ufreydalebooks: February 2014

Friday, February 28, 2014

? Ebook Lidia's Italian-American Kitchen, by Lidia Matticchio Bastianich

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Lidia Bastianich, loved by millions of Americans for her good Italian cooking, gives us her most instructive and personal cookbook yet.

Focusing on the Italian-American kitchen—the cooking she encountered when she first came to America as a young adolescent—she pays homage to this “cuisine of adaptation born of necessity.” But she transforms it subtly with her light, discriminating touch, using the authentic ingredients, not accessible to the early immigrants, which are all so readily available today. The aromatic flavors of fine Italian olive oil, imported Parmigiano-Reggiano and Gorgonzola dolce latte, fresh basil, oregano, and rosemary, sun-sweetened San Marzano tomatoes, prosciutto, and pancetta permeate the dishes she makes in her Italian-American kitchen today. And they will transform for you this time-honored cuisine, as you cook with Lidia, learning from her the many secret, sensuous touches that make her food superlative.

You’ll find recipes for Scampi alla Buonavia (the garlicky shrimp that became so popular when Lidia served the dish at her first restaurant, Buonavia), Clams Casino (with roasted peppers and good American bacon), Caesar Salad (shaved Parmigiano makes the difference), baked cannelloni (with roasted pork and mortadella), and lasagna (blanketed in her special Italian-American Meat Sauce).

But just as Lidia introduced new Italian regional dishes to her appreciative clientele in Queens in the seventies, so she dazzles us now with pasta dishes such as Bucatini with Chanterelles, Spring Peas, and Prosciutto, and Long Fusilli with Mussels, Saffron, and Zucchini. And she is a master at teaching us how to make our own ravioli, featherlight gnocchi, and genuine Neapolitan pizza.

The key to her delectable fish and meat cooking is the aromatic vegetables that so often form an integral part of the dish—sole with oregano, vidalias, and tomatoes; tenderloin with potatoes, peppers, and onions; sausages with bitter broccoli. Try her version of scallopine with sautéed lemon slices, garlic slivers, capers, and green olives—you’ll be hooked.

Soups are Lidia’s specialty, particularly hearty bean and pasta soups—meals in themselves. And you can top off a Lidia feast with traditional Italian-American favorites, such as a perfect Zabaglione or cannoli, or one of her own creations—Lemon Delight or Roasted Pears and Grapes.

Laced with stories about her experiences in America and her discoveries as a cook, this enchanting book is both a pleasure to read and a joy to cook from.

Sales Rank: #221008 in Books
Color: White
Brand: Random House
Published on: 2001-10-23
Released on: 2001-10-23
Original language: English
Number of items: 1
Dimensions: 9.50" h x 1.35" w x 8.50" l, 2.94 pounds
Binding: Hardcover
464 pages

Amazon.com Review
"Italian-American food--what cuisine is it?" asks Lidia Matticchio Bastianich in Lidia's Italian-American Cooking, a cookbook based on her eponymous PBS TV series. The author of two previous works, La Cucina di Lidia and Lidia's Italian Table, and co-owner of three acclaimed Manhattan restaurants, Bastianich is ideally suited to explore all Italian fare. "Americans fell in love with Italian cooking first," she says, thus enshrining a cuisine born of immigrant adaptation. In celebration of that affection, the book offers over 150 recipes for a wide range of dishes--traditional favorites like Baked Stuffed Shells and Lobster Fra Diavolo as well as personal adaptations such as Scampi alla Buonavia and canneloni made with roasted pork and mortadella. These easily done dishes benefit from Lidia's subtle polishing; fans of her foolproof palate and her direct yet relaxed approach to Italian cooking will welcome the book.

In chapters that reflect the courses of a traditional Italian meal, from antipasti through soups, pasta and risottos, and dolci, Lidia presents a wealth of good everyday eating. In addition to exemplary renditions of Italian-American favorites, Lidia offers "new" Italian regional dishes, such as Long Fusilli with Saffron, Mussels, and Zucchini. Soups, a Lidia specialty, are enticingly represented with the likes of Potato, Swiss Chard, and Bread Soup. And of course there are splendid dolci--favorites like Ricotta Cheesecake, but also treats like San Martino Pear and Chocolate Tart. Throughout, Bastianich provides useful sidebars, such as one on scallopine, and fully illustrated technical instruction, detailing, for example, the best way to stuff a veal chop. With color photos of the mouthwatering dishes, tips, and other cooking insights, the book is a valuable guide to an oft-debased fare finally given its due. --Arthur Boehm

From Publishers Weekly
Despite a misleading title (the book offers few stereotypical restaurant-style dishes), readers will be slightly charmed by the book's actual contents (mainly recipes for straight Italian classics) and its author that they'll quickly forget any disappointment. Bastianich (La Cucina di Lidia), owner of several restaurants, is simultaneously a beguiling storyteller and a no-nonsense guide. Alongside classics like Tri-Color Salad with Arugula and Radicchio and a more unusual Salad of Dandelion Greens with Almond Vinaigrette and Dried Ricotta, Bastianich provides sidebars on beans, capers and many other ingredients. She also waxes personal: a native of Istria, the region given to Yugoslavia after WWII, she emigrated in 1958 and opened her first restaurant in 1971 at age 24. The stars here, though, are the recipes. Pasta dishes such as Cavatelli with Bread Crumbs, Pancetta, and Cauliflower, and Orecchiette with Braised Artichokes, make fine use of fresh vegetables. Recipes are divided into antipasto, soups, pasta and risotto, pizza, entr‚es, side dishes and desserts. Desserts include a San Martino Pear and Chocolate Tart and a rich Chocolate Soup from Udine. Bastianich includes restaurant-style Italian-American food such as Spaghetti and Meatballs, and Lobster fra Diavolo with Spaghettini, although she can't resist reducing the latter's sauce to more "Italian" proportions. Color and b&w photos. (Nov. 12)Forecasts: This companion to a PBS series has a built-in readership, not to mention Bastianich's following from her New York, Kansas City and Pittsburgh restaurants. Expect strong sales.

From Library Journal
Before Bastianich opened Felidia, an upscale New York City restaurant known for its unusual regional dishes from her native Istria (once part of Italy, now in Croatia), she and her husband had two popular Italian American restaurants in Queens. So Italian American food is not the departure some fans of her more recent restaurants might assume. At Buonavia, her first restaurant, she was determined to serve "the best" Italian American food she could, and in her new book, companion to a 52-part PBS series, that is just what she presents: her Baked Clams Oreganata, for example, are prepared with Sicilian or Greek oregano, and she adds diced tomatoes for "freshness"; her manicotti is made with crespelle (crepes) for lightness, though she offers a fresh pasta variation too. Bastianich has a warm, engaging style, and she's a teacher as well as a chef: throughout, she provides thoughtful head-notes and sidebars along with useful boxes on cooking with wine, "resting" soup, and other such practicalities. John and Galina Mariani's The Italian-American Cookbook (LJ 10/15/00) explores the same subject, but Bastianich's book offers a more sophisticated and more personal approach. Highly recommended.
Copyright 2001 Reed Business Information, Inc.

Most helpful customer reviews

14 of 14 people found the following review helpful.
A Culinary Treasure
By A Customer
I just can't say enough about this book and how much it's changed my cooking style. To anyone familiar with Lidia's PBS show, you know already that she is a culinary treasure. But for those of you who are not familiar with Lidia and just want a wonderful cookbook devoid of hard-to-find and rarely used ingredients, look no more.
One of Lidia's basic concepts is that cooking be an inspiring experience and that you enjoy what you are doing and appreciate the simple ingredients that make delicious meals. I have found that after following several recipes, I have become a better, more thoughtful cook, no matter what I'm making. And that is what she truly wants (I met her at a booksigning a year ago and had the honor of speaking with her about this).
One suggestion: Purchase one of those plexi-glass cookbook holder/protectors, because trust me - you will be using this quite a lot.

61 of 62 people found the following review helpful.
A Rare Gem--From Cookbook to Heirloom
By Joseph J. Martucci
Every so often a cookbook comes along with recipes that not only inspire the reader, but also provide such logical yet intuitive preparations that he or she can envision the final product. As an Italian American who has taken up the heritage of reproducing my grandmother's great dishes, this book not only has recipes that I remember from my childhood, but many that I still make today. Sunday Pasta Dinner with pork in the gravy? It's there. Bracciole and meatballs--the best I've ever made. I just finished a bowl of Pasta e Fagiole-- my grandmother's recipe--and it's in this book.
To sum up: forget writing out all those family recipes to pass on to your children. Buy them the book and annotate it personally. You can't do better than this.

153 of 156 people found the following review helpful.
Lidia's Italian-American Kitchen
By A Customer
Wow, what a great Italian cookbook, the best I have seen-ever.
The directions are fantastic, if you follow everything she says you will make the most unbelieveable tasting dishes, you almost feel high from the flavors you can create with this book. You will not want to, nor will you have to go out to dinner. There are tons of recipes that I have always wanted to make - chicken scaprellio, fried mozzarella, calzones, every scallopine dish ever, grilled and marinated calamari. All these and so much more are in this book. So far (in the past week) I have tried;
Calzones, Gnocchi, Tomato sauce, Ravioli with spinach, Chicken scallopine with peppers, mushroom and tomato, Chicken breast in a light lemon-herb sauce (was like an oreganto), stuffed artichokes. Every dish was like a dream, I can't wait until I can prepare new recipes. Nothing is too heavy, the oil amounts are perfect, not too rich, or too weak. Can't say enough good things about it, just buy it and you will see!

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Wednesday, February 26, 2014

# Ebook Download Cold War and The Income Tax: A Protest, by Edmund Wilson

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The truth is that the people of the United States are at the present time dominated and driven by two kinds of officially propagated fear: fear of the Soviet Union and fear of the income tax. These two terrors have been adjusted so as to complement one another and thus to keep the citizen of our free society under the strain of a double pressure from which he finds himself unable to escape -- like the man in the old Western story, who, chased into a narrow ravine by a buffalo, is confronted with a grizzly bear. If we fail to accept the tax, the Russian buffalo will butt and trample us, and if we try to defy the tax, the federal bear will crush us.

The 60,000 officials who are appointed to check on us taxpayers are checked on, themselves, it seems, by another group of agents set to watch them. And supplementing these officials -- since private citizens are paid by the Internal Revenue Service to report on other people's delinquencies, and their names of course are never revealed -- there is a whole host of amateur investigators. . . Does this kind of spying and delation differ much in its incitement to treachery from that which is encouraged in the Soviet Union?

Sales Rank: #2502629 in Books
Color: Multicolor
Published on: 2001-09-01
Released on: 2001-09-01
Original language: English
Number of items: 1
Dimensions: 8.00" h x .30" w x 5.00" l, .36 pounds
Binding: Paperback
118 pages

Features

ISBN13: 9780374526689
Condition: New
Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author

Edmund Wilson (1895-1972) was a novelist, memoirist, playwright, journalist, poet, and editor but it is as a literary critic that he is most highly regarded.

Most helpful customer reviews

7 of 7 people found the following review helpful.
Wilson was not a political crackpot after all
By Patrick Taffe
I read this book in 1974 for one of my last college undergraduate examinations: I was stunned. Wilson's story is that, after living in Europe for almost ten years, he returned to the United States in the late 50's, filed his taxes, and wound up in a heap of unanticipated trouble. His iconoclastic analysis of the relationship between the Cold War, the 1948 changes to U.S. income tax laws, and the consequent creeping abridgment of American civil liberties shattered my callow idealism. In spite of the publicity attending the political turmoil of the 60's and early 70's, before I read Wilson's book, I didn't realize the individual freedoms that had already been lost in America to the military-industrial complex even before the civil rights movement and subsequent counterculture revolt began to receive significant media attention. There has been so much more violence done to individual constitutional rights since 9/11 that Edmund Wilson's cri de coeur (and wallet!) might sound quaint, or even naive, today; but as a reference point for the post-WWII impact of the expansion of the powers of the federal government (on behalf of corporate America) over its ever more hapless citizenry, I have to believe that this book is, at the least, an invaluable historical resource from a terrific writer. I'm flabbergasted that it is currently out of print.

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Monday, February 24, 2014

? Free PDF Nobody Is Ever Missing: A Novel, by Catherine Lacey

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Without telling her family, Elyria takes a one-way flight to New Zealand, abruptly leaving her stable but unfulfilling life in Manhattan. As her husband scrambles to figure out what happened to her, Elyria hurtles into the unknown, testing fate by hitchhiking, tacitly being swept into the lives of strangers, and sleeping in fields, forests, and public parks.
Her risky and often surreal encounters with the people and wildlife of New Zealand propel Elyria deeper into her deteriorating mind. Haunted by her sister's death and consumed by an inner violence, her growing rage remains so expertly concealed that those who meet her sense nothing unwell. This discord between her inner and outer reality leads her to another obsession: If her truest self is invisible and unknowable to others, is she even alive?
The risks Elyria takes on her journey are paralleled by the risks Catherine Lacey takes on the page. In urgent, spiraling prose she whittles away at the rage within Elyria and exposes the very real, very knowable anxiety of the human condition. And yet somehow Lacey manages to poke fun at her unrelenting self-consciousness, her high-stakes search for the dark heart of the self. In the spirit of Haruki Murakami and Amelia Gray, Nobody Is Ever Missing is full of mordant humor and uncanny insights, as Elyria waffles between obsession and numbness in the face of love, loss, danger, and self-knowledge.

Sales Rank: #217139 in Books
Published on: 2014-07-08
Released on: 2014-07-08
Original language: English
Number of items: 1
Dimensions: 7.53" h x .65" w x 5.05" l, 1.00 pounds
Binding: Paperback
256 pages

Review

“Ms. Lacey has written a serious, frequently brilliant novel with a sustained intensity that is rare in fiction. It's the most promising first novel that I've encountered this year.” ―Sam Sacks, The Wall Street Journal

“[A] searching, emotionally resonant first novel…[Lacey's prose is] dreamy and fierce at the same time…Ms. Lacey's slim novel impressed me, and held me to my chair. There's significant talent at work here…"Nobody Is Ever Missing" gets so much right that you easily push past its small flaws. It's an aching portrait of a young woman doing the hard thing, "trying to think clearly about mixed feelings.” ―Dwight Garner, The New York Times

“This is how much I liked Catherine Lacey's debut novel, Nobody Is Ever Missing: I read it over a summer weekend, mostly transfixed, earmarking nearly every other page to identify perceptions or turns of phrase I might wish to return to . . . Nobody Is Ever Missing satisfies all my inchoate readerly impulses--including the primary one of getting out of my own skin and into someone else's--in a way that, say, Donna Tartt's more explicitly pitched The Goldfinch decidedly does not . . . Lacey is a very gifted writer and thinker, and if this is what post-wounded women sound like--diffident about the pain of being alive, funny and dead-on about the obstacles to being their best selves--I say bring 'em on.” ―Daphne Merkin, The New Yorker

“The premise begins simply enough: Elyria has unexpectedly left her husband. And yet the proceeding narrative introduces some of contemporary fiction's most complex personal introspection as Catherine Lacey--with the ease of a master--depicts a mind that may, or may not, be breaking down . . . Elyria hitchhikes, meets a handful of characters and thinks. And her ponderings--written in Lacey's consistently remarkable, urgent prose style--slowly unravel the layers of Elyria's discontent, revealing an expanse of universal anxiety and uncertainty. Her observations of the country and her ruminations on the past are simultaneously childlike in their wonder and astounding in their depth. Page after page, the novel strikes those rarely accomplished balances between action and interiority, comedy and bleakness, stream-of-consciousness and clarity. An uncomplicated plot written with honesty and linguistic deftness characterizes many of the world's great novels, including this debut. As the story concludes, Lacey does not assert any sense of closure because there are no lessons here, only a stunning portrait of, to paraphrase Doris Lessing, a woman going mad all by herself.” ―Tiffany Gibert, Time Out New York

“Lacey's wise and dazzling novel... is funny, not in a zany way, but in the audaciously morbid way a Coen brothers picture is funny.” ―Jennifer B. McDonald, Slate

“[A] laser smart, affecting, confounding, recalcitrant, infuriating, relentlessly stylish debut novel . . . Using short chapters to stop for breath, Lacey stacks clause upon clause with unerring rhythm, one of those glorious gifts that not everyone's been given and guided by that fabulous inner ear she teases out assonances and upends predictable constructions, modulating her phrases with repetitions, inversions, and tautly-strung wit, the novel propelled by sentences that wind their way inward before springing back out with renewed velocity.” ―Nathan Huffstutter, Electric Literature

“Catherine Lacey's debut novel explores that deeply human question... She holds the reader rapt for 244 pages, vividly situating us--entrapping us, really.” ―Laura Pearson, Chicago Tribune

“Catherine Lacey's remarkably immersive and morbidly humorous debut, Nobody Is Ever Missing, reminds one of Esther Greenwood from Sylvia Plath's The Bell Jar . . . As Elyria increasingly feels that she is ‘a human non sequitur' and perhaps ‘a form of radiation,' Lacey brilliantly captures her decline through long, winding sentences. Her descent is as harrowing as it is magnetic.” ―Vikas Turakhia, The Plain Dealer

“My copy of Catherine Lacey's debut novel is dog-eared to the degree of making all those folded corners pointless. The book is one large dog-eared page, because you don't have to flip far to find sentences and sentiments that make you pause and stare at the words, those simple marvels, and emit the sort of soft ‘oh' that usually comes after finishing a poem.” ―Scott Onak, The Rumpus

“Ever think of taking off and just going somewhere totally random? Lacey's debut introduces us to Elyria, who takes off from her stable American life to go live in New Zealand. It's a story that jumps out at you, and is full of the type of wisdom you just don't get from many debut novelists.” ―Jason Diamond, Flavorwire, 10 Must-Read Books for July

“Nobody Is Ever Missing has the rare quality of being totally riveting but also very quiet. I read this book as fast as I would any thriller, but instead of high-speed chases there is a woman, mostly alone, sifting through her own thoughts and memories. The narrator, a young woman who has run away from her husband and family, is traveling through New Zealand for most of the book, but this isn't a traditional quest narrative--or maybe it is, but the quest is dark and personal and indirect and circuitous. Catherine Lacey's voice is something truly special; there is a wildebeest at the heart of this novel and you need to meet it.” ―Rachel Riederer, Guernica

“The self-consciousness of [Nobody Is Ever Missing], the sentences that offer contradictions inside themselves, will be related to by most any reader who seeks in reading the pleasure of self-recognition.” ―Brad Nicholson, Bookslut

“Lacey wisely chooses to structure the book using short chapters, which keeps the pacing swift . . . The short chapters have the shape and feel of vignettes, and they allow Elyria to move back and forth in time as she fills us in on the backstory that pushed her to leave . . . We, like her, are captivated by the descent, helpless to watch and wander along.” ―Jennine Capo Crucet, The L Magazine

“Catherine Lacey's virtuosic debut is a gutsy, lyric meditation on identity, love, transformation, and what it means to be free. It is a breathtakingly accomplished novel, and Catherine Lacey is a riveting new voice in contemporary fiction.” ―Laura van den Berg, author of The Isle of Youth

“A dense, subtle series of meditations on domestication, estrangement, wildness, and above all, loss and absence.” ―David Shields, author of How Literature Saved My Life and coauthor of Salinger

“Catherine Lacey has a magic voice like none I've ever read before. An unknown cousin of both David Markson's Wittgenstein's Mistress and Marilynne Robinson's Housekeeping, Nobody Is Ever Missing is a fabulously intelligent and witty book, and also a very moving one.” ―Rivka Galchen, author of American Innovations

“This book lives and breathes. It is a squall and Catherine Lacey is a force.” ―Amelia Gray, author of Threats

“A dark, precise jewel of a novel that does what every piece of writing should: cast a subtly new light on the world around us.” ―John Wray, author of Lowboy

“Catherine Lacey's voice is wholly unique, somehow managing to be both a challenge and a relief at the same time. Nobody is Ever Missing is one of my favourite books of the year, a journey to the other side of the world I won't soon forget.” ―Jami Attenberg, author of The Middlesteins

About the Author
Catherine Lacey was named a Granta New Voice of 2014 and a New York Foundation for the Arts Fellow for fiction writing in 2012. She has published work in The New York Times, Guernica, Believer, McSweeney's Quarterly, and other magazines. She was born in Mississippi.

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11 of 12 people found the following review helpful.
Finding yourself
By "switterbug" Betsey Van Horn
“I was a human non sequitur—senseless and misplaced, a bad joke, a joke with no place to land.”

This novel starts with a woman leaving home. You’ll like it if you can engage with the only main character, twenty-eight-year-old Elyria (named after a town in Ohio that her mother never visited). She abruptly leaves her comfortable life in Manhattan, and her job as a CBS soap opera writer, and her husband, a math professor. They had both experienced a similar tragedy that stripped their souls, and for that they bonded—and, for that, Elyria couldn’t take it any more, after six years.

“I want to be that person, part of a respectable people, but I also want nothing to do with being people, because to be people is to be breakable…”

Elyria takes off for New Zealand, without even giving a heads up to her husband. She is seeking, searching, for her truest self, and attempting to unscramble the cognitive dissonance between her outer and inner selves. She senses what she calls the wildebeest in her, caught between two impulses of wanting to be here in love and wanting to walk away like it never happened. Her way of thinking is often circuitous and epigrammatic, such as “…and it seems the wildebeest was what was wrong with me, but I wasn’t entirely sure of what was wrong with the wildebeest.” This strain of opposites and paradox filled out Elyria’s psyche and also made her feel shriveled.

There isn’t really a plot, but there is certainly a journey—a journey through many remote, farmland areas of New Zealand as Elyria tempts fate by hitchhiking, and the inner stream of consciousness that is her thoughts and feelings.

“I looked back at him like I didn’t have any trouble to tell because that’s my trouble, I thought, not knowing how to tell it…”

So Elyria tells us her story, her journey, the recursive thoughts, the pain from her former tragedy; the inability to deal with loss, the pain of being with her husband and the pain of being without him, the loneliness of being without people and the loneliness of being with them.

I felt that I was walking through a surreal landscape, dreamscape, pain-scape, like a cemetery of Elyria’s heart, buffered by her poetic and melancholy soul. Occasionally, it was bleakly witty, but always there was a tugging on my spirit, the knottiness and heaviness of this woman and her loss. Lacey’s debut novel was open, vulnerable, a dark glass. She captures the fragility of the human condition; I hope her next effort will carry it further, to more expansive connections. Don’t look for redemption here.

“…to love someone is to know that one day you’ll have to watch them break unless you do first…”

14 of 17 people found the following review helpful.
My new favorite book
By Jessy
Wow. Just, wow. I never buy modern literature, and even less often do I pick up an author of whom I know nothing about, but this book is amazing. That it takes place in New Zealand hooked me, but the country itself is used so sparingly, a handful of names and sheep, just enough to give you the sense of a place as far from the main character, Elyria's, jumping off point in New York as she can get. I've never been able to connect with the "finding yourself" cliché, stories about men or about women with sass and energy who seek out adventure, but Lacey's protagonist is an antagonist to herself. She is lost and confused, self-obsessed and self-abusing and the last thing she wants is adventure. The subtle feminism in the narrative was a breath of fresh air. It exists but is never named, from the men in her life who view her as a possession (or as her Husband's possession) to the several women who warn her as she hitchhikes across the island to, "...stay away from those blokes." Elyria escapes them all, but in the end, she can't escape herself.

So well done, this book is just too good to describe. The ending left me feeling a bit disappointed, but taken as part of the whole story, it was perfect. I read the book twice the same week that I got it and still have trouble believing that this is Lacey's first novel. I eagerly await her second.

7 of 8 people found the following review helpful.
Lacey has written a powerhouse of a book, and one that assuredly can take its place in a continuum of feminist literature.
By Bookreporter
Writing in a bold first-person voice, Catherine Lacey has made an auspicious debut with her first novel, NOBODY IS EVER MISSING.

Here is a harrowing portrait of a young woman named Elyria, who is struggling to escape from herself and her past into an impossible state of mere “presence” --- beyond identity --- that doesn’t involve any sort of interpersonal engagement or contingency. To achieve this conceptual state of grace, she leaves her comfortable apartment on the Upper West Side of Manhattan that she shares with her husband Charles, a mathematics professor. Without warning him or anyone else, she flies to New Zealand to find Werner, a poet she once met who told her she could stay with him should she ever find herself on his home turf.

Upon landing, and carrying only what she could fit in her backpack, along with a scrap of paper with Werner’s scribbled address, Elyria sets out hitchhiking in search of something that she can barely define. As she puts it, “It seemed to take a reason to be in a hurry and I didn’t have any reasons, I knew, and maybe that was it, maybe I had come to New Zealand to find a reason in this quiet country where everyone was happily waiting on almost nothing, to wait with them until a reason found me or I found a reason.”

As she travels around New Zealand, sleeping in hostels, strangers’ homes, parks and the occasional gardening shed, Elyria is forced to examine the events of her past that have led her to this desperate attempt at escape. At the root of her despair is the suicide of her deeply loved adopted sister, Ruby, the “renegade teenage genius.” Ruby, as it turns out, worked as an assistant to Charles, and Elyria and Charles met at the police station the day of Ruby’s death. From their grief and confusion, they embarked on a troubled relationship that started in a haze of infatuation and attraction but eventually dead-ended in an unfulfilling marriage. However, it gradually becomes apparent to Elyria that what she really wanted was a connection to someone else who had a connection to Ruby, someone who could keep her alive in some other way.

As Elyria’s tortured mind begins to unravel along her journey, more information about Charles surfaces that casts him in a menacing light --- unexplained night terrors, for instance, that result in him either waking up screaming or choking Elyria in his sleep. The succor she’d sought in marriage is revealed to be a trap designed to domesticate and neutralize the “wildebeests” that Elyria believes run rampant in all people, provoking, disrupting and threatening to burst forth in unstoppable, stampeding violence:

“…I don’t know what redeems people, what keeps people good, what keeps people in the sense-making part of being a human instead of the senseless, the unwell, the wildebeests that everyone has --- because we all have them and there is a part of every human brain that just can’t bear and be, can’t sit up straight, can’t look you in the eye, can’t sit through time ticking… can’t be married….”

Lacey’s prose, on its surface, is relatively simple, but she has created a dense, lyrical and startlingly original voice for Elyria, one that can nimbly shift from profound despair to sardonic wit to a clear-eyed witnessing of the absurdity of existence. That said, the book’s momentum flags occasionally, and there are stretches where that painfully alert and anguished voice, worrying its worries in the relative safety of Elyria’s skull, can become a kind of agitated, quasi-autistic droning. But those instances are few.

All told, NOBODY IS EVER MISSING is a powerhouse of a book, and one that assuredly can take its place in a continuum of feminist literature, from the story of Bertha Mason’s tragic plight in JANE EYRE on through Charlotte Perkins Gilman’s novella THE YELLOW WALLPAPER to Margaret Atwood’s THE HANDMAID’S TALE and beyond.

Reviewed by Damian Van Denburgh.

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~~ Download Ebook Manifesta [10th Anniversary Edition]: Young Women, Feminism, and the Future, by Jennifer Baumgardner, Amy Richards

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In the year 2000, girl culture was clearly ascendant. From Lilith Fair to Buffy the Vampire Slayer to the WNBA, it seemed that female pride was the order of the day. Yet feminism was also at a crossroads; "girl power" feminists were obsessed with personal empowerment at the expense of politics, while political institutions such as Ms. and NOW had lost their ability to speak to a new generation. In Manifesta, Jennifer Baumgardner and Amy Richards brilliantly revealed the snags in each feminist hub, all the while proving that these snags had not imperiled the future of the feminist cause. The book went on to inspire a new generation of female readers, and has become a classic of contemporary feminist literature.

In the decade since Manifesta was published, the world has changed in ways both promising and disheartening for the feminist cause. Despite major strides forward, the wage gap remains vast; many feminist publications have died; shame around abortion has lingered and '90s-style anti-abortion terrorism has reemerged. Many of the points first raised so bravely in Manifesta remain urgent―namely, why it's still critical for today's young women to focus on gender. This tenth anniversary edition of Manifesta, complete with updated back matter, commentary from the authors, and a provocative new preface, shows why the issues first raised by Baumgardner and Richards remain as timely as ever.

Sales Rank: #134493 in Books
Brand: Baumgardner, Jennifer/ Richards, Amy
Published on: 2010-03-02
Released on: 2010-03-02
Original language: English
Number of items: 1
Dimensions: 8.25" h x 1.30" w x 5.48" l, .95 pounds
Binding: Paperback
464 pages

From Publishers Weekly
Two youthful alumnae of Ms. magazine present not a manifesto, but a talky defense of contemporary feminism, directed in part at disappointed Second Wave foremothers. Arguing that feminism is already all around us, the heart of the book is a long, unbridled paean to tough and sexy "girlie culture," as represented by Xena, Ally McBeal, the Spice Girls and little girls wearing Mia Hamm jerseys. Sporting green nail polish and Hello Kitty lunchboxes isn't infantile, the authors declare, but a "nod to our joyous youth." At the same time, they caution young women not to stop and rest on the success of cultural feminism, but to develop political lives and awareness. The book suffers mightily from its determined evenhandedness; Baumgardner and Richards typically temper any negative comments with an immediate positive note, and vice versa. Whether this feminist duo's ambivalence reflects schisms in the movement, their own fear of offending other feminists or simply the awkwardness of joint authorship, the result is shallow, both as a critique and a call to arms. Analysis of the few Third Wavers who are already visible in the media ought to have been surefire; instead, the chapter "Who's Afraid of Katie Roiphe?" comes too late (after 200-odd pages) and is too tame and indecisiveAthe authors pointedly clamp down on their own irritation with Roiphe, referring to her simply as a "controversial" figure among left-wing feminists. Fewer history lessons and more pique might have given this book more force. (Oct.)
Copyright 2000 Reed Business Information, Inc.

From Library Journal
Baumgardner and Richards, two writers with Ms. affiliations, start their analysis of U.S. feminism with a wonderful assumption: that "girl culture," from women rock stars and athletes to female entrepreneurs and inventors, have become an integral part of the national psyche. Thanks to Second Wave feminist agitators, today's young womenDthose who grew up believing that they could be anything they wanted to beDhave unprecedented opportunities. Now, as responsibility for women's liberation falls to them, decisions about goals, strategies, and direction have to be made. Manifesta, which is far less shrill than the name suggests, urges young women to pick up where their mothers, aunts, and adult mentors left off. Their challenge? To fulfill feminism's promise of justice, equality, and sexual freedom for all. Complete with appendixes to teach novices the nuts-and-bolts of community organizing, this book is a reasoned and passionate call to action and an exciting how-to guide for both burgeoning and seasoned Third Wave feminists. Recommended for all high school, college, and public libraries.DEleanor J. Bader, Brooklyn, NY
Copyright 2000 Reed Business Information, Inc.

From Kirkus Reviews
By addressing itself specifically to young women, this imperfect but relatively thorough treatise helps fill a gap in the current debate between older feminist luminaries, some would say "dinosaurs", such as Gloria Steinem, and the crop of news making younger female writers who tend to embrace anti-feminism.Both authors are former editors at Ms. who have since moved on to various leadership roles in the so-called "Third Wave" of feminist writers and activists now in their 20s and early 30s. They combine a brief historical assessment of the movement for women's equality (focusing particularly on the tumultuous developments of the 1970s) with a call to action-aimed largely at girls and young women who, the authors believe, have benefited from the previous generation's struggles but continue to experience forms of sexism and relative powerlessness. By linking contemporary pro-female culture (the Lilith Festival; magazines such as Bust, Sassy, and Jane; women's basketball and soccer) to its intellectual and political roots from the 1960s and '70s, Baumgardner and Richards aim to provide counter-evidence to the perennial claim that feminism has died or outlived its usefulness. Many pages are spent on a useful analysis of the strengths and shortcomings of "girl power"-a healthy, positive, empowering attitude toward the traditional trappings of female youth culture, but not quite a political strategy, in the authors' estimation. Their study falters in a few ways: repetitiveness, an over-reliance on personal anecdotes in the opening pages, and a penchant for making controversial claims without providing sources (for example, the "fact" that some states won't allow a mother to make medical decisions on behalf of her children without the father's approval). Still, simpatico older women will be heartened by the authors' knowledgeable discussion of pro-woman attitudes and actions among the younger set, while girls and young women may find political or personal inspiration in their account.An important contribution to the subject, despite its flaws. -- Copyright © 2000 Kirkus Associates, LP. All rights reserved.

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28 of 31 people found the following review helpful.
Good ideas, but very uneven
By Amanda Marcotte
Perhaps my problem with the book came from the fact that it was written by two people working together, which probably contributed to its uneven tone. Jennifer and Amy (as they call themselves) try to encompass quite a bit of description and critique of certain youth-oriented trends in feminism, and sometimes it falls apart by the sheer width of their scope. And even though they continually point out that they are members of the Third Wave, the younger wave of feminist women, sometimes they seem strangely removed from the ideas that they purport to describe. For instance, they feel obliged to dismiss Girlie feminists as ineffectual, when this brand of feminism probably attracts more young people to the movement than any other. They were also dismissive to the huge contributions that Third Wavers have made to incorporating men to the cause. On the other hand, they were particularly adept at dismantling some of the myths that are commonly believed about feminism, which is a valuable task for anyone, Second or Third Wave. It's worth reading, but don't accept it as encompassing as a manifesta should be. Even the authors ask this of the reader.

28 of 32 people found the following review helpful.
Irritating
By Anthony Schmitz
(This review was not actually written by Anthony Schmitz. I'm Anna Schmitz, his 15-year-old daughter.)

I suppose this book had good intentions. The writers seem smart, and the book probably rings true for their select group of dinner party friends (young, urban, in the media business). However, the research is shoddy, the authors' arguments often become long-winded whining, and the arguments themselves are occasionally absurd.

It's unclear whether the authors simply grew bored of their book, or if a deadline was rapidly approaching, or if research was unavailable, but too often the authors rely on "according-to-my-friend-Jane" in lieu of actual research. In an actual quote from the book, in an argument for Take Back the Night, Baumgardner and Richards assure you that Take Back the Night remains important because "Jennifer Gottesman, a junior at Barnard College, confirmed that her college's Take Back the Night rally and march are the most important political events on campus." Say no more! If Jennifer thinks Take Back the Night is the most important event on campus, it surely is.

However, even this she-said research is often overshadowed by the authors' whining about their lack of importance in the eyes of Second Wave feminists. As important as it is to feel approval, it seems that the best way to gain it would be to carve out one's one niche instead on relying on older feminists to advance concerns that they may not fully understand. The authors complain about feeling patronized and disrespected by Second Wavers, about not being invited to speak at panels, and although these concerns are legitimate, it's not hard to see where Second Wavers are coming from when reading "Letter to an Older Feminist". The letter is patronizing and petty. It implies that Second Wavers are no longer useful in the movement-- that although they once wrote important books and had important ideas, they are no longer needed as innovators, and should sit back and hand over all controls to Third Wave women. Second Wave feminists are not dead, and don't need to be treated as such.

On a personal level, I found the book's criticism of New Moon Magazine to be both offensive and off-base. As both a former reader of New Moon and a former Girls' Editorial Board member, the authors' shallow appraisal of the magazine struck me as laughable. The authors argue that the magazine represents feminist mothers' ideas of what girls want, and not what the girls themselves want. The authors are prone to nostalgic reflections on Sassy magazine, and its embrace of fun/funky outfits, hairstyles, and articles. They seem disappointed that New Moon is not a twin of the magazine of their youth, and is instead an outright feminist magazine, with artwork and not Kurt Cobain and Courtney Love on the cover.

Baumgardner and Richards inform the reader that New Moon is not actually what girls want. I beg to differ. New Moon is not what teen girls want-- that's true. Most girls end their subscription by the time they hit 13. But for 8 to 12-year-olds, New Moon is a great magazine. If girls are looking for what Sassy once provided, there are other magazines. New Moon does not have to provide the tips on hair, makeup, and boys that the authors of Manifesta are convinced that girls actually want. What their argument amounts to is two Third Wave feminists advancing their agenda by accusing Second Wave feminists of starting a girls' magazine to advance their agenda. Perhaps Baumgardner and Richards should follow their own advice and let girls themselves decide and control what they want, as opposed to letting Third Wave feminists tell them what they want.

20 of 23 people found the following review helpful.
a very good but limited insiders review
By A Customer
This book does an excellent job of evaluating the feminist movement from an insider's perspective. However many of the threads involve women who work either in the movement or live in a liberal cultural environment. I am disappointed though that it doesn't address what I see as an important current problem: why does feminism fail to connect with a large percentage of women who are reluctant to identify themselves as feminist. Until the voices/minds of the apparently apathetic nurse/beautician/receptionist and "annoying dissentors" etc are explored (and considered "valid" not just "unliberated") I am afraid that feminism will remain in its ivory tower and not as effective as it should be, perhaps hijacked from the "ordinary" "unliberated" plebs. These women vote. (Why would a women's shelter volunteer be put off by her women's studies class?) The authors didn't explore why many women (and potentially supportive men) are totally put off by their women's studies class and never want to be associated with the feminist label after that. Where does an orthodox Jewish women fit into this picture. Is she just too stupid to know she's oppressed since she doesn't share the "agenda". What does she think? I haven't found a book who's interviews explore these marginalized, "unliberated" women's perspective with respect. The attitude of "support our troops" (feminist or otherwise) seems to pervade our society.

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Saturday, February 22, 2014

> Ebook My Struggle: Book 2: A Man in Love, by Karl Ove Knausgaard

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"[Book 2] sears the reader because Knausgaard is a passionate idealist [who] wants to fight the conformity and homogeneity of modern bourgeois existence." ―James Wood, The New Yorker

In the second installment of Karl Ove Knausgaard's monumental six-volume masterpiece, the character Karl Ove Knausgaard moves to Stockholm, where, having left his wife, he leads a solitary existence. He strikes up a deep friendship with another exiled Norwegian, a Nietzschean intellectual and boxing fanatic named Geir. He also tracks down Linda, whom he met at a writers' workshop a few years earlier and who fascinated him deeply.
My Struggle: Book 2 is at heart a love story―the story of Karl Ove falling in love with his second wife. But the novel also tells other stories: of becoming a father, of the turbulence of family life, of outrageously unsuccessful attempts at a family vacation, of the emotional strain of birthday parties for children, and of the daily frustrations, rhythms, and distractions of city life keeping him from (and filling) his novel.
It is a brilliant work that emphatically delivers on the unlikely promise that many hundreds of pages later readers will be left breathlessly demanding more.

Sales Rank: #42098 in Books
Published on: 2014-06-03
Released on: 2014-06-03
Original language: English
Number of items: 1
Dimensions: 8.26" h x 1.57" w x 5.52" l, 1.14 pounds
Binding: Paperback
608 pages

Review

“Intense and vital . . . Where many contemporary writers would reflexively turn to irony, Knausgaard is intense and utterly honest, unafraid to voice universal anxieties . . . The need for totality . . . brings superb, lingering, celestial passages . . . He wants us to inhabit he ordinariness of life, which is sometimes visionary, sometimes banal, and sometimes momentous, but all of it perforce ordinary because it happens in the course of a life, and happens, in different forms, to everyone . . . The concluding sentences of the book are placid, plain, achieved. They have what Walter Benjamin called ‘the epic side of truth, wisdom.'” ―James Wood, The New Yorker

“Steadily absorbing, lit up by pages of startling insight and harrowing honesty, My Struggle introduces into world literature a singular character and immerses us in his fascinating Underground Man consciousness.” ―Phillip Lopate

“A rope round the neck, a knife in the heart. The book is full of magic. The world simply opens up . . . Knausgaard will have the same status as Henrik Ibsen and Knut Hamsun.” ―Kristeligt Dagblad (Denmark)

“Ruthless beauty.” ―Aftenposten (Norway)

“This first installment of an epic quest should restore jaded readers to life.” ―The Independent

“Between Proust and the woods . . . Like granite, precise and forceful. More real than reality.” ―La Repubblica (Italy)

“Breathtakingly good.” ―The New York Times Book Review

“[Knausgaard's] preternatural facility for description . . . speaks not only to the sheer pleasure his fiction affords, but to the philosophical stakes of that pleasure.” ―Mark Sussman, Los Angeles Review of Books

About the Author

Karl Ove Knausgaard was born in Oslo in 1968. His first novel, Out of the World, was published in 1998 and won the Norwegian Critics Literary Prize for Fiction―the first time a debut had won this award. His second novel, A Time for Everything, came out six years later, won multiple prestigious prizes, and was named one of the 25 Best Books of the Last 25 Years by Norway's major newspaper; it was his first book to be translated into English ("Strange and marvelous," said The New York Review of Books). With the publication of the first volume of My Struggle in 2009, he became a household name in Norway. He lives in rural Sweden with his wife and their three children.

Don Bartlett has translated dozens of books of various genres, including several novels and short story collections by Jo Nesbø and It's Fine by Me by Per Petterson. He lives in Norfolk, England.

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74 of 76 people found the following review helpful.
Suspense novel
By Literary Lizzie
The odd thing about Knausgaard is that though he writes almost entirely about everyday events of the most mundane nature--family, children, social life, hopes and problems--his writing creates a continuous sense of tension, as if something startling or dreadful or life changing might happen at any minute. But it doesn't. It just flows into the next homely situation, or recollects some equally common human experience or dilemma from his past. I can just hear many readers complaining about this, in one way or another. If it were a film they would really complain.

But the tension is dramatic. Many of us live with a kind of tension in our lives, especially if we're given to be the more creative, introverted and sensitive sort of person. This everyday tension makes it feel real and oddly important, without cataclysm or climax. Life is made up of a connection of nearly random details that may finally create change--and in Knausgaard you are aware of this build up, you may feel a sort of dread of the change and you are drawn into its drama.

41 of 44 people found the following review helpful.
"A Gaze You Could Meet"
By The Ginger Man
Knausgaard's writes about everyday life. But for him, daily routines and duties are endured rather than enjoyed. "So the life I led was not my own," he says. "I tried to make it mine. This was my struggle."

His book is personal, profound and quotidian; it is also a journal rather than a true novel. The author shares his disrespect for fictional writing and documentary narrative, both of which, he contends, have no value. Instead, he argues that diaries and essays confer meaning because they consist of "the voice of your own personality, a life, a face, a gaze you could meet."

The author's gaze in My Struggle looks upon the details of daily life and uses them to illuminate the larger themes of love, friendship, marriage, parenthood, Swedish versus Norwegian lifestyle, art and the act of creation, mortality and how to prepare meals for toddlers. The strongest part of the book is in the opening 200 pages in which Karl Ove acts as husband and father; loving both roles but struggling greatly in the daily acts that make those roles a reality. He experiences feelings of helplessness and anger in a painful visit to Fairy Tale Land. His loss of masculine self-image is felt when he cannot get his wife out of a locked bathroom at a party. A pitiful effort to maintain space from other people as he reads in a coffee shop displays his feelings of alienation. The inability to resolve conflict in a civilized Swedish environment is obvious in a conflict with a neighbor over loud music. The pressure to spend time with people whose only relationship to him is that their children know each other is developed in a scene at a child's birthday party. In sum, these feelings that there is a more authentic life from which Knausgaard has been outcast culminate in his attendance with his child at Rhythm Time class. As he is forced to sing with other parents, Karl Ove thinks, "I had forfeited everything that was me."

There are brilliant passages in My Struggle as well as long sections when the reader must bear with the author's gaze at the details of non-events. The latter inform the former, however, and most often reward the patient reader.

Knausgaard is sincere in his struggle and realizes that indifference is the greatest of the seven deadly sins "because it is the only one that sins against life." His journal recognizes the need to somehow both surmount and enjoy the quotidian, while maintaining touch with the ideal. The reader who joins the author in his struggle is rewarded by a journal elevated to the level of art. For, asks the author, "What is a work of art if not the gaze of another person?..You meet it's gaze alone."

29 of 31 people found the following review helpful.
An amazing experience
By David Bradford
Reading this book was an amazing experience for me. The writer lays bare his very soul. I find it difficult to analyse why this book and his earlier book 'A Death in the Family' made such a huge impression. My life has been nothing like this man's life, I am much older than he is, we are not at all alike, we live in totally different parts of the world with greatly different climates, I am not heterosexual and I've never experienced bringing up children. Yet, His thoughts resonate with me. I am sorry to have finished reading; each day I purposely kept my daily reading to a limited number of pages to spin out the enjoyment. The writer says about reading Thomas Mann's Buddenbrooks that for him every page brought pleasure. I felt exactly the same about this book. I hope the English translation of the next four books in his life saga are not too long in making their appearance! I shall be eagerly awaiting them.

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Thursday, February 20, 2014

# Ebook Download Streets in Their Own Ink: Poems, by Stuart Dybek

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"Streets in Their Own Ink . . . has a gritty realism infused with a sense of the marvelous." --Edward Hirsch, The Washington Post

In a city like that one might sail
through life led by a runaway hat.
The young scattered in whatever directions
their wild hair pointed and, gusting
into one another, they fell in love.
-from "Windy City"

In his second book of poems, Stuart Dybek finds vitality in the same vibrant imagery that animates his celebrated works of fiction. The poems of Streets in Their Own Ink map the internal geographies of characters who inhabit severe and often savage city streets, finding there a tension that transfigures past and present, memory and fantasy, sin and sanctity, nostalgia and the need to forget. Full of music and ecstasy, they consecrate a shadowed, alternate city of dreams and retrospection that parallels a modern city of hard realities. Ever present is Dybek's signature talent for translating "extreme and fantastic events into a fabulous dailiness, as though the extraordinary were everywhere around us if only someone would tell us where to look" (Geoffrey Wolff).

Sales Rank: #1264723 in Books
Published on: 2006-03-21
Released on: 2006-03-21
Original language: English
Number of items: 1
Dimensions: 8.50" h x .21" w x 5.50" l, .26 pounds
Binding: Paperback
88 pages

From Booklist
*Starred Review* Dybek's ravishing short stories, appearing most recently in I Sailed with Magellan (2003), are remarkably poetic; his stunning poems possess fiction's velocity; and both grow out of his mythic sense of place, that is, of a city not only of brick and mortar but also of dreams and reflections. Profoundly attuned to the music of the senses and to nature's persistence, Dybek unveils worlds within worlds as a young boy submerges his soapy head in water, a girl's unbuttoned sundress falls, and nighthawks fly past an illuminated billboard. So precise are his arresting descriptions, and so startlingly lucid are his metaphors, his poems ignite in the mind like unexpected fireworks. As the titles "Autobiography," "Journal," and "Anti-Memoir" suggest, Dybek is intrigued with the workings of memory and the skewed stories we tell ourselves about ourselves. Wind-blown scraps of paper, snatches of music, and echoes of church rituals in everyday gestures, all are haunting intimations of our transitoriness and our tentative connections. Kin to the work of Charles Simic, Dybek's tensile poems possess a phosphorescent beauty and express a wry yet tender regard for all that makes us human. Donna Seaman
Copyright © American Library Association. All rights reserved

Review
“A poet of the city, [Dybek] offers us what Eliot once called 'such a vision of the street / as the street hardly understands.'” ―Sandra M. Gilbert, Poetry

About the Author

Stuart Dybek's books include I Sailed with Magellan (FSG, 2003), The Coast of Chicago (Picador, 2003), and a previous volume of poetry, Brass Knuckles. A professor of English at Western Michigan University, he lives in Kalamazoo.

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~~ PDF Download What It Felt Like: Living in the American Century, by Henry Allen

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This treasure of a book gives us a vivid and captivating evocation of the social, cultural, and spiritual tenor of the twentieth century, decade by remarkable decade.

Henry Allen--veteran feature writer and editor at the Washington Post--reminds us of just how it was: "the champagne disenchantment of the tuxedo twenties. Husbands who lost Depression jobs and hid in their houses for shame, the October morning energy of the postwar forties, the dusty heat of fifties television sets, the smell of Vitalis on men's hair, women in gloves that felt sexy touching your skin, men who whistled (with trills) and wore hats tipped to one side, the barefoot LSD weddings when the universe seemed a conspiracy in everyone's favor. . . . "

Each of these ten chapters is a virtual time capsule written with keen intelligence, feeling, and an uncanny sense of the essential experiences of the era: the unexpected, idiosyncratic sights, sounds, occasions, and events that defined not just the time but the way we remember it. This is a book of myriad pleasures--a reminder, as we plunge headlong into the future, of the richness and importance of our past.

Sales Rank: #1237752 in Books
Published on: 2000-10-03
Released on: 2000-10-03
Original language: English
Number of items: 1
Dimensions: 7.42" h x .80" w x 5.74" l,
Binding: Hardcover
159 pages

Amazon.com Review
The 19th-century French poet Charles Baudelaire once said that each age has "a deportment, a glance, a smile of its own." In What it Felt Like, Pulitzer Prize-winning author Henry Allen captures the spirit of the 20th century decade by decade in a sparkling little book that reads like a Lily Tomlin-meets-Gallagher monologue (minus the watermelon). Ten brief chapters describe the sights, sounds, and smells of the decade, from the "good years" of 1900-1910 to the "whatever" decade of the 1990s. Allen also manages to convey the "feel" of the times, dispelling some myths along the way. For example, he points out that for most people, the Depression of the 1930s was not so much about what one saw (breadlines, Hoovervilles), but what wasn't there: cars on the street, new babies, factory whistles, construction sites. And in the pièce de résistance, Allen describes the 1980s as the "Air Guitar Decade"--in which symbol became substance: "I'm not a doctor, but I play one on T.V...." Though the focus is primarily on the urban northeast, these witty little time capsules, sure to inspire nostalgia, are an excellent guide to America's past. --M. Stein

From Booklist
Allen, a longtime feature writer and editor for the Washington Post , examines the last century, decade by decade. To capture a particular decade's "feeling," Allen incorporates small mountains of details--food and clothes, slang and posture, issues and idols--in each essay, often including fictional conversations between individuals who are somehow representative. These essays are sometimes contrarian, reminding readers, for example, that most 60s young people neither fought in Vietnamese jungles nor marched for civil rights and against the war. Still, the dominant news stories of that (or any) decade are inevitably part of what defines the experience of the era. Not a replacement for a solid history of twentieth-century America, but a useful supplement to such a history. Mary Carroll
Copyright © American Library Association. All rights reserved

Review
"Henry Allen, one of the best deadline essayists in the business, has done something very delicious here. At a time when books get bigger and bigger, he has managed to compress ten decades of the American century into 159 pages, surely as impressive a feat as decoding the human genome. Bravo, hip hip, and huzzah."
--Christopher Buckley, author of
Thank You for Smoking

"Congratulations on a work of reporting, writing, and thinking that is truly exceptional."
--Jim Lehrer

"Some authors write at you. Allen writes with you. You will hear better, see clearer, touch more feelingly. . . after reading along with him. This is a book to savor."
--Roger Kennedy, author of
Burr, Hamilton, and Jefferson: A Study in Character

"A zinger of a read. . . . I'll read this brilliant book till the pages wear out to remind myself of the way it was during my century."
--David H. Hackworth, author of
About Face: The Odyssey of an American Warrior

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7 of 7 people found the following review helpful.
ALLEN KNOW WHAT IT FEELS LIKE
By Xavier Onnasis
In this book, Henry Allen, one of the Washington POST's big dogs, has written beautifully of our past century. He celebrates America from the start of "Modern Times" to the edgy reality of Today.
His unerring hand captures the essence of each decade with the keen eyes and ears of a participant. Remarkably, his skill reveals even the rich patois of early dialogues; capturing the meter and parlance of the day-to-day conversations of the early 1900's and beyond.
As he takes us on this compelling jaunt through the decades, a marvelous story of The People of the past unfolds. Allen treats the reader's senses to vivid visual history, too, seasoning our "conventional wisdom" with a masterful dash of his always believable characteriztions.
Originally published in The POST, the series was immediately snagged by the publisher for this release.
Allen, a Pulitzer Prize winner, has captured my imagination with "What It Felt Like." In this highly readable, enjoyable book, he moves easily from scenes of the chattering bustle of the Industrial Revolution to the brilliant sunshine of the acid-drenched, screwy Sixties. From the agonies of the Thirties to the boomtime of the Fifties.
I urge you to pick up a copy, curl up on a lazy day and enjoy one of my new favorite books. A thoroughly enjoyable "read."
PS to GRAND PARENTS: Why not give copies to the kids and the family this Christmas? "What It Felt Like" is a great conversation starter.

7 of 7 people found the following review helpful.
Henry Allen Really Knows What It Felt Like!
By JA Thiele
What It Felt Like is the perfect description of this little jewel of a book. I read it, I looked at the illlustrations, and I could smell the leaves burning on the road outside our house at dusk; I could hear the sound of my jump rope swishing across the pavement of our small town street. I could smell the bacon and eggs my mother cooked for us on school mornings (and then I could remember the smell of the grits which I hated!). I know, I finally know, why the sixties seemed so dizzying to me, not because Allen lectures me on them, but because he wakens my senses of them -- the sights, the sounds, and the sweetness of them.
How lovely to be reminded and not "talked to." This book is not a "tome." What It Felt Like is an invitation to recall, to reflect, to rejoice. How delightful to read a book where the mere phrase, often followed by an electrifyingly exciting tour de force of word combinations, does all the work, and I have all the fun. How extraordinary to find a writer who so clearly treasures the true glory of words, and not just the abundance of them.
What a wonderful Christmas gift Mr. Allen has given us. I'm going to give it to my children and my friends, and my neighbors and ....

4 of 4 people found the following review helpful.
What It Felt Like
By A Customer
It is a daunting task to capture the essence of the 20th Century in one book, but Henry Allen has done it to a faretheewell. The format is one that holds one's attention with wonderful language and imagery. It is humorous and enchanting at the same time. Obviously, Mr. Allen did not live through the entire century, but he writes about each decade so believably that he takes you on a journey with him that places you in the middle of daily life in each of the decades. The technique is wonderful, and the book is a joy.

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Friday, February 28, 2014

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Wednesday, February 26, 2014

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Monday, February 24, 2014

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Download Ebook Manifesta [10th Anniversary Edition]: Young Women, Feminism, and the Future, by Jennifer Baumgardner, Amy Richards

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Saturday, February 22, 2014

Ebook My Struggle: Book 2: A Man in Love, by Karl Ove Knausgaard

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Thursday, February 20, 2014

Ebook Download Streets in Their Own Ink: Poems, by Stuart Dybek

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PDF Download What It Felt Like: Living in the American Century, by Henry Allen

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