiders were there helping these folks, despite the fact that Nature's wrath reached an unprecedented level that destroyed the entire economy of a major city. Jennifer's unique depiction of her family's ordeal illustrates the effect of being locked out of ones home for two months, not to mention childbirth in absentia, and being forced to depend on fate, friends and relatives in the face of the incompetence of the Bush administration and FEMA. Returning to their home on high ground near the Mississippi, levees which were not challenged by the storm, her family was lucky to have an intact home needing only a new roof, refrigerator and some yard cleaning. Others had walked out the door leaving a just-cooked supper on the stove and had great difficulty in mustering the resources to undo the damage of water half way (and in some neighborhoods all the way) to the ceiling.This is an excellent companion book for the analytical non-fiction writing and realistic photographic representations of New Orleans and its inhabitants after Katrina. It has the same strong emotional insight into consequences for a single family as David Egger's account of Zeitoun's needless imprisonment by the Homeland Security Apparatus. The book itself is luxurious to the eye and touch.I
3 of 3 people found the following review helpful. Highly recommended to Holga and Lomo camera users... By Gary W. Clark Hurricane story is the author's retelling of her ordeal in dealing with hurricane Katrina. The evacuation, aftermath and eventual return home are told through photographs created using a Holga camera modified to take macro images of tiny models that illustrate various milestones of her adventure.Her choice of the Holga for this purpose was pure genius as its unpredictablility, soft focus and vignetting add a dream like quality to the images. For those of us that see life through a somewhat myopic, though out of focus mind's eye, the surrealism that the Holga brings is a natural fit.Each image is accompanied by a simple, concise sentence that in some ways adds a children's book character to the monograph. An image entitled "It was impossible not to watch." forces one to relive the aftermath of Katrina's wrath and watching newscasts showing the desperation of victims clinging to their roof tops waiting for a rescue which took way too long.Prints from the book are available at the Jennifer Schwartz Gallery in Atlanta Georgia. I'll be travelling to Atlanta later in the year and look foward to seeing and perhaps collecting a few of the images that touched my soul during the reading of this wonderful book.I can highly recommend Hurricane Story to anyone that may be inspired by the use of unconventional photography for stroytelling. If you are a Holga or Lomo photographer, then the book is simply a must-have.
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