Thursday, November 27, 2014

^^ Free PDF The New Book of Middle Eastern Food: The Classic Cookbook, Expanded and Updated, with New Recipes and Contemporary Variations on Old Themes

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The New Book of Middle Eastern Food: The Classic Cookbook, Expanded and Updated, with New Recipes and Contemporary Variations on Old Themes

The New Book of Middle Eastern Food: The Classic Cookbook, Expanded and Updated, with New Recipes and Contemporary Variations on Old Themes



The New Book of Middle Eastern Food: The Classic Cookbook, Expanded and Updated, with New Recipes and Contemporary Variations on Old Themes

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The New Book of Middle Eastern Food: The Classic Cookbook, Expanded and Updated, with New Recipes and Contemporary Variations on Old Themes

In this updated and greatly enlarged edition of her Book of Middle Eastern Food, Claudia Roden re-creates a classic. The book was originally published here in 1972 and was hailed by James Beard as "a landmark in the field of cookery"; this new version represents the accumulation of the author's thirty years of further extensive travel throughout the ever-changing landscape of the Middle East, gathering recipes and stories.

Now Ms. Roden gives us more than 800 recipes, including the aromatic variations that accent a dish and define the country of origin: fried garlic and cumin and coriander from Egypt, cinnamon and allspice from Turkey, sumac and tamarind from Syria and Lebanon, pomegranate syrup from Iran, preserved lemon and harissa from North Africa. She has worked out simpler approaches to traditional dishes, using healthier ingredients and time-saving methods without ever sacrificing any of the extraordinary flavor, freshness, and texture that distinguish the cooking of this part of the world.

Throughout these pages she draws on all four of the region's major cooking styles:
        -        The refined haute cuisine of Iran, based on rice exquisitely prepared and embellished with a range of meats, vegetables, fruits, and nuts
        -        Arab cooking from Syria, Lebanon, and Jordan--at its finest today, and a good source for vegetable and bulgur wheat dishes
        -        The legendary Turkish cuisine, with its kebabs, wheat and rice dishes, yogurt salads, savory pies, and syrupy pastries
        -        North African cooking, particularly the splendid fare of Morocco, with its heady mix of hot and sweet, orchestrated to perfection in its couscous dishes and tagines

From the tantalizing mezze--those succulent bites of filled fillo crescents and cigars, chopped salads, and stuffed morsels, as well as tahina, chickpeas, and eggplant in their many guises--to the skewered meats and savory stews and hearty grain and vegetable dishes, here is a rich array of the cooking that Americans embrace today. No longer considered exotic--all the essential ingredients are now available in supermarkets, and the more rare can be obtained through mail order sources (readily available on the Internet)--the foods of the Middle East are a boon to the home cook looking for healthy, inexpensive, flavorful, and wonderfully satisfying dishes, both for everyday eating and for special occasions.

  • Sales Rank: #60783 in Books
  • Color: Blue
  • Published on: 2000-09-26
  • Released on: 2000-09-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.55" h x 1.63" w x 7.73" l, 2.78 pounds
  • Binding: Hardcover
  • 528 pages

Amazon.com Review
Claudia Roden has updated and expanded her popular 1968 cookbook for a more savvy and knowledgeable audience. While still filled with old favorites, the third edition acknowledges food processors and other handy kitchen tools, as well as this generation's preference for lower-fat recipes. Not that every recipe is changed; many are not, but Roden does attempt not to rely too much on butter and oils.

Begin your meal with mezze, derived from the Arabic t'mazza, meaning "to savor in little bites." Try Cevisli Biber (Roasted Pepper and Walnut Paste) spread on warm pita bread. Serve with Salata Horiatiki (Greek Country Salad) and then move on to a main dish of Roast Fish with Lemon and Honeyed Onions or Lamb Tagine with Artichokes and Fava Beans. The cookbook wouldn't be complete without sections on rice, couscous, and bulgur--try Addis Polow (Rice with Lentils and Dates) or Kesksou Bidaoui bel Khodra (Beber Couscous with Seven Vegetables). Finish with a traditional dessert like Orass bi Loz (Almond Balls).

Mixed in with the recipes are Roden's personal experiences as a cook and recipe archivist, and Middle Eastern tales that illustrate the history of a particular recipe or food group. "It was once believed olive oil could cure any illness except the one by which a person was fated to die," Roden writes. "People still believe in its beneficial qualities and sometimes drink it neat when they feel anemic of tired." She also includes a detailed introduction to the terrain, history, politics, and society of the Middle East so her readers can more fully understand why the cuisine has evolved the way it has. "Cooking in the Middle East is deeply traditional and nonintellectual," she says, "an inherited art." It's our good fortune to inherit such a rich tradition. --Dana Van Nest

From Publishers Weekly
When Roden published The Book of Middle Eastern Food in 1972, the cuisines of Morocco, Turkey, Greece, Egypt and their neighbors were mysteries in this country. Today, their fresh flavors are better known, and much loved, and Roden has expanded and updated her classic to meet modern needs. The new version includes more than 800 recipes, as well as folk tales, tips, anecdotes and just about all the information anyone needs to reproduce foods from that part of the world. Miraculously, Roden manages to be this thorough while never sacrificing her personal toneDthis is a book that is both encyclopedic and intimate. Much of Middle Eastern food is light tasting and vegetable-based, and the recipes reflect these qualities without neglecting more complex and unusual preparations. A chapter on appetizers and salads includes a Moroccan Lettuce and Orange Salad, Tabbouleh, Lemony Chicken Jelly and even a Brain Salad. While Roden is no stickler for starting from scratch, she always provides plenty of options for those who wish to do so. In a section on yogurtDa key ingredient in many recipes, such as Tagliatelle with Yogurt and Fried Onions, and Chickpeas with Yogurt and Soaked BreadDshe gives both guidelines for buying yogurt and instructions for making your own. A sub-section on Persian sauces for rice is outstanding, as is another on stuffed eggplants. Desserts include Egyptian "Bread-and-Butter" Pudding and Arab Pancakes with various filings. Roden won a James Beard award for The Book of Jewish Food in 1997. She will certainly be in the running once more with this impressive work. 24 pages of color photos. (Oct.)
Copyright 2000 Reed Business Information, Inc.

From Booklist
East of Greece lies the home of one of the world's great culinary traditions, that of the Middle East. Claudia Roden has updated her classic work, first published in 1972, and presents The New Book of Middle Eastern Food. She has used this occasion to add variations to classic recipes and to update readers about newly available foods, such as the increasing variety of eggplants found in contemporary markets. Libraries will want this new edition for the wealth of reference information on Middle Eastern cooking the volume holds. Mark Knoblauch
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

1 of 1 people found the following review helpful.
Customer reviews are not for the older 1985 copy.
By Libby
This book was first published in 1968, then revised in 1985. There are no reviews for this book title until 2000 and then they are not for this much older edition.Some of the ingredients for recipes are not the same as in the 2000 copy, which is why I wanted to purchase it for myself to begin with. The current, gorgeous copy (big bright blue copy with lemons on the front) is the one I would highly recommend purchasing. The book is filled with a multitude of unique recipes. I am now going to re-order the newer version for myself........ which I thought I was getting........ based on both the old and new copies having the identical customer reviews........go figure!

259 of 259 people found the following review helpful.
all my fav middle eastern recipes!
By rtistelle
I lived in the Middle East for 3 years and grew to love Egyptian, Turkish, Moroccan, and Arabian foods. I ordered 5 middle eastern cookbooks including this Roden volume(to add to my collection which includes 3 others) when I ordered a tagine cooker from Amazon. I could have only ordered this one! It has everything: explanations of ingredients, easy ways to cook and serve the dishes, and my fav recipes.
I was so surprised to see its comprehensiveness. It had the wonderful snake pastry (snake shape, not ingredient!) of Morocco, and gave ingredient amounts befitting a party crowd. Favorite tagine lamb dishes, boreks, kibbie (kibbeh), yogurtlu-steeped meat dishes called to mind many delightful authentic culinary experiences. I even laughed to read both stories I had been told about the dish which killed the priest. And I learned new ones, ie the Sultan's dish story.
I was also delighted by the tone of the book, comments, adjustments for the modern kitchen, and the stories included in the pages. Mullah Nazruddhin Hoja tales have been a standard in my household, and the inclusion of some of his snippets are being relished.
A Persian poet once said: If I have but two dollars, let me use one to buy a loaf of bread to feed my body and the other for a hyacinth to feed my soul. This cookbook has both cuisine - sensual Arabic foods for the body and stuff for the soul.
Need one Middle Eastern cookbook? This is the one! Highly recommended.

0 of 0 people found the following review helpful.
Not as good as her original book of Middle Eastern food which ...
By Frank Lee
Not as good as her original book of Middle Eastern food which I purchased back in the '80s and which had a number of medieval recipes. This edition has been updated and modernised somewhat. Still a great book on Middle Eastern food but lacking something compared with the original.

See all 116 customer reviews...

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Wednesday, November 26, 2014

@ PDF Ebook Dreamland: Europeans and Jews in the Aftermath of the Great War, by Howard M. Sachar

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Dreamland:  Europeans and Jews in the Aftermath of the Great War, by Howard M. Sachar

Dreamland: Europeans and Jews in the Aftermath of the Great War, by Howard M. Sachar



Dreamland:  Europeans and Jews in the Aftermath of the Great War, by Howard M. Sachar

PDF Ebook Dreamland: Europeans and Jews in the Aftermath of the Great War, by Howard M. Sachar

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Dreamland:  Europeans and Jews in the Aftermath of the Great War, by Howard M. Sachar

The Great War, as World War I was known in its time, was described by its survivors and contemporary historians as “the war to end all wars,” “the war to make the world safe for democracy.” By its end, in November 1918, Europe’s authoritarian old empires had fallen, and new and seemingly democratic successor states and governments were rising from the ensuing debris. In chronicling an era that was both visionary and tempestuous, Howard M. Sachar directs our attention to the fate specifically of Europe’s Jewish minority as a classic litmus test of the Continent’s transformation.

Writing with his characteristic lucidity and verve, Sachar enriches his narrative by focusing on the careers of some of its major players: Poland’s Józef Pi´lsudski, Rumania’s King Carol, Czechoslo-vakia’s Tomás? Masaryk, Austria’s Sigmund Freud, Germany’s Rosa Luxemburg, and France’s Léon Blum, among many other protean figures, Jews and Gentiles alike. With surgical precision, Dreamland traces the fate of Europe’s early postwar idealism under the pressures of demographic and political revolution, nationalist and economic frustration, and Depression-exacerbated xenophobia.

In the richness of its human tapestry and the acuity of its social insights, Dreamland masterfully expands our understanding of a watershed era in modern history.

  • Sales Rank: #3118819 in Books
  • Published on: 2002-03-05
  • Released on: 2002-03-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.25" h x 7.04" w x 9.14" l,
  • Binding: Hardcover
  • 400 pages

Amazon.com Review
Would a new, liberal, and ecumenical Europe emerge from the bloody horrors of World War I and the dismantling of long-entrenched autocracies? The answer, according to Howard Sachar's authoritative Dreamland, is a resounding "No." Sachar describes what we now know was the rapid collapse of post-war idealism by tracing the social and political fortunes of the continent's most fragile, resilient, and high-profile minority: the Jews. Though the bedrock of the book is a wide-ranging analysis of the highly complex European stew of nationalism, xenophobia, re-invention and revolutionary movements, Sachar manages to turn it into a narrative of sorts by focusing on the lives of a half-dozen or so "canaries in the mine": Sigmund Freud; Marcel Proust, Rosa Luxemburg, Franz Kafka, and Hungary's Bela Kun among them. Dreamland is a formidable work of erudition and scholarship; illuminating but extremely detailed and demanding. --H. O'Billovitch

From Publishers Weekly
In the political and social chaos that followed WWI, Jewish communities throughout Europe found themselves in new, often contradictory positions that seemed to suggest fresh possibilities for integration, explains Sachar (author of the highly regarded The History of Jews in America) in this accessible overview of the interwar Jewish experience. In Hungary, for instance, despite a violent outbreak of postwar anti-Semitism, a new coalition government was headed by the Jewish army officer Bela Kun. Sachar, a history professor at George Washington University, weaves a broad tapestry of social, economic and political conditions that is at times dizzying in its complexity and breadth. He looks at this hopeful era primarily through the stories of influential individuals like composer Arnold Schoenberg and socialist revolutionary Rosa Luxemburg, as well as less well-known figures such as Walther Rathenau, a Jewish businessman who became a diplomat in post-WWI Germany. Sachar has a keen eye for historical detail, and a fine sense of narrative. Yet the book feels uneven at times, offering a great deal of detail on some subjects (like the byzantine politics of interwar Czechoslovakia) that seems at odds with the more general sketches of figures like Freud and Proust. Nonetheless, it gives general readers a sense of the enormous diversity of experience among Jews during this time whether peasants, intellectuals, businessmen, atheists or believers and a concise explanation of how anti-Semitic stereotypes responded to this variety, eventually giving way to the devastations of the Holocaust.
Copyright 2002 Cahners Business Information, Inc.

From Library Journal
In a sweeping narrative, Sachar (history, George Washington Univ.) examines the fate of European Jewry in the aftermath of World War I. Chapters focus on such topics as Jewish life in Poland, where minority clauses in the Treaty of Versailles were supposed to protect Jewish rights, and the prominent role played by Hungarian Jews in the short-lived regime of B‚la Kun. In addition to examining the motivations for Jewish participation in radical politics, Sachar analyzes Jewish intellectual life by focusing on prominent thinkers such as Kafka and Freud. Although Sachar tends to confirm the general picture of European Jewry's descent into marginal status at least on most parts of the continent he is careful not to portray Jews as merely passive victims, regarding them as active participants in the tumultuous events of the interwar years. In such a wide-ranging cultural survey, the author is dependent on a vast array of secondary literature, and Sachar has mined these sources to great effect. Although his bibliography lists mostly English-language references, this serves as a good starting point for both the advanced student and the general reader. Recommended for all libraries. Frederic Krome, Jacob Rader Marcus Ctr. of the American Jewish Archives, Cincinnati
Copyright 2002 Cahners Business Information, Inc.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Between WWI and WWII, the shifting social, political ...
By Neku
Between WWI and WWII, the shifting social, political, and immigration patterns of Jews helped shape perceptions towards European Jews and internalized understandings of Jewish culture. Crucial towards understanding Holocaust and European history before WWII.

13 of 15 people found the following review helpful.
A wonderful tour de force
By Seth J. Frantzman
This tour de force covers the oft overlooked period of 1918-1939 when Europeans democracies oen by one disappeared, overun by communism and fascism. This is the story of the Jews, but more then that it is a story of Europe, the times, the culture, the politics, the arts, and of minority rights in a continent torn by ideas. This is the essential work for the period and covers such an array of personalities as to both suprise and stun. From Poland's Pisudski, to Kafka, Freud, and Bela Kun. All the major actors are here, painted in a wonderful matter and shown in the times and places that made them, the context of their relations within or with the Jewish community is the crowning acheivement in this excellent study.

This book takes us inside the worlds of Poland, where Jews amounted to 10 percent, inside the congresses in AMerica where concerned Jews lobbied on behalf of their ancestors in easter europe. Here we learn of forgotten genocides in Ukraine in the 1920s and of the situation of German Jews and also of the oft not studied Jews of Bulgaria and Hungary. THis book will be of interest to anyone, especially those looking to learn about the history of Europe between the wars and the situation of Jews, a situation which made Israel so neccesary.

Seth J. Frantzman

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Tuesday, November 25, 2014

!! Download Ebook The First World War, by John Keegan

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The First World War, by John Keegan

The First World War created the modern world. A conflict of unprecedented ferocity, it abruptly ended the relative peace and prosperity of the Victorian era, unleashing such demons of the twentieth century as mechanized warfare and mass death. It also helped to usher in the ideas that have shaped our times--modernism in the arts, new approaches to psychology and medicine, radical thoughts about economics and society--and in so doing shattered the faith in rationalism and liberalism that had prevailed in Europe since the Enlightenment. With The First World War, John Keegan, one of our most eminent military historians, fulfills a lifelong ambition to write the definitive account of the Great War for our generation.

Probing the mystery of how a civilization at the height of its achievement could have propelled itself into such a ruinous conflict, Keegan takes us behind the scenes of the negotiations among Europe's crowned heads (all of them related to one another by blood) and ministers, and their doomed efforts to defuse the crisis. He reveals how, by an astonishing failure of diplomacy and communication, a bilateral dispute grew to engulf an entire continent.

But the heart of Keegan's superb narrative is, of course, his analysis of the military conflict. With unequalled authority and insight, he recreates the nightmarish engagements whose names have become legend--Verdun, the Somme and Gallipoli among them--and sheds new light on the strategies and tactics employed, particularly the contributions of geography and technology. No less central to Keegan's account is the human aspect. He acquaints us with the thoughts of the intriguing personalities who oversaw the tragically unnecessary catastrophe--from heads of state like Russia's hapless tsar, Nicholas II, to renowned warmakers such as Haig, Hindenburg and Joffre. But Keegan reserves his most affecting personal sympathy for those whose individual efforts history has not recorded--"the anonymous millions, indistinguishably drab, undifferentially deprived of any scrap of the glories that by tradition made the life of the man-at-arms tolerable."

By the end of the war, three great empires--the Austro-Hungarian, the Russian and the Ottoman--had collapsed. But as Keegan shows, the devastation ex-tended over the entirety of Europe, and still profoundly informs the politics and culture of the continent today. His brilliant, panoramic account of this vast and terrible conflict is destined to take its place among the classics of world history.

With 24 pages of photographs, 2 endpaper maps, and 15 maps in text

  • Sales Rank: #386973 in Books
  • Published on: 1999-05-11
  • Released on: 1999-05-11
  • Format: Deckle Edge
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 1.53" w x 6.50" l,
  • Binding: Hardcover
  • 475 pages

Amazon.com Review
Despite the avalanche of books written about the First World War in recent years, there have been comparatively few books that deliver a comprehensive account of the war and its campaigns from start to finish. The First World War fills the gap superbly. As readers familiar with Keegan's previous books (including The Second World War and Six Armies in Normandy) know, he's a historian of the old school. He has no earth-shattering new theories to challenge the status quo, no first-person accounts to tug on the emotions--what he does have, though, is a gift for talking the lay person through the twists and turns of a complex narrative in a way that is never less than accessible or engaging.

Keegan never tries to ram his learning down your throat. Where other authors have struggled to explain how Britain could ever allow itself to be dragged into such a war in 1914, Keegan keeps his account practical. The level of communications that we enjoy today just didn't exist then, and so it was much harder to keep track of what was going on. By the time a message had finally reached the person in question, the situation may have changed out of all recognition. Keegan applies this same "cock-up" theory of history to the rest of the war, principally the three great disasters at Gallipoli, the Somme, and Passchendaele. The generals didn't send all those troops to their deaths deliberately, Keegan argues; they did it out of incompetence and ineptitude, and because they had no idea of what was actually going on at the front.

While The First World War is not afraid to point the finger at those generals who deserve it, even Keegan has to admit he doesn't have all the answers. If it all seems so obviously futile and such a massive waste of life now, he asks, how could it have seemed worthwhile back then? Why did so many people carry on, knowing they would die? Why, indeed. --John Crace, Amazon.co.uk

From Publishers Weekly
In a riveting narrative that puts diaries, letters and action reports to good use, British military historian Keegan (The Face of Battle, etc.) delivers a stunningly vivid history of the Great War. He is equally at easeAand equally generous and sympatheticAprobing the hearts and minds of lowly soldiers in the trenches or examining the thoughts and motivations of leaders (such as Joffre, Haig and Hindenburg) who directed the maelstrom. In the end, Keegan leaves us with a brilliant, panoramic portrait of an epic struggle that was at once noble and futile, world-shaking and pathetic. The war was unnecessary, Keegan writes, because the train of events that led to it could have been derailed at any time, "had prudence or common goodwill found a voice." And it was tragic, consigning 10 million to their graves, destroying "the benevolent and optimistic culture" of Europe and sowing the seeds of WWII. While Niall Ferguson's The Pity of War (Forecasts, Mar. 8) offers a revisionist, economic interpretation of the causes of WWI, Keegan stands impressively mute before the unanswerable question he poses: "Why did a prosperous continent, at the height of its success as a source and agent of global wealth and power and at one of the peaks of its intellectual and cultural achievement, choose to risk all it had won for itself and all it offered to the world in the lottery of a vicious and local internecine conflict?" Photos not seen by PW. 75,000-copy first printing; simultaneous Random House audio. (June)
Copyright 1999 Reed Business Information, Inc.

From School Library Journal
Grade 9 Up-John Keegan's account of the Great War for our generation.
Copyright 1999 Reed Business Information, Inc.

Most helpful customer reviews

121 of 124 people found the following review helpful.
military history with compassion and sans political bias
By Boris Aleksandrovsky
John Keegan' "The First World War" is one of those rare books which combine the thoroughly researched descriptions of history, technology and means of warfare with nuances of psychology and mystery of the Great War. Keegan starts with the overview of diplomatic positions of the Great powers involved in the war (although his analysis of origins is on his own admission is just a summary of prior work), then proceeds to the breakout of the conflict. In subsequent chapters Keegan covers every year of the Great War on the Western, Eastern, Middle Eastern, Italian and Mediterranean theatres of war in a thorough and scholarly fashion. Very soon a pattern emerges - a static trench warfare on the Western front, in-conclusive war of movement on the Eastern front with untold unaccounted casualties, diversionary operations on the secondary theatres costing significant resource drain, and pointless war of heroics, despotism and bravery on the Italian front.
What I like particularly about the book is the analysis of military strategy and tactics of the main participant in the manner which somebody without training in military science can easily comprehend. Keegan points out how lack of communication, rigid bureaucratic organization and the lack of appreciation of the tactical variability of the war caused British failures to command a decision at Somme in 1916 and Ypres and Flanders in 1917; how ill-prepared was French army for defensive operations due to its romantic "esprit de corpes"; how Russian lack of coordination, material supply and organization lead to horrendous losses on the Western front. Germans came out as good fighters, allowing their field commanders high degree of freedom, yet weak strategically, unable to concentrate the efforts on a single point of the decisive breakthrough. Keegan touches on the naval warfare as well, specifically Jutland, but since navy in the Great war played mostly static positional role, he does not spend much time there.
Overall, I found his book fair and non-biased; essentially without any political agenda. Keegan is more interested in uncovering the mystery of the war as the source of human suffering, then finding a particular side to blame. To this degree this is a rare book.

159 of 168 people found the following review helpful.
Good for what it is
By Felix Sonderkammer
As a one-volume narrative outlining the major events of the First World War, this book succeeds. It is a great introduction to the war. I wish, however, to state my reservations about the book.

One oddity is that the first three chapters cover the events leading to the war, but the last chapter ends abruptly with the armistice. It would have been nice to have a chapter on the Treaty of Versailles.

The book incorporates two previously published articles, as the acknowledgements acknowledge. This leads to the repetition of certain data, as it appears that they were not sufficiently edited to fit in with the rest of the book.

Keegan is British, and it is obvious. He emphasizes repeatedly how the British army was never defeated by the Germans except in one campaign. The Australians are praised as the world's greatest soldiers without further elaboration. He explicitly blames Germany's naval construction campaign preceding the war for the war itself, presumably because it challenged Britain's benign supremacy. The deaths of British soldiers are lamented with poignancy that overflows into sentimentality.

To be fair, the book was written for a British audience, and these excesses are much more modest than they might have been. Keegan seems to have tried hard to be evenhanded, and these excesses are largely superficial and forgivable.

Lastly, Keegan admits that this book does not break new ground. A glance at the endnotes reveals that most of the material from this book was taken from secondary sources. Each chapter seems to have come from three or so books. Thus, this is not a work of history so much as a gloss on history written by others.

77 of 81 people found the following review helpful.
A readable text book!
By Paul H.
Keegan does it well! This book illuminates the war to end all wars and captures the sweep of the first global conflict. Keegan details the primary causes and the primary instigators of the conflict. You really come to understand how about 15 individuals and a lot of national pride led to the deaths of millions. While not a truly "modern" war, many of the instruments of death were well hoaned (e.g. the rifle, the machine gun and artillery). This book describes the horror of trench warfare, details the attacks and defenses, the general's attempts to break the stalemate, the mathematics of attrition, the political motivations, and most importantly, the effect on nations that established the groundwork for the second world war. No modern history, military history, or the 20th century history collection is complete with out a text such as this! Keegans book is dense and detailed, well researched, and yet understandable and a pleasure to read!

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Monday, November 24, 2014

# Download PDF Living with Jazz: A reader edited by Sheldon Meyer, by Dan Morgenstern

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Living with Jazz: A reader edited by Sheldon Meyer, by Dan Morgenstern



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Living with Jazz: A reader edited by Sheldon Meyer, by Dan Morgenstern

A collection of essays, biographical profiles, and critical analyses by one of the twentieth century's leading jazz writers includes commentary on the work of jazz entertainers, including Duke Ellington, Ella Fitzgerald, John Coltrane, Dizzy Gillespie, and Louis Armstrong, as well as assessment of the role of jazz in contemporary culture and its influence on modern music.

  • Sales Rank: #729896 in Books
  • Published on: 2004-11-16
  • Released on: 2004-11-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.52" h x 1.62" w x 6.34" l, 2.27 pounds
  • Binding: Hardcover
  • 736 pages

From Publishers Weekly
Former editor of Metronome, Jazz and Downbeat, Morgenstern has been one of jazz's most passionate observers and chroniclers, particularly during its last major flowerings in the '60s and '70s. Longtime Oxford University Press editor Meyer gathers nearly half a century of Morgenstern's profiles, liner notes, record and show reviews and other musings in this definitive compilation. Morgenstern reminisces about his introduction to jazz in a brief opening memoir, then segues into lengthy sections on his greatest heroes, Louis Armstrong and Duke Ellington. Liner notes introduce records by everyone from Ma Rainey to Joe Lovano; essays include a survey of the history of recorded jazz and considerations of jazz's relationship to theater, dance, film and television. Morgenstern has known most of the musicians he discusses, and he depicts them all with insight and affection, from his rollicking account of the career of lovable "Hot Lips" Page to his sensitive portraits of self-effacing Pee Wee Russell and eccentric Lester Young. Often he lets the artists speak for themselves, as when Bill Evans articulates his thoughts on the "intellectual" qualities of his music. Now the director of the Institute of Jazz Studies at Rutgers University, Morgenstern is generous in his assessments of performers and performances, and his exuberant characterizations make this monumental volume a stimulating guide to jazz in the second half of the 20th century.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Besides writing for and editing jazz journals, Morgenstern has promoted concerts, worked at record companies, and taught and managed jazz education. Rather than a critic--though he is certainly evocative and convincing in his evaluation of music and musicians--he is a contemporary chronicler, a Boswell of jazz. He discovered jazz in his native Austria, and he says in the autobiographical introduction to his massive gathering of articles, reviews, album-liner notes, and other fugitive writings that jazz helped sustain him when, as a child and teenager, he and his mother fled the Nazi Anschluss and spent the war in Scandinavia before reunification with his father in the U.S. Sincerity and generosity of spirit illuminate his personal remarks and carry through to his description of and reflections on the great musicians he has known, worked with, and loved. While there is something good on every page, the pieces on jazz recording and discography constitute an especially valuable part of this lovable book. Ray Olson
Copyright © American Library Association. All rights reserved

Excerpt. © Reprinted by permission. All rights reserved.
Armstrong and Ellington

He never was billed as the King of Jazz, but Louis Armstrong is the sole legitimate claimant to that musical throne. Without him, there would still be the music we call jazz, but how it might have developed is guesswork. He was the key creator of its mature vocabulary, and though nearly three-quarters of a century have passed since his influence first manifested itself, there is still not one musician partaking of the jazz tradition who does not, knowingly or unknowingly, make use of something created by Louis Armstrong.

For those who basked in the living presence of Armstrong, it is sobering to contemplate that we are at a point in the history of jazz where many among us know him only in his posthumous audiovisual incarnation, and many, alas, not even that well--unable instantly to recognize that voice, that trumpet sound, that face, that smile. Our age consumes even the most consummate art at such a pace that Armstrong's universality is no longer a given. Yet the infinite reproducibility of his recorded works ensures his immortality, and future generations will surely come to know that jazz and Louis Armstrong are synonymous. The language he created is a marvelously
flexible and expandable one that can be spoken in ever so many accents, and as long as it remains a living tongue, it will refer back to its creator.

So if you are someone who is hearing the music in this collection for the first time--and that is an enviable way to discover what took some of us years of searching for rare old records, a few at a time--it will be most surprising if there are not familiar strains in it. Miles Davis knew what he was talking about.

By all odds, Louis Armstrong, born out of wedlock on August 4, 1901, in New Orleans, raised in the city's poorest quarter, out of school and working for a living before he'd finished fifth grade, was not slated to become world-famous. Yet against all odds, he not only survived but thrived. Sent to reform school at age twelve, he learned the fundamentals of music there and by the time he was sixteen was able to supplement his income from work as a longshoreman or day laborer by playing his cornet on weekends in such rough joints as the Brick House, where, as he tells us in his autobiography, Satchmo: My Life in New Orleans, "Levee workers would congregate every Saturday night and trade with the gals who'd stroll up and down the floor and
into the bar. Those guys would drink and fight one another like circle saws. Bottles would come flying over the bandstand like crazy, and there was lots of just plain common shooting and cutting. But somehow all that jive didn't faze me at all, I was so happy to have some place to blow my horn."

Indeed there was not much that ever fazed Louis Armstrong. He was blessed with a perfect physique for blowing that most demanding of instruments, the trumpet (actually a cornet for the first decade or so, but as we shall see, the difference is slight), and with a perfect disposition for making his way in the toughest of
environments. "Little Louis," the first nickname he was known by, could be tough when required but mostly made friends wherever he went. He credited his maternal grandmother--the one permanent adult presence in his early childhood years--with instilling in him the system of values that would carry him through his extraordinary life and enable him to confront with equanimity situations and experiences he could not have imagined in his youth. As he describes them, these
fundamentals seem deceptively simple: "I didn't go any further than fifth grade in school myself. But with my good sense and mother-wit, and knowing how to treat and respect the feelings of other people, that's all I've needed through life."

Armstrong's "good sense and mother-wit" covered a lot of ground. He also had, in abundance, what used to be called character--a currently unfashionable concept, since we are all supposed to be molded by environment. Of course, New Orleans was and is a very special place, and at that time it had a unique musical culture-in-the-making, something that gave young Louis inspiration. But even early on, his love of music and of life was combined with an extraordinary sense of
responsibility, toward himself and what he very soon conceived of as his work. We speak of "playing" music, and young Louis certainly found exhilaration in playing his horn. But he also quickly noticed that musicians who didn't watch their intake of alcohol or take care of their health in other ways were less likely to play consistently well.

Armstrong was never a puritan, but he was a firm believer, early and late in life, in the separation between work and play. Thus he never table-hopped between sets, always warmed up before taking the stand, and reserved his pleasurable indulgences for after working hours. But, as we learn from his autobiography, he certainly did not practice deprivation of the senses. He writes of a musician on board
the Mississippi riverboat that carried the band, led by Fate Marable,
in which the young cornetist honed his playing and reading skills.
This man nearly starved himself in order to invest all his earnings
in cotton farming, but the boll weevils devoured his cotton and he
became near-suicidal. "I'll never be rich," Armstrong concluded from
observing this, "but I'll be a fat man." He did become rich, however
(and sometimes fat as well), but never spent much on himself. His
wives were well provided for, but he had no need for "a flock of
suits," and perhaps because he never forgot the generous tips his
early playing had inspired from his audience of whores, pimps,
toughs, and hustlers, he gave away what he could afford as long as he
lived, without the slightest ostentation.

Sharp powers of observation also led Armstrong to let others handle
the business side of bandleading, including hiring and firing. This
decision was often misunderstood, but he explains it perfectly well
in Satchmo: "I never cared to become a bandleader; there was too much
quarreling over petty money matters. I just wanted to play my horn as
I am doing now [1954]. I have always noticed that the bandleader not
only had to satisfy the crowd but that he also had to worry about the
box office." Of course Armstrong did not leave all bandleading
decisions, especially hiring, to his musical directors or managers;
he simply did not want to take energy away from his playing in order
to deal with the everyday banalities of music as a business. Making
the music was a full-time job; he let others count the house.

Throughout his long career, Armstrong looked back on his New Orleans apprentice years with the greatest warmth and respect for his peers. First, of course, came King Oliver, who had treated him somewhat like a son, given him pointers, and groomed him to take his job with trombonist Kid Ory's band when Oliver left in 1919 for Chicago. Then came such other influential cornetists as Buddy Petit, Bunk Johnson, and Freddie Keppard, and a host of other musicians: clarinetists, drummers, bass players, guitarists. And most of all, there were the brass bands with which Armstrong loved to march, and to the strains of which he had "second-lined" (danced in the streets) as a child.

It was in New Orleans, too, that he'd heard the strains of European music, not only the marches, quadrilles, and waltzes so inventively transformed by the early jazz players, but also the operatic arias popular in the city that took such pride in its French Opera--the center of New Orleans social and cultural life. Operatic themes were also prominent on the programs of the concert bands that played on Sundays in the park band shells and featured cornetists as their star soloists, and on a lesser scale, these themes were also ground out on barrel organs.

And there was yet another, strictly modern, influence: the phonograph. Armstrong first acquired one after his marriage (at seventeen) to Daisy Parker, whom he'd first met when he was her customer. (The marriage didn't last long, for reasons well described in Satchmo.) In 1966 he recalled those early records: "Most of my records were the Original Dixieland Jazz Band--Larry Shields and his bunch. They were the first to record the music I played. I had Caruso records too, and Henry Burr, Galli-Curci, Tetrazini--they were all my favorites. Then there was the Irish tenor, McCormack--beautiful phrasing."

Many ingredients went into the making of Armstrong's musical mind. Early writers on jazz emphasized ragtime, spirituals, blues, marches, and dance music; few, if any, mentioned opera. More recently musicologists have been taking some notice of the parallels between Armstrong's formal solo structure (including such elements as opening and closing cadenzas) and operatic arias. As we shall see, Armstrong not only listened to such material, he later played it as well.

When he joined the Fate Marable orchestra aboard the steamer St. Paul, which cruised up the Mississippi as far as Davenport (where a young man with a horn, Bix Beiderbecke, first encountered Armstrong), the repertory included the latest popular hits. These were learned from sheet music, and Armstrong's reading knowledge was rudimentary. Marable thought so well of his playing that he hired the young man
nonetheless, with the understanding that he would apply himself diligently. David Jones, who played saxophone and tenor horn in the band, took Little Louis under his wing and taught him to read (and write) music; the pupil caught on quickly. Also in the band were such stellar players as the brothers Dodds, clarinetist Johnny and drummer Baby; the bassist Pops Foster; and the guitarist Johnny St. Cyr, all of whom would become Armstrong associates in the next decade.

About this time Armstrong also showed his first gifts as a songwriter. He whipped up a little number called "Get Off Katie's Head," and sol...

Most helpful customer reviews

24 of 25 people found the following review helpful.
Finally, a collection by one of our most respected critics
By Jeff Lowenthal
I have been waiting a long time for this book, speaking as someone who has often bought reissues of records I already owned, just to have Dan's liner notes.

From his days at Down Beat to the present, he has maintained the highest standards of critical integrity, tempered with kindness. Unlike many "critics" he is not a slash and burn operator, seeking to trash some performers to enhance the reputation of others, or praising one school of jazz to denigrate another.

He has his favorites, of course. The book is heavily weighted toward more mainstream performers, which is fine with me.

In particular, his appreciation and love for Louis Armstrong comes through in the 81 pages devoted to his live performances and recordings, as well as critical reviews of two biographies. There are insights into his true character, some of which will be surprising to readers who know only his show business face.

Jumping forward a few generations, he says this in a 1958 review of Ornette Coleman "...whatever may happen, this music is not the jazz of the future but a sincere and somewhat raw attempt to chart new tributaries." Do you see what I mean about "kindness?"

So, from Bessie Smith and Louis to Ornette and Bill Evans, there is a lot to savor in this collection, one any jazz fan will enjoy.

Otherwise, 5 stars. Bravo to Morgenstern and his editor, Sheldon Meyer.

16 of 19 people found the following review helpful.
King of Jazz Criticism
By Charlie
What I love about Morgenstern is that not only is he the greatest critic since John Hammond, but he never interjects himself or his emotion into his writing. While sometimes dry, this is the greatest collection of essays, reviews, liner notes, etc. A must for any fan of jazz or jazz scholor.

7 of 8 people found the following review helpful.
Interesting reference
By James
Someone please tell me why Morgenstern, in the Table of Contents and within the section on "Liner Notes", does not provide album titles. This also happens occasionally throughout other parts of this tome. It is very irritating and for this reason I give "Living with Jazz" four stars instead of five. Otherwise, a very exhaustive and interesting reference.

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^^ Ebook Download Otto Preminger: The Man Who Would Be King, by Foster Hirsch

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Otto Preminger: The Man Who Would Be King, by Foster Hirsch

The first full-scale life of the controversial, greatly admired yet often underrated director/producer who was known as “Otto the Terrible.”

Nothing about Otto Preminger was small, trivial, or self-denying, from his privileged upbringing in Vienna as the son of an improbably successful Jewish lawyer to his work in film and theater in Europe and, later, in America.

His range as a director was remarkable: romantic comedies (The Moon Is Blue); musicals (Carmen Jones; Porgy and Bess); courtroom dramas (The Court-Martial of Billy Mitchell; Anatomy of a Murder); adaptations of classic plays (Shaw's Saint Joan, screenplay by Graham Greene); political melodrama (Advise and Consent); war films (In Harm's Way); film noir (Laura; Angel Face; Bunny Lake Is Missing). He directed sweeping sagas (from The Cardinal and Exodus to Hurry Sundown) and small-scale pictures, adapting Françoise Sagan's Bonjour Tristesse with Arthur Laurents and Nelson Algren's The Man with the Golden Arm.

Foster Hirsch shows us Preminger battling studio head Darryl F. Zanuck; defying and undermining the Production Code of the Motion Picture Association of America and the Catholic Legion of Decency, first in 1953 by refusing to remove the words "virgin" and "pregnant" from the dialogue of The Moon Is Blue (he released the film without a Production Code Seal of Approval) and then, two yeras later, when he dared to make The Man with the Golden Arm, about the then-taboo subject of drug addiction. When he made Anatomy of a Murder in 1959, the censors objected to the use of the words "rape," "sperm," "sexual climax," and "penetration." Preminger made one concession (substituting "violation" for "penetration"); the picture was released with the seal, and marked the beginning of the end of the Code.

Hirsch writes about how Preminger was a master of the "invisible" studio-bred approach to filmmaking, the so-called classical Hollywood style (lengthy takes; deep focus; long shots of groups of characters rather than close-ups and reaction shots).

He shows us Preminger, in the 1950s, becoming the industry's leading employer of black performers—his all-black Carmen Jones and Porgy and Bess remain landmarks in the history of racial representation on the American screen—and breaking another barrier by shooting a scene in a gay bar for Advise and Consent, a first in American film.

Hirsch tells how Preminger broke the Hollywood blacklist when, in 1960, he credited the screenplay of Exodus to Dalton Trumbo, the most renowed of the Hollywood Ten, and hired more blacklisted talent than anyone else.

We see Preminger's balanced style and steadfast belief in his actors' underacting set against his own hot-tempered personality, and finally we see this European-born director making his magnificent films about the American criminal justice system, Anatomy of a Murder, and about the American political system, Advise and Consent.

Foster Hirsch shows us the man—enraging and endearing—and his brilliant work.

  • Sales Rank: #1665357 in Books
  • Published on: 2007-10-16
  • Released on: 2007-10-16
  • Format: Deckle Edge
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.53" h x 1.52" w x 6.52" l, 2.02 pounds
  • Binding: Hardcover
  • 592 pages

From Publishers Weekly
Starred Review. Meticulously researched with nearly 100 new interviews with family members and co-workers, this epic biography offers a multifaceted portrait of the Viennese-born filmmaker and reappraisal of his films. Preminger's creativity was fueled by abrasion, says Hirsch, so nearly every film boasts testimony from actors who were verbally abused. His explosive rows extended to censors, crew members and studio heads. But Hirsch also reveals the gentler side of Otto the Terrible, protecting fragile stars and doting on his family. With family, Otto was like a marshmallow, and capable of great love in a primal way, says Erik, his son with Gypsy Rose Lee. Film buffs will enjoy the candid looks behind his volatile productions (including Laura, Anatomy of a Murder, Hurry Sundown). Historians will appreciate Preminger's belated recognition for breaking the blacklist (he credited Dalton Trumbo for writing Exodus nine months before Kirk Douglas did the same with Spartacus) and dismantling the oppressive censorship board (he released The Moon Is Blue and Man with the Golden Arm without the Production Code's seal of approval). This is a long-overdue critical biography of the temperamental titan with a genius for self-promotion. Photos. (Oct. 21)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review


Preminger (1905—1983) could not have asked for a more assiduous or generous biographer than Hirsch (Film/Brooklyn College; Kurt Weill on Stage: From Berlin to Broadway, 2002, etc.), who has visited the archives, studied the films, interviewed the principals, walked the ground and read all relevant documents. The result will endure as the definitive life of one of film's most intriguing and volcanic personalities....Executed with the conviction and meticulousness of a Preminger production.
–Kirkus Reviews (starred)


Meticulously researched with nearly 100 new interviews with family members and co-workers, this epic biography offers a multifaceted portrait of the Viennese-born filmmaker and reappraisal of his films...Film buffs will enjoy the candid looks behind his volatile productions (including Laura, Anatomy of a Murder, Hurry Sundown). Historians will appreciate Preminger's belated recognition for breaking the blacklist....This is a long-overdue critical biography of the temperamental titan with a genius for self-promotion.
–Publishers Weekly

About the Author
Foster Hirsch is a professor of film at Brooklyn College and the author of sixteen books on film and theater, including The Dark Side of the Screen: Film Noir, A Method to Their Madness: The History of the Actors Studio, and Kurt Weill on Stage: From Berlin to Broadway. He lives in New York City.

Most helpful customer reviews

14 of 14 people found the following review helpful.
AN OUTSTANDING BIOGRAPHY OF AN OUTSTANDING IMPRESSARIO
By Laurence Jarvik
Foster Hirsch has done a masterful job putting together a study of the life and times of Otto Preminger--a "rebel with a cause," namely the expansion of individual freedom against forces opposed to it. He was a figure from a time when people were serious about arts and culture, and 'adult entertainment' did not mean xxxx-rated porno. A better producer than director of actors, that is Hirsch's main argument, but Preminger still gets points for being a masterful "Noir" auteur, as well as a decent director of social-issue films of the 50s and 60s. He broke censorship taboos, the blacklist, the color-line, and created an overtly pro-Israel classic in Exodus (though not pro-Israel enough for author Leon Uris), and dealt with the Alger Hiss case in Advise and Consent (also pulling punches, to the dismay of Alan Drury). But he made the type of films that, while familiar in the 1950s and 1960s--think of Stanley Kramer, Sam Spiegel, Elia Kazan, and so on--are all but gone today. Serious, thoughtful films, posing philosophical dilemmas in the middle of melodrama.

If Preminger's reach exceeded his grasp, Foster Hirsch makes the case that he deserves credit for trying. There's also material on Preminger's colorful personal life--his illegitimate son by stripper Gypsy Rose Lee, Dorothy Dandridge's abortion (Otto's fault per Hirsch), his temper tantrums (Dexedrine use may have been a factor), and his interesting relationship with his brother Ingo (talent agent and producer of Robert Altman's MASH) and his parents (father was former Attorney-General of Austria-Hungary). His final marriage, to Hope, seems to have worked out OK--his son became a doctor in New Jersey and his daughter a lawyer who manages the Preminger business today. His son by Gypsy Rose Lee was responsible for some of Preminger's more peculiar films, such as Skiddoo and Tell Me That You Love Me, Junie Moon.

He directed Porgy & Bess, which was pulled from distribution, as well as Carmen Jones. Laura is his most enduring hit. But many others have withstood the test of time. Preminger's last film, The Human Factor, was written by Tom Stoppard. Foster Hirsch says it is worth another look--like many other Preminger productions.

If you are interested in movie history, America in the 1950s and 1960s, or Viennese refugees and their Kultur, this is the book.

7 of 7 people found the following review helpful.
Preminger deserves better.
By Nicholas J. Faust
Foster Hirsch has done his research and is an organized writer, but his portrait of Otto Preminger never rises above the level of chatty disclosures and sentiments that have been reiterated by others for the last fifty years. Otto the charming man and Otto the abusive director - this we know. Hirsch adds some detail to this story, but little else. The director's double sided reputation is never analyzed, never developed, or even discussed within the context of his independent producer/director position. This fact alone renders Hirsch's achievement slight. The early parts of the book, up through Preminger's years at Fox, hint at a man who's talent is matched by his confidence and vision. Once the groundwork has been set and we enter the truly interesting period of the director's career - as an maker of huge, independent films that in many ways match the studios and challenged the censors - Hirsch falls into the unfortunate formula of listing the a film, telling a little about its production and its critical reception, and that's pretty much it. He also reviews the films, showing time after time he just doesn't get Preminger's vision. I agree with Hirsch when he says that Preminger is a major twentieth century film artist, but that's about the only agreement I have with this book. Preminger deserves the kind of scrutiny that Hitchcock has been awarded; the conditions of his work and the reputation of his personality should be focused and discussed by someone who knows film, understands the industry, and can apply that knowledge to round out our understanding and appreciation of this important director. There is more to Otto than meets the eye. I'm waiting for someone to do the man and the director justice.

5 of 5 people found the following review helpful.
A mean-spirited, feeble biography
By NY Film
Having been present at several film screenings in New York and New Jersey where Foster Hirsch has spoken during the last few years, he seemed like a scholarly and enthusiastic film historian, and so I decided to read this book. I'm not exactly of the opinion that Otto Preminger deserves a long, book-length study of his work (aside from Laura and Anatomy of a Murder, I've found most of his films to be mediocre, shallow, overblown, or a combination of all three, even when they've been entertaining), but Preminger's avid self-publicizing and his legendary bullying of the many actors he directed made me curious to read a serious bio of him. Boy, was I wrong.

In fairness to Hirsch, he does exhaustively chronicle all of Otto's bad behavior, yelling and tantrums. He doesn't offer anything approaching a critical estimation of why he was this way, but that's another matter. The problem is that Hirsch clearly idolizes or admires Preminger, and so there is no impartiality or objective analysis of either his films or his behavior (Every single Preminger film, even the unmitigated awful ones like Saint Joan and Skidoo, get some measure of flowery praise here).

Worse, the book is littered with mean, ad hominem insults directed at seemingly random people. Anne Baxter is "a phony both on-screen and off", Jose Ferrer is another "phony actor", Romy Schneider is "high-strung and arrogant" (Hirsch seems to relish mentioning that Schneider later committed suicide; this is his proof that she had issues). Frank Lloyd Wright is described as "a noted anti-semite" (This will come as news to the author of the recent, exhaustively researched book "Beth Sholom Synagogue: Frank Lloyd Wright and Modern Religious Architecture", where Lloyd is described as having a "respectful attitude toward Judaism" throughout his life). These were all accomplished and well-liked people, and Hirsch doesn't even attempt to explain why he dismisses them so odiously. Their only offense was they were less than keen on Preminger, which apparently is a major sin to his number-one fan Foster Hirsch. I'm not even mentioning the numerous unpleasant character-assassinating comments from Preminger's widow (Hope) and former factotum (Martin Schute) directed towards the likes of Vera Caspary, Tom Tryon, Dyan Cannon, Kim Cattrall, Ira Levin, Paulette Goddard and (especially)Faye Dunaway that are liberally sprinkled throughout. Although these opinions aren't Hirsch's, they are referenced (particularly Hope) very frequently, and they simply work to add to Hirsch's cattiness to make the book seem more gossipy than anything else.

I was genuinely surprised at the unpleasant tone of this book, and surprised it received good notices. Show-biz biographies of quality are rare, and unfortunately this one falls squarely into the category of those written by either malicious gossips or admiring fans of the subject. Hirsch affects an avuncular, soft-spoken manner in talks and interviews, but his approach is neither scholarly, professorial or that of a legitimate biographer.

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Sunday, November 23, 2014

# Ebook I Don't Know How She Does It: The Life of Kate Reddy, Working Mother, by Allison Pearson

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I Don't Know How She Does It: The Life of Kate Reddy, Working Mother, by Allison Pearson

For every woman trying to strike that impossible balance between work and home-and pretending that she has-and for every woman who has wanted to hurl the acquaintance who coos admiringly, "Honestly, I just don't know how you do it," out a window, here's a novel to make you cringe with recognition and laugh out loud. With fierce, unsentimental irony, Allison Pearson's novel brilliantly dramatizes the dilemma of working motherhood at the start of the twenty-first century.

Meet Kate Reddy, hedge-fund manager and mother of two. She can juggle nine different currencies in five different time zones and get herself and two children washed and dressed and out of the house in half an hour. In Kate's life, Everything Goes Perfectly as long as Everything Goes Perfectly. She lies to her own mother about how much time she spends with her kids; practices pelvic floor squeezes in the boardroom; applies tips from Toddler Taming to soothe her irascible boss; uses her cell phone in the office bathroom to procure a hamster for her daughter's birthday ("Any working mother who says she doesn't bribe her kids can add Liar to her résumé"); and cries into the laundry hamper when she misses her children's bedtime.

In a novel that is at once uproariously funny and achingly sad, Allison Pearson captures the guilty secret lives of working women-the self-recrimination, the comic deceptions, the giddy exhaustion, the despair-as no other writer has. Kate Reddy's conflict --How are we meant to pass our days? How are we to reconcile the two passions, work and motherhood, that divide our lives? --gets at the private absurdities of working motherhood as only a novel could: with humor, drama, and bracing wisdom.

  • Sales Rank: #1508896 in Books
  • Published on: 2002-10-01
  • Released on: 2002-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.53" h x 1.11" w x 6.61" l,
  • Binding: Hardcover
  • 352 pages

Amazon.com Review
Allison Pearson's debut novel, I Don't Know How She Does It, is a rare and beautiful hybrid: a devastatingly funny novel that's also a compelling fictional world. You want to climb inside this book and inhabit it. However, you might find it pretty messy once you're in there. Narrator Kate Reddy is the manager of a hedge fund and mother of two small children. The book opens with an emblematic scene as Kate "distresses" a store-bought mince pie to make it appear homemade. Her days are measured in increments of minutes and even seconds; her fund stays organized but her house and family are falling apart. The book is a pearly string of great lines. Here's Kate on lack of sleep: "They're right to call it a broken night.... You crawl back to bed and you lie there trying to do the jigsaw of sleep with half the pieces missing." On baby boys: "A mother of a one-year-old son is a movie star in a world without critics." On subtle office dynamics:The women in the offices of EMF [Kate's firm] don't tend to display pictures of their kids. The higher they go up the ladder, the fewer the photographs. If a man has pictures of kids on his desk, it enhances his humanity; if a woman has them it decreases hers. Why? Because he's not supposed to be home with the children; she is. There's inherent drama here: Kate is wildly appealing, and we want things to work out for her. In the end, the book isn't a just collection of clever lines on the theme of working motherhood; it's a real, rich novel about a character we come to cherish. --Claire Dederer

From Publishers Weekly
This scintillating first novel has already taken its author's native England by storm, and in the tradition of Bridget Jones, to which it is likely to be compared, will almost certainly do the same here. The Bridget comparison has only limited validity, however: both books have a winning female protagonist speaking in a diary-like first person, and both have quirkily formulaic chapter endings. But Kate is notably brighter, wittier and capable of infinitely deeper shadings of feeling than the flighty Bridget, and her book cuts deeper. She is the mother of a five-year-old girl and a year-old boy, living in a trendy North London house with her lower-earning architect husband, and is a star at her work in an aggressive City of London brokerage firm. She is intoxicated by her jet-setting, high-profile job, but also is desperately aware of what it takes out of her life as a mother and wife, and scrutinizes, with high intelligence and humor, just how far women have really come in the work world. If that makes the book sound polemical, it is anything but. It is delightfully fast moving and breathlessly readable, with dozens of laugh-aloud moments and many tenderly touching ones-and, for once in a book of this kind, there are some admirable men as well as plenty of bounders. Toward the end-to which a reader is reluctant to come-it becomes a little plot-bound, and everything is rounded off a shade too neatly. But as a hilarious and sometimes poignant update on contemporary women in the workplace, it's the book to beat.
Copyright 2002 Reed Business Information, Inc.

From Library Journal
Cross Bridget Jones' Diary and The Nanny Diaries, and you get this first novel. Londoner Kate has it all-an incredible job in the financial sector, a loving and supportive husband, two beautiful children, and a wonderful nanny. But having it all doesn't mean that she has time to enjoy it all, and, in fact, she doesn't. Plagued by guilt, she keeps a "must remember" list longer than her arm, shows up for important meetings with baby spit-up on her Armani jacket, and defaces supermarket bakery items so that they will look homemade at her daughter's bake sale. With its chronicle format, lists, and emails, this work is similar to the droves of snappy contemporary novels pouring out of the United Kingdom-but it's more substantial. Pearson has a lot to say about the expectations, internal as well as external, placed on today's working moms. Funny yet heartbreakingly sad, it's a thoughtful read that could lead working mothers to consider life changes. For most fiction collections.
--Beth Gibbs, Davidson, NC
Copyright 2002 Reed Business Information, Inc.

Most helpful customer reviews

1 of 2 people found the following review helpful.
Plenty beneath the surface here
By Ken
Superficially, this book is a testament to the heroic efforts of working mothers, struggling to maintain a career in a patriarchal society, while simultaneously living up to the June Cleaver image of the ideal parent. If you were to only read the first few chapters, or if you looked at the blithely superficial review quotes on the back of the dust jacket, you might think that this is all there is to this book.
At first, the book seems so wrapped up in its "I do everything and no one appreciates me" message, it's easy to see how men might dismiss it as "Geez, this sounds like my wife whining", and how women might embrace it as "Geez, finally someone is speaking up for me". In either case, such a simplistic rendering would be a pity, because it might mean missing the real message... which I won't reveal to you, lest I spoil the story's ending.
It would also be a shame to miss the truly brilliant literary aspects of this book. It is chock full of clever allusions and wordplay. You won't find technique like this in your typical Michael Crichton pulp novel.
But for everyone, there is no escaping the heart-wrenching emotion that Allison Pearson is able to convey. It seeps into the writing the way emotion seeps into your head: in a roundabout way, triggered by everyday observations, connected to thoughts and memories. It's sadness and joy mixed together, it's shades of grey, it's the complexity that burdens all of us.
There are a number of people to whom I won't recommend this book, because it's unlikely they would get it. (That includes Newsweek reviewer Cathleen McGuigan, quoted on the back cover as saying: "I don't know a man on the planet who would get this book--or a woman who wouldn't." Umm, Ms. McGuigan, apparently, you didn't get this book, because if you did, you'd appreciate why I did.) But for those who are willing to invest the brainpower and look beneath the surface, I'd say it's well worth the effort.

1 of 2 people found the following review helpful.
Not even done yet and still one of the best reads out there!
By A Customer
This book is truly one of the funniest tales of a working mom yet...albeit to the "n-th degree", Kate Reddy sums up the ambition, guilt, passivity, aggression, levelheadedness, and disorganization that we all experience while trying to "have it all". As a working mom-of-one myself with a second child on the way, I found this book to be a satirical look of what it might be like if everything in a working mom's life goes either extraordinarily well or extraordinarily badly!
If you keep in mind that this book is intended to amplify the successes as well as the failures that working moms face both personally and professionally, you'll likely see a little of yourself in every situation she goes through...from finding the time to actually cross items off of her ever-present "Must Remember" list, to confronting the nannny and chickening out, to overlooking an incompetent cleaning lady instead of expending the energy to find another one *right now*, to dealing with sexist comments in a male-dominated industry...you will come away with a finer understanding of all that you do that goes largely unappreciated.
Taking that into acocunt, working moms will find this book and it's cynical tongue-in-cheek commentary a welcome change to the moms-that-have-it-all-and-do-it-well "fiction" available in the self-help section!

0 of 1 people found the following review helpful.
Bridget Jones Grows Up
By Haley Burke
I can already imagine the movie version of I DON'T KNOW HOW SHE DOES IT. Renee Zellwiger will be perfectly cast in the lead role. This book is funny, brilliant, exciting, and enjoyable. You have to like Kate Reddy and you have to laugh and commiserate with her as she faces all the problems of a talented executive as well as those of a wife and mother who is losing it fast. Even though this is the story of a working mom (mum), you will like this even if you aren't. My days of small children are long gone, but I still enjoyed this tremendously.
There's nothing particularly deep about this book. It's just good entertainment. If you have a few days off, a long week-end at the beach, or just want something to fill the time between important matters, pick this one up. It's quick and easy and will keep your interest.

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