How does photography deal with, and co-opt, the element of chance that comes with any engagement with the material world around us? In his book 'Photography and the Art of Chance', Robin Kelsey brilliantly interweaves the history of photography with a broader history of art and an intellectual history of chance. This interdisciplinary approach helps Kelsey sidestep certain problematic moves in the historiography of art, which often result in a certain exceptionalism about photography as being qualitatively unlike other art forms. As reviewer Lauren Kroiz argues, Kelsey makes a persuasive case for the centrality of chance to the history of photography, starting from its early days and ending with a critique of our current enthusiasm for digital manipulation and posed photography, be it in the works of Cindy Sherman or in the -- nowadays ubiquitous -- "selfies" of individual consumers.
Writer Wolfgang Herrndorf committed suicide in the summer of 2013, at age 48. He was best known for his bestselling novel "Tschick", which garnered Herrndorf many literary accolades, even as he was diagnosed with a brain tumour shortly before its publication. Herrndorf documented his thoughts and the final years of his life in a blog, which has now been published as a book entitled "Arbeit und Struktur" ("Work and Structure", Rowohlt, Berlin 2013). The title is derived from a comment by one of many doctors (Herrndorf, in his diary, resorts to referring them by numbers), who had recommended "work and structure" as a way of confronting fear and despair. Yet, as reviewer Frank Berzbach observes, no matter how depressing the diary’s entries are getting, at no point does Herrndorf allow his suffering to wrest control of his life from him: "This, indeed, is a reason to read his book: so as to maintain the upper hand, come what may. So as not to be driven to madness, or to escapism."
The Berlin Review of Books aims to publish high-quality reviews of, and insightful essays based on, important recent books published in any language, with a focus on non-fiction. While it will often approach contemporary debates from a European perspective, it is open to intelligent contributions from around the globe. Our goal is to promote honest and knowledgeable debate of issues of real significance; for this reason, we are committed to financial and editorial independence. The Berlin Review of Books does not normally publish fiction or poetry, except by invitation.