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Shadrach Minkins: From Fugitive Slave to Citizen, and: The Trials of Anthony Burns: Freedom and Slavery in Emerson's Boston (review)

single truth" (75), as they are but "fragments of stories" (83), especially where their "context is unspecified" (93), with the admonition that they be seen as "constructions to be taken apart, analyzed, and understood" (135); and the perception that "photography also represents the imaginary and the intangible" (90). Neither ray of joy nor spark of humor lights the melancholy pages of Family Frames. There is a useful, informative discussion near the end about the Holocaust Memorial Museum in Washington, D.C., which puts to shame the self-concerned pages that precede it, and puts to flight 'theoretical' comments about what "exposes cinema and photography for their constructedness and their dependence on convention" (180), or about how "as we read photographs, we project particular masks, particular ideological frames, onto the images" (86), or about how one may "overturn several essential elements of photography: its illusion of mimetic representation or the effect of the real" (87).