Wednesday, December 31, 2014

# Free Ebook Springing: New and Selected Poems, by Marie Ponsot

Free Ebook Springing: New and Selected Poems, by Marie Ponsot

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Springing: New and Selected Poems, by Marie Ponsot

Springing: New and Selected Poems, by Marie Ponsot



Springing: New and Selected Poems, by Marie Ponsot

Free Ebook Springing: New and Selected Poems, by Marie Ponsot

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Springing: New and Selected Poems, by Marie Ponsot

From the award-winning author of The Bird Catcher, this life-spanning volume offers the delight of both discovery and re-discovery, as Ponsot tends the unruly garden of her mind with her customary care and passion. The book opens with a group of new poems, including “What Would You Like to Be When You Grow Up?”—a question that has kept Ponsot’s work vital for more than five decades. Throughout the selections from her four earlier books and a trove of previously unpublished work covering the years 1946 to 1971, she offers us a “lost haven in a springing world.” Sometimes sharp in her self-perception, but always listing toward pleasure and elegance, unafraid of grief and the passage of time, Ponsot continually refreshes her language and the spirited self from which it emerges.

  • Sales Rank: #1769977 in Books
  • Published on: 2002-03-12
  • Released on: 2002-03-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.66" h x .93" w x 6.16" l,
  • Binding: Hardcover
  • 256 pages

From Publishers Weekly
"If leaf-trash chokes the stream bed, reach for rock-bottom as you rake the muck out," writes Ponsot in one of the 26 new poems of this collection, and the lines might well serve as its wry motto. Springing takes readers on a tour of a quirky, start-stop career, presenting, along with the new work, nine poems from True Minds (1956), 22 from Admit Impediment (1981), 26 from The Green Dark (1988), 19 from The Bird Catcher (which won the 1998 NBCC Award) and 26 other previously uncollected poems from 1948 to 1971. The 25-year pause in book publication would seem to reflect a period of domestic life, documented in the uncollected work ("watching you strike worldly poses flirting excited with someone's arch French wife") and ending in "For a Divorce," which opens the Admit Impediment section: "Asked why we ever married, I smile and mention the arbitrary fierce glance of the working artist that blazed sometimes in your face but can't picture it." Ponsot's poems are built around just such unflinching observations of intimate interactions and misfires, whether of familial relations ventriloquized through updated Greek dramatis personae, a French woman's accommodation of her mother's married lover or the self's castings about the natural world, "space recast as flatness, long diminishings of blue borne lightly." If the new and uncollected work doesn't have the focus of the trio of books beginning in the '80s, this selection evinces the larger-scale, muckraking pursuit of artifice's underside that Ponsot's speaker so wonderfully produces poem by poem, "smaller and more human than belief." As she writes in "Gliding": "I envision the next leap, the next thousand years of practice, the eventual skill become like independent flight, habitual." Readers will look forward to those practice sessions.

Copyright 2002 Cahners Business Information, Inc.

From Library Journal
Even when they appear simple, Ponsot's poems can be difficult; they require both an attentive mind and a sharp ear. Her language is daring and playful, a challenge and a delight: "What would it be to be water, one body of water/ (what water is is another mystery)." In more than 50 years of writing, few subjects seem to have eluded Ponsot's attention. Here are poems of fable and history, of social and intellectual concern, but the strongest work by far is the personal: "What women wander?/ Not many. All. A few./ Most would, now & then,/ & no wonder./ Some, and I'm one,/ Wander sitting still." Ponsot's poetry is elegiac without shadowy regret. This is the thoughtful, and sometimes unsettling, work of one of the more powerful poets of this tempestuous generation, and the current collection is a chance to chart her fascinating evolution. Ponsot won the National Book Critics Circle Award for her previous collection, The Bird Catcher (1998). Her latest would be a strong addition to any contemporary poetry collection. Louis McKee, Painted Bride Arts Ctr., Philadelphia
Copyright 2002 Cahners Business Information, Inc.

From Booklist
Springing is exactly right: Ponsot's poetry does "dart and shoot" as the dictionary specifies, and it certainly does "issue with speed and force or as a stream." The full measure of her saucy and vigorous, neat and penetrating work is packaged here, including a set of vivifying uncollected poems from 1946 to 1971; selections from four previous collections, including the National Book Critics Circle Award winner, The Bird Catcher (1998); and a solid offering of new poems. Although cool and pinpoint, Ponsot's work flows from a deeply feminine sensibility, effusing her plant, water, and bird imagery with a healthy sensuality and tracking with stunning insight the revelations of each phase of girl- and womanhood. She prowls gardens, memories, the body's curves and bends, the Bible, and the works of classical poets, switching between seriousness and humor as she parses sex and love, intimates and strangers, mind and matter, the shimmering pageant of selves generated by one soul, and life's strange dynamic that has us forever "rising to fall, falling to rise." Donna Seaman
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

0 of 0 people found the following review helpful.
I discovered Marie Ponsot
By Steven R. Marcom
I was not aware of her until recently. She is my kind of poet. Of course, I like Wallace Stevens, as well. But they are not really alike. I love her depth of knowledge of history and the classics and how she weaves the old and new. I find that many of her works cause me to look a little deeper. In some women poets, I sense their femininity - a good thing. In Ponsot, I often just experience good poetry, a different delight.

2 of 2 people found the following review helpful.
Poet of the Catholic Worker after it was fashionable
By mianfei
Although one of the first writers published by Lawrence Ferlinghetti's City Lights, Marie Ponsot, originally a protege of Dorothy Day's Catholic Worker movement, was as noted by the New York Times exactly the opposite of Allen Ginsberg in character. She was a devout Catholic and a strongly devoted mother who preferred to raise her numerous children rather than devote her time to publishing poetry, not publishing again until the 1980s when anti-Catholic sentiment had become much stronger among underground culture.

Nonetheless, in her old age Ponsot has become much more prolific and with "Springing" it becomes possible to enjoy her simple beauty for the first time for people of my age and nationality. The images in Ponsot's poetry are always touchingly familiar, and even when her Catholic faith is apparent as in "Private and Profane" it does not override the tone of her sharp eye for using language with considerable skill to describe the lives of common people. Her poetry is fairly accessible but never childish or ugly, and its rhymes are subtle and take a long time and repeated reading to even notice, yet they add to the beauty when one does.

All in all, for those curious about the culture of the 1950s underground, Marie Ponsot is a fascinating footnote and this gives a selection of her pre-1980s poetry for the first time.

2 of 3 people found the following review helpful.
Springing by M Ponsot
By B. camel Collectibles
Springing is fantastic and imaginative! I teach English at the college level, so i was drawn to the book. Ponsot is a master
of her genre and richly deserved Kudos. Enjoy

See all 3 customer reviews...

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Tuesday, December 30, 2014

>> Download Guruji: A Portrait of Sri K. Pattabhi Jois Through the Eyes of His Students, by Guy Donahaye, Eddie Stern

Download Guruji: A Portrait of Sri K. Pattabhi Jois Through the Eyes of His Students, by Guy Donahaye, Eddie Stern

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Guruji: A Portrait of Sri K. Pattabhi Jois Through the Eyes of His Students, by Guy Donahaye, Eddie Stern

Guruji: A Portrait of Sri K. Pattabhi Jois Through the Eyes of His Students, by Guy Donahaye, Eddie Stern



Guruji: A Portrait of Sri K. Pattabhi Jois Through the Eyes of His Students, by Guy Donahaye, Eddie Stern

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Guruji: A Portrait of Sri K. Pattabhi Jois Through the Eyes of His Students, by Guy Donahaye, Eddie Stern

An unprecedented portrait of a great yoga teacher and how teachings and traditions are transmitted and passed on

It is a rare and remarkable soul who becomes legendary during the course of his life by virtue of great service to others. Sri K. Pattabhi Jois was such a soul, and through his teaching of yoga, he transformed the lives of countless people. The school in Mysore that he founded and ran for more than sixty years trained students who, through the knowledge they received and their devotion, have helped to spread the daily practice of traditional Ashtanga yoga to tens of thousands around the world.

Guruji paints a unique portrait of a unique man, revealed through the accounts of his students. Among the thirty men and women interviewed here are Indian students from Jois's early teaching days, intrepid Americans and Europeans who traveled to Mysore to learn yoga in the 1970s, and important family
members who studied as well as lived with Jois and continue to practice and teach abroad or run the Ashtanga Yoga Institute today. Many of the contributors (as well as the authors) are influential teachers who convey their experience of Jois every day to students in many different parts of the globe.

Anyone interested in the living tradition of yoga will find Guruji richly rewarding.

  • Sales Rank: #677359 in Books
  • Published on: 2012-09-18
  • Released on: 2012-09-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.21" h x 1.32" w x 5.54" l, 1.15 pounds
  • Binding: Paperback
  • 464 pages

From the Inside Flap
"Guruji offers us an unprecedented portrait of a great yoga master.
Sri K. Pattabhi  Jois  (1915-2009) was a rare and remarkable soul who became legendary during the course of his life by virtue of great service to others. Known affectionately as Guruji, Jois founded and ran a yoga school in Mysore, India for more than sixty years. In Guruji, we follow his journey from a simple teacher of yoga in a Sanskrit college to a world-recognized authority and an inspiration to tens of thousands. We see how he trained students,  many of whom have helped spread the daily practice of traditional Ashtanga yoga around the world, and we discover how Jois's method of vinyasa, which he learned from the great yogi Sri T. Krishnamacharya, has deeply influenced other forms of yoga widely practiced today. One of Jois's favorite expressions was, "Practice, practice and all is coming," and in Guruji we come to understand how the intensely physical and elaborate asana-based Ashtanga system he handed down is, in fact, a deeply spiritual discipline. And, although the commonly held idea about yogis is that they live solitary lives, Jois was a committed householder whose existence was as centered around family and home as on school and teaching. In Guruji, we learn by example about the challenges and rewards of integrating practice into lived lives.

The guru's transmission of energy and knowledge is a precept central to classical yoga.   How Jois handed down teachings and values and what they were,  the aspects of his personality and quality of his presence, and above all how he guided and changed so many lives through yoga--these are the subjects of Guruji. Through the words and recollections of students and close relations who knew Jois for over half a century, we are given remarkable insight into the life and mind of a dedicated yogi, an astonishing wealth of knowledge about the path of yoga, and a documentary account of how one traditional school of yoga has spread around the world. Among the thirty men and women interviewed here are Indian students from Jois's early teaching days; intrepid Americans and Europeans who traveled to Mysore to learn yoga in the 1970s; and important family members who studied as well as lived with Jois and continue to practice and teach abroad or run the Ashtanga Yoga Institute today. Many of the contributors (as well as the authors) have become influential teachers who convey their experience of Jois on a daily basis to students in many different parts of the globe. Anyone interested in the living tradition of yoga will find Guruji richly rewarding in its authenticity, in its indelible portrait of a great teacher, and in the depth of the wisdom it conveys."

--Inside Flap

About the Author

Guy Donahaye and Eddie Stern became students of Sri K. Pattabhi Jois in 1991. Donahaye is the director of the Ashtanga Yoga Shala NYC. Stern is the director of the Ashtanga Yoga New York and Sri Ganesh Temple, and is the copublisher and editor of Namarupa.

Excerpt. © Reprinted by permission. All rights reserved.
Manju Jois
Manju Jois is Guruji’s eldest child. He started practicing yoga with his father at the age of seven and began assisting him when he was thirteen. His demonstration in 1972 at the Ananda Ashram in Pondicherry was witnessed by David Williams and Norman Allen and fueled their desire to meet and study with Guruji, which led to the international spreading of ashtanga yoga. Manju travels and teaches all over the world and eventually settled in Southern California.
How old were you when you started to practice?
Oh, let’s see, I was seven years old. It was just like a game for me, just to watch and then you try to do it because it’s fun. It was not done seriously, he was not making me do things. We just went voluntarily and started playing with the postures, that’s all.
When did Guruji start teaching you formally?
Formally when I was twelve years old. Then we had to practice every day—in the morning and evening. He started teaching me and my sister individually, giving us a private lesson. That’s how it all started.
You started with private lessons?
Yes.
Then you joined his regular classes?
No, we were always private, never with any of the other students because he wanted to make us into good teachers, he wanted to make sure we were going to learn right.
He was training you to be a teacher?
Yes, absolutely.
When did you start learning to be a teacher?
I was just twelve or thirteen years old when I was starting to jump on people’s backs and stuff like that. That’s how I started. And he never stopped me from doing that and he was always guiding me what to do … where to push, when to push. He started training me when I was very young. So that was really helpful for me because it was so natural, the way I learned it.
Was he teaching at the Sanskrit College?
Yes, at the Maharaja Sanskrit College. He was conducting the classes for the Sanskrit students and others to take. And that’s where I used to do yoga, and that’s where I used to help all these people who were coming there.
Was the school at the Jaganmohan Palace already closed at that time?
Yes.
Was Krishnamacharya around in those days?
I met Krishnamacharya when I was seven or eight years old. He came to Mysore to give a demonstration with his son, and that’s the first time I met him.
Do you remember seeing your father practicing yoga?
Yes, yes.
Could you describe what it was like seeing your father practicing?
Well, for us it was fun to see my father doing yoga, putting himself in all these postures. It was really amazing. He used to pick a posture some-times and he would like to stay in that posture for a long time. That’s how he used to practice. And that’s how he started teaching us. There’s no need to do millions of postures, just try to master one at a time. Then you can go to the next one. I really enjoyed watching my father doing yoga. Sometimes we all used to do it together, too: me and my sister and my father.
That’s interesting. He teaches lots of postures to people, but to you he was advising the way he was practicing.
Well, yeah. He liked to master the thing, you see. So he was always telling us: “Master that, master that.” Then you can go to the next one. But we are like little kids, we want to learn more, you know what I mean? “Oh, can I do this? If I can do this one, can I skip this one? Or can I go to that one?” Sometimes he let us do that, but at the same time he always had an eye on us to go back to finish that one. That’s what he did.
So basically you started teaching with your dad when you were twelve or thirteen years old. How long did that continue before you left India?
I left India in 1975. But before that, I traveled to a lot of places. I would take my friend and we would go to universities in different parts of India and give demonstrations and talks on yoga. It was very fun, actually.
When did Guruji open the school in Lakshmipuram?
Mmm, that was about … a long time ago, maybe ’61, ’62. I don’t know.
He was teaching in both places at the same time?
Yeah, he was teaching at the Sanskrit College at the time. Then he was about to retire and wanted to have his own place. So he started to build that small yoga studio there.
How many students did Guruji have in that studio?
We had, like, fifty students.
What kind of reputation did Guruji have among his students?
They respected him a lot. We used to get people with sickness in the body like asthma and diabetes and all sorts of problems. And those are the ones who used to come to yoga because they tried everything and finally the doctors used to send these people to my father to do yoga. That’s the kind of group we had, people with problems.
So doctors would send their patients to Guruji after they could not cure them?
In those days they did not have modern medicine. And the doctor would say, “Look, the best thing for you to do is yoga.” Because we used get a lot of doctors, too, at the time. And they don’t want to believe it, but they want to believe it—that is the kind of attitude they had.
Anyhow, when they started seeing the results with these people, who were getting healthier and healthier, then they would send patients to my father. “The best thing to do is just go to Pattabhi Jois, and do yoga, and then he would cure this.” We got a lot of good results from doing that, yeah.
So he had a reputation for that.
Yeah, the Indian students who used to come, most of them were sick. All kinds of problems. That’s why they started studying yoga. But we want to get a good yogic exercise. They used to come for the therapy. That’s how it started.
Did Guruji adapt the practice at all for the therapy for the different students?
Yes, yes he did. He did mostly for the diabetic students. He’d make them sit in janu shirshasana A, B, C for a long time; baddha konasana, all the upavishta konasanas work here mostly [points to abdomen], you know. So that’s how he started.
How did he figure that out?
If you read the Hatha Yoga Pradipika it will explain which posture helps in what kind of disease. That’s why you had to study not only yoga asanas, you got to study the books, too. It’s like a medical book.
Can you describe a specific instance of a cure? Guruji once told me that he cured elephantiasis.
And leprosy. We did have a student who just started leprosy in his ears. At that time there was not medication for that. He came from Tamil Nadu. His father brought him because he was the only son he had.
So my father started teaching yoga to this guy who was a leper. Then some of his students left because they didn’t want to be there, because “Oh my God!” You know, they don’t want to be in the same place.
They told my father, “If this guy is doing yoga here, we’re not coming.” And my father said, “Okay, that’s fine. This is important for me.”
So he started working with the guy. And then slowly the guy started to heal. His ears start getting better. Then after that, he decided to go back to his hometown and start practicing every day.
If you can cure leprosy, you can cure anything. So then people started getting attracted to cure through yoga.
What do you think was your father’s main interest in teaching yoga?
I think mostly he concentrated on healing. Healing is much more important for him. Once you start healing yourself, his philosophy is that yoga would take you automatically to the meditative state, you see.
If you are not well inside, you can’t do anything—no meditation, no nothing. So that’s how it will draw you into the spiritual path.
See, that’s why he says the yoga asanas are important—you just do. Don’t talk about the philosophy—99 percent practice and 1 percent philosophy, that’s what he taught. You just keep doing it, keep doing it, keep doing it, then slowly it will start opening up inside of you, then you are able to see it. So that’s why he likes to concentrate on that aspect—the healing process.
Does the student take responsibility for their healing process, or does Guruji make any kind of diagnosis of the student?
Ah, well, a lot of people will say, “Oh, Guruji has the answer for every-thing!” My father sees that, that’s why he gives them work: “All right, do it! Do it! You’ll find out.” That’s what he does: he diagnoses, but he doesn’t say, “Okay, you have this problem …” He figures out how to cure it.
I’ve noticed that he has a different attitude to different students. Do you think that’s one of his techniques?
I think so, yeah. He studies the students. He doesn’t like impatient students. A lot of people go to my father and say, “Okay, I’ll be here for two months.” And they expect they are going to learn a lot of stuff in two months. And then, when my father says, “No, no, you’ve got to stay here more, you got to come here more often and continue this” and people get impatient, he cannot stand that. That’s why he gets mean.
Because for him to learn this practice, he put in a lot of energy and time, and he’s been punished by his guru. His guru did not teach him very easily, he tried to see how much patience he had to learn this.
He would say things like, “Come at eight o’clock or twelve o’clock to my home to do yoga.” They had to be there exactly at twelve o’clock at his guru’s place. If they were late, then he would make them stand in the sun for an hour and see, you know, what happens. So my father went through all those things. Then when he sees these impatient students, then he would say, “Hey!” [Laughter]
What is your impression about where the asanas come from? Did Krishnamacharya make it up? Did Rama Moha...

Most helpful customer reviews

35 of 36 people found the following review helpful.
Transmission
By Scott Meredith
I've practiced Ashtanga yoga for 5 years, and along the way tried to read every relevant history on Krishnamacharya and his lineage. Pattabhi Jois ('Guruji') and Iyengar were Krishnamacharya's two most famous and productive students. This book is not a standard biography in any sense, but still an invaluable source of anecdotes and impressions by the people who had their hands nearest to the fire.

In addition to the light shed on Guruji himself (and his family) a number of the student interviewees walked very interesting paths themselves to becoming noted yoga teachers in their own right. The interview with David Swenson, to cite just one such case, leaves you intrigued and impressed with his own circuitous development, not just his account of Guruji per se. Many of the other interviews have that quality too.

There are so many methods out on the shelves of the spiritual supermarket. The teachers interviewed in this collection all make the case, in their gentle harmonious yogic way, that Ashtanga yoga is unique in both its physical rigor and the spiritual signature - enlightenment through sweat, 99% practice, 1% theory. You don't need to be an Ashtanga practitioner to get into this book (though a market consisting of Ashtanga people alone would constitute a large public now by 2010!), because the point is to approach an answer to the universal conundrum of yoga: how practice of (what appears to be) physical contortionism possibly relate to spiritual enlightenment? Many good insights on the deeper linkages are offered.

That said, and though I certainly was impressed by the design and production values of this beautiful book, I do think the editors could have offered just a bit more of a crutch to Ashtanga outsiders, made the context a bit more self-explanatory and engaging. For example, famous yogi and Ashtanga author John Scott is interviewed, and he has created a classic highly compacted mini-chart of all the Ashtanga Primary Series poses. Why couldn't those lovely drawings have been used as the end papers for this book? The book might also have thrown a rope to non-Ashtangi's in the form of a glossary of basic common Sanskrit terms in yoga, and an index. A few historical and family photos are included, even more would have been very welcome.

But quibbles aside, this book will be the touchstone resource for all seekers such as me who are trying to dig back closer to the source of this incredibly addictively powerful practice, and I'm very grateful they've taken the trouble to assemble it. For the "advanced beginner" Ashtangi's like me out there, this book is a 24K gold mine of both fun and useful stuff.

Fun: for example, many of the interviewee's very poetically evoke their early experience of practice in the home Mysore shala under Guruji. You feel you're walking up the shala steps with some of these people. Also, it's comforting and funny to read about how some of these people who are currently mega-luminaries in the international yoga world, teaching Madonna or whatever, they too struggled mightily back in the day with "simple" Primary Sequence poses that are still very challenging for me.

Useful: though the reflective personal and historical stuff is the main theme, there is a boatload of incredibly useful tips of absolute practical, on-the-mat daily practice if you dig a little. Read this with a pencil in hand to note those hot spots where one of these teachers just casually throws down something you can use right away in your practice tomorrow morning. There's a lot of that. I also learned a lot of fundamental concepts from this book, for example, though I've sweated though hundreds of Mysore-style practice sessions (self-paced, supervised), and many dozens of "Led Primary" sessions with a teacher calling out each pose and transition, I have never really understood the purpose and meaning and expected benefits of these very distinct practice styles clearly til it was laid out by some of the interviewees in this book.

The deepest question of interest to me is the potential tension between two radically divergent points of view - those who assert that we must strive and sweat (via whatever method) to purify and strengthen ourselves to achieve spiritual integrity and enlightenment (perhaps many lives down the road) vs. those 'non-dualists' (neo-Advaitans) who state that all roads lead nowhere, because there is nowhere to go (but here), no time (but now), no identity, no purpose, no substantive experience, no morality, no instrument of enlightenment, and no burden of endarkenment. This book 'Guruji', as a personalized reflection of one of the greatest teachers among those who have uncompromisingly represented the former view (of gradual hard-won 'progress' toward some higher state), has helped me sharpen my understanding of both sides of this great chasm.

Anyway, the historian Thomas Carlye once wrote: "Blessed is he who has found his work; let him ask no other blessedness." Obviously Guruji was that rare man who stepped right into his perfect calling. I'm grateful to the editors and interviewees, and wish only I'd had that one chance to touch Guruji's feet, as all in this book were privileged to do. (Hey, that would be a lot better than undergoing one of his ferocious "adjustments"!)

10 of 10 people found the following review helpful.
in gratitude
By Tim Feldmann
this book is a celebration of guruji. a book for everybody who wants to know what ashtanga yoga is, who pattabhi jois was and what is to be expected for the years to come. a book for all of us who studied with guruji, yet came in to it all later than the first years. simple prose becoming magical poetry through the experiences of devoted yogis. thank you guy and eddie for compiling this book, the witnessing. I simple cannot put the book down.

4 of 4 people found the following review helpful.
Reminded me . . .
By Sat Inder S. Khalsa
I began practicing Ashtanga Yoga back in 2000 and had never had any level of activity comparable to it before. I really enjoyed the sweating, on purpose even, the movement, the increased strength and flexibility it gave me and I studied with Guruji in Boulder, CO and on the island of Maui. Recently I've gotten into kundalini yoga more and have even become a Sikh following the teachings from that path, but have kept up a moderate hatha yoga practice as well.

I got this book thinking to reminesce a bit and remember the old times, since I haven't been practicing Ashtanga as much, but working more with the energy of the body through the other practice. This book inspired me to practice Ashtanga one day and then I began to crave it again. Many of the teachers talked about the energy movement happening in the practice and now that I'm more attuned to that I notice it and appreciate it much more than I did before, and am enjoying the strength and openness its giving me again. And it is the perfect compliment to my kundalini yoga practice, so both are working well for me.

I enjoyed hearing everyones experience of Pattabhi and was able to correlate mine with theirs in my mind. I highly recommend it for anyone who ever had an attachment to an Ashtanga practice, even if they've given it up. Its very inspiring and interesting!

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Monday, December 29, 2014

> Free Ebook The Golden Ass: The Transformations of Lucius (FSG Classics), by Apuleius

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The Golden Ass: The Transformations of Lucius (FSG Classics), by Apuleius

The story of The Golden Ass is that of Lucius Apuleius, a young man of good birth who encountered many strange adventures while disporting himself along the roads to Thessaly. Not the least of these occurred when Apuleius offended a priestess of the White Goddess, who turned him into an ass. The tale of how Apuleius dealt with this misfortune and eventually resumed human form is conveyed by Robert Graves in modern English that is infused with a bawdy wit and sense of adventure that is "itself a small masterpiece of twentieth-century prose" (Kenneth Rexroth, Saturday Review).

  • Sales Rank: #438995 in Books
  • Brand: Apuleius/ Graves, Robert (TRN)
  • Published on: 2009-03-31
  • Released on: 2009-03-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.31" h x .87" w x 5.46" l, .65 pounds
  • Binding: Paperback
  • 320 pages

Review

"An execllent introduction and an accurate...translation."--Jim Williams, SUNY at Genesco


"This translation deserves the highest praise. It is idiomatic whenever possible, clear and effective throughout; I am more impressed with it than with three others that I have sampled. The introduction is informative and balanced in judgment."--Philip F. O'Mara, Bridgewater College


"This is a good edition. The translation flows, the introduction is thorough."--Richard Mason, George Mason University


"[A] fresh, funny, evocative translation that captures Apuleius at his most uncanny."--W. Gardern Campbell, Mary washington College


"Walsh's new rendering--which on every page, improves upon the commonly used and dated translations of Jack Lindsay and Robert Graves--appears at a time when this ever popular novel is even more greatly appreciated by social historians for the window it provides on provincial life among real imperial subjects in the second century CE. This edition is enhanced by an excellent introduction, a select bibliography, explanatory notes, and an index and glossary of names....It should quickly become the obvious choice for Latin-less readers."--Religious Studies Review6R


"This translation is literal enough to come to a scholar's aid, and at the same time scholarly enough to use without embarrassment."--Bryn Mawr Classical Review


"P.G. Walsh has given us an excellent translation, contemporary without being too trendy, as well as a superb introduction that gives the historical, philosophical, and religious background of the work....Oxford's World's Classics has done it again, has produced a useful edition and superior translation of a work that has needed it for several generations."--CAES Newsletter


"Splendid volume, living up to the scholarly accuracy that makes the World's Classics series."--Professor John R. Lenz, Drew University


"OUP's decision to commission a new translation of Apuleius' novel by a scholar who has made a significant contribution to Apuleian studies is a welcome move. This is without doubt the translation I would prescribe for students studying the work in English."--Bryn Mawr Classical Review


"The best scholarly introduction and notes among the currently available paperback editions and a very high standard of accuracy in representing the Latin original."--Professor Robert Lamberton, Washington University


About the Author

Robert Graves (1895-1985) was a poet, novelist, and translator.

Most helpful customer reviews

32 of 33 people found the following review helpful.
Amazing, Timeless
By A Customer
I really loved this book and have recommended it to many (unfortunately none have taken me up on it). I had to read this for my History of Western Civilization class in college. I thought it was going to be boring and dry, but soon found myself consumed by it. It's hilarious, fast-paced, romantic and thought provoking. What impressed me most was that a person of today can easily relate to the way Apuleius thinks and acts. I had always imagined Greeks walking around in togas endlessly philosiphizing in white marble temples, but here we are presented with the how similar our thoughts and daily activities are to how theirs were. It allowed me to see historical figures in a new way. I think that being able to laugh (heartily) at the same jokes is indicative of how alike our minds are to theirs. Again I recommend this to everyone.

21 of 22 people found the following review helpful.
An enjoyable and enduring classic
By Vincent D. Pisano
Apuleius' The Golden Ass, or Metamorphoses, is the only Latin novel to survive in its entirety. Composed in the second century, this picaresque work tells the tale of Lucius, a man whose curiosity in magic and indulgence of sexual pleasures leads him to accidently transform himself into an ass. What follows are the various trials and hardships he endures as well as the tales he hears throughout his travels. It is not until the intervention of the goddess Isis that Lucius is transformed back into a man, and he devotes the rest of his life to her cult.

Apuleius' storytelling is lively, witty, an often sexually explicit. Indeed, many forms of fetish are showcased within the pages, including beastiality. More often than not, the novel indulges readers in their guilty curiosities while also providing hilarious and adventurous prose, with a splash of red-streaked violence thrown in for good measure. However, despite being written nearly two-thousand years ago, what may shock the modern reader most is how approachable and familiar is not only the humor but also the sentiments and sensuality of these Roman characters. It is not difficult to imagine Lucius' world.

The Golden Ass offers readers a romp through ancient Rome through the eyes of a contemporary while also entertaining. It is also a highly revealing documentation of religion and magical belief in Greco-Roman polytheism, and contains the only complete description of the initiation into a Mystery cult. The true essence of the novel is that it is a fable culminating in the religious transformation of the individual and the embrace of salvation (soteria). However, the pagan salvation was not one of the afterlife, but of this life, and involved changing one's perspective of the world and also of life and death. The ass in the ancient world was seen as the most base of animals, an utter slave to its desires, and Lucius' transformation at the end should be read as symbolizing his overcoming of those passions.

The Golden Ass is bawdy and shocking, but also intelligent and satisfying. Graves' translation is fluid and easy to follow. The prose is as enjoyable (and perhaps rewarding) to read today as it no doubt was nearly two-millennia ago.

15 of 15 people found the following review helpful.
Definitely not a pain in the ass...
By A Customer
I read The Golden Ass for a Classic art course I took while at university I loved it! It is fun, entertaining and comical- not your typical dry Roman read. It is a great story and a great look into history.I highly recommend this tale to anyone who not wants to laugh but is interested in an important text from antiquity.

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Saturday, December 27, 2014

## Free Ebook Carrying the Fire: An Astronaut's Journeys, by Michael Collins

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Carrying the Fire: An Astronaut's Journeys, by Michael Collins

The years that have passed since Neil Armstrong, Buzz Aldrin, and Michael Collins piloted the Apollo 11 spacecraft to the moon in July 1969 have done nothing to alter the fundamental wonder of the event: man reaching the moon remains one of the great events--technical and spiritual--of our lifetime.

In Carrying the Fire, Michael Collins conveys, in a very personal way, the drama, beauty, and humor of that adventure. He also traces his development from his first flight experiences in the air force, through his days as a test pilot, to his Apollo 11 space walk, presenting an evocative picture of the joys of flight as well as a new perspective on time, light, and movement from someone who has seen the fragile Earth from the other side of the moon.

  • Sales Rank: #99030 in Books
  • Brand: Collins, Michael/ Lindbergh, Charles A. (FRW)
  • Published on: 2009-06-23
  • Released on: 2009-06-23
  • Format: Deluxe Edition
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.21" h x 1.42" w x 5.52" l, 1.15 pounds
  • Binding: Paperback
  • 512 pages

Review

“Collins tells what his space journeys meant to him as a human being [and] discusses the role of man amid the multitudinous mechanical marvels . . . Profoundly affecting.” ―The New Yorker

“Michael Collins can write . . . No other person who has flown in space has captured the experience so vividly.” ―Henry S.F. Cooper, Jr., The New York Times Book Review

About the Author

Michael Collins flew in both the Gemini 10 and Apollo 11 space missions in the 1960s. He currently lives in South Florida.

Most helpful customer reviews

130 of 130 people found the following review helpful.
Great Book - Tells What it Was Like
By J. Dangelo
I found this book by referral from other's reviews of lesser astronaut books. Several reviews said, in effect, "don't read this book but find yourself a copy of Carrying the Fire." So I did and now I know what they meant.
Michael Collins was the third astronaut on the famous Apollo 11 flight that landed on the moon in July, 1969. Unfortunately, because he wasn't one of the two in the Lunar Module, he isn't often mentioned. He stayed in lunar orbit as the Command Module Pilot. This book is Collins' telling of what it was like to be an astronaut, both in the Gemini and Apollo programs. He talks about the astronaut selection process, and what it was like to go through it. And he tells the story - from a very personal perspective, of what it was like, what he felt, what he worried about, what angered him, and well...you get the idea - of preparing for and flying a Gemini and Apollo mission.
Because this is his story, and his first person telling of the story, there isn't really anything here about the lunar landing itself. Rather, he talks about what he was doing when Neil Armstrong and Buzz Aldrin landed and walked on the moon.
I thoroughly enjoyed the book. It often made me laugh out loud and I certainly believe that I now know how Collins felt during his tenure as one of America's Astronauts. I found the book both well-written and engaging. I also found, to my surprise, that this is a humble, revealing and candid story. Highly recommended if you are interested in the genre.

71 of 72 people found the following review helpful.
No Question About It--The Best Astronaut Memoir Ever!
By Roger D. Launius
There have been several excellent Apollo astronaut memoirs, especially Gene Cernan's "The Last Man on the Moon" and Jim Lovell's "Lost Moon," which was made into the feature film "Apollo 13." This one is still the most honest and reflective of them all. It extends a tradition of the aviator as litterateur into the age of space travel.
Collins had an illustrious career as an astronaut. Chosen in the third group of astronauts in 1963, he served as backup pilot for Gemini VII, pilot for Gemini X, and command module pilot for Apollo 11. On that last mission he became the loneliest man in the universe when his two crewmates, Neil Armstrong and Buzz Aldrin, landed on the Moon while he remained in orbit around the Moon in the Command Module. In "Carrying the Fire" Collins writes of his solitude in lunar orbit in July 1969. As he disappeared on the backside of the Moon from Earth, he recalled, "I am alone now, truly alone, and absolutely isolated from any known life, I am it. If a count were taken, the score would be three billion plus two over on the other side of the moon, and one plus God only knows what on this side. I feel this powerfully-not as fear or loneliness-but as awareness, anticipation, satisfaction, confidence, almost exultation. I like the feeling. Outside my window I can see stars-and that is all. Where I know the moon to be, there is simply a black void, the moon's presence is defined solely by the absence of stars." He compared it to being in a skiff in the middle of the ocean with only the stars above and black water below. It proved a profoundly moving experience for him.
Michael Collins left NASA in 1970 and became the first director of the Smithsonian Institution's National Air and Space Museum, continuing to write eloquently of the possibilities of spaceflight. Among other works he published "Liftoff: The Story of America's Adventure in Space" (1988) and "Mission to Mars" (1990), a powerful exposition on the value of a human mission to Mars.
"Carrying the Fire" is the first candid book about life as an astronaut. The author comments on other astronauts, describes the seemingly endless preparations for flights to the Moon, and assesses the results. He also describes what he thinks of as the most important perspective that emerged from his flight, a realization of the fragility of the Earth. He wrote that "from space there is no hint of ruggedness to it; smooth as a billiard ball, it seems delicately poised on its circular journey around the Sun, and above all it seems fragile...Is the sea water clean enough to pour over your head, or is there a glaze of oil on its surface?...Is the riverbank a delight or an obscenity? The difference between a blue-and-white planet and a black-and-brown one is delicate indeed."
It is a powerful and moving memoir. Read it more than once and lend copies to your friends. You, and they, will not be disappointed.

53 of 53 people found the following review helpful.
Inspirational, 20 years on
By Vaughn Davis
I admit it, I took this book out from the school library when I was 12 and still have it 20 years later. Even at five cents a week, the overdue fees are not worth thinking about. As a schoolkid in Lower Hutt, New Zealand, not many of us dreamed we could ever be astronauts. After reading this book, I did. It didn't matter that by the early 1980s when I read Carrying the Fire there was no manned space programme to speak of. It didn't much matter that I didn't become an astronaut, just a military pilot.
What matters is that Colins's story touched, inspired and motivated me to believe I could do anything I put my mind to, and showed that there's more to success than glory, adulation or being the one kids can remember in history quizzes.
Good on you, Michael Collins. You're an inspiration. All you Amazonians out there who've leapt onto the space history band-chariot since Apollo 13/Earth to the Moon, take note. This is where it started. Find a copy and read it (just don't bother trying to get one from the Hutt Valley High School Library - it's out on loan right now.)

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Monday, December 22, 2014

! PDF Ebook A History of the Jews in the Modern World, by Howard M. Sachar

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A History of the Jews in the Modern World, by Howard M. Sachar

The distinguished historian of the Jewish people, Howard M. Sachar, gives us a comprehensive and enthralling chronicle of the achievements and traumas of the Jews over the last four hundred years.

Tracking their fate from Western Europe’s age of mercantilism in the seventeenth century to the post-Soviet and post-imperialist Islamic upheavals of the twenty-first century, Sachar applies his renowned narrative skill to the central role of the Jews in many of the most impressive achievements of modern civilization: whether in the rise of economic capitalism or of political socialism; in the discoveries of theoretical physics or applied medicine; in “higher” literary criticism or mass communication and popular entertainment.

As his account unfolds and moves from epoch to epoch, from continent to continent, from Europe to the Americas and the Middle East, Sachar evaluates communities that, until lately, have been underestimated in the perspective of Jewish and world history—among them, Jews of Sephardic provenance, of the Moslem regions, and of Africa. By the same token, Sachar applies a master’s hand in describing and deciphering the Jews’ unique exposure and functional usefulness to totalitarian movements—fascist, Nazi, and Stalinist. In the process, he shines an unsparing light on the often widely dissimilar behavior of separate European peoples, and on separate Jewish populations, during the Holocaust.

A distillation of the author’s lifetime of scholarly research and teaching experience, A History of the Jews in the Modern World provides a source of unsurpassed intellectual richness for university students and educated laypersons alike.

  • Sales Rank: #1759012 in Books
  • Published on: 2005-08-09
  • Released on: 2005-08-09
  • Ingredients: Example Ingredients
  • Format: Deckle Edge
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 1.93" w x 6.64" l, .0 pounds
  • Binding: Hardcover
  • 848 pages

From Publishers Weekly
Starred Review. In this monumental and complex narrative, successor to his distinguished 1958 The Course of Modern Jewish History (substantially revised in 1990), Sachar, generally acknowledged as the preeminent scholar of modern Jewish history, proves himself to be not only a superb historian, but a compelling storyteller. The scope of this project is both exhilarating and daunting, including western and eastern Europe, America and the Middle East from the 17th century to the present; Sachar's major themes include the history of anti-Semitism, the development of the nation state, the rise of European fascism and the immigration of Jews throughout Europe and to the Americas. Sachar has constructed this history with such adroitness that it is best read as a sweeping chronicle of not just Jewish but world history. As always, Sachar's informal, almost conversational style is both inviting and accessible, whether sketching out the complicated position of Jews in Brazil during the country's fight for independence from Portugal in 1824 or demonstrating how Jewish religious thinking was vital in the advancement of modern medicine. For both the general reader and the scholar, this is an important addition to the literature on both Jewish and Western history and culture. (Aug. 17)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Sachar, author of 15 books and the editor of the 39-volume Rise of Israel: A Documentary History, begins his new, compelling, and comprehensive book with an account of the European Jews and anti-Semitism they faced as early as the sixteenth century, in what he calls their "indeterminate status as non-Europeans." He goes on to describe such events as their life in western Europe during the seventeenth and eighteenth centuries, the French Revolution and Jewish questions, the Jews of czarist Russia, their struggle for civil rights in the 1830s and 1840s, and their place in what Sachar labels an emancipated economy. There are chapters on such topics as the impact of Western culture on Jewish life and coping with Jewish identity, the rise of Jewish life in America, the era of pogroms in Russia, the migration of east European Jewry (1881-1914), and the onset of modern anti-Semitism. Sachar discusses the life of Theodor Herzl and the rise of political Zionism, the effect of World War I on European Jews and postwar anti-Semitism, the Balfour Declaration in 1917, quotas limiting Jewish immigration to the U.S. in 1921, the rise of Hitler and the Holocaust, and the birth of Israel. Sachar does not discuss the State of Israel, saying that the history of an independent nation deserves independent treatment, but otherwise he has written the definitive history of the Jews, unparalleled in its scope and depth. George Cohen
Copyright © American Library Association. All rights reserved

Review
"A rich and balanced account. . . . There is no other book that attempts, as this one does, to recount the history of the Jews in modern times in all its geographical variation and breathtaking disparity." –Washington Post Book World
 
"Magisterial . . . Sachar situates Jews on a global stage. . . . [He] relates an immensely complex story with precision and learning." –New York Times Book Review

"[Sachar’s book features] an erudition that is confidently and casually displayed, a range of topics covered with crisp lucidity, and sentences whose cadences effortlessly sweep the reader along." –The Boston Globe

"Like all of Sachar's books, this too is comprehensive, illuminating, and readable. He weaves Jewish history through the intricacies of modern developments with a magisterial sweep." –Shlomo Avineri, Professor of Political Science Emeritus, The Hebrew University

"A magnum opus....comprehensive, analytical, and written in a felicitous style....The book is a must. Both the lay and specialist reader will be richly rewarded." –Isaiah Friedman, Professor of Modern History Emeritus, Ben-Gurion University

"This learned, sweeping, panoramic view of the Jewish experience in modernity will long remain...the standard history of this period." –Alfred Gottschalk, President Emeritus, Hebrew Union College-Jewish Institute of Religion

“In this expansive and magisterial history of the Jews in the modern world...this distinguished historian and experienced teacher has created a vibrant, highly readable text for students and general readers alike." –Jehuda Reinharz, President, Brandeis University

"This is the work of a lifetime, a magisterial study....a book that all future histories of modern Jewry will be judged by." –Jonathan Sarna, Chairman, School of Judaic and Near Eastern Studies, Brandeis University

Most helpful customer reviews

18 of 20 people found the following review helpful.
A Good Overview of Recent Jewish History; Correction(s) Needed
By Jan Peczkis
This is a mini-encyclopedia of Jewish history beginning about the 17th century. Sachar's main emphasis is on the Jews of Europe. Owing to the large number of topics raised by the author, this review is necessarily limited to consideration of only a few of them.

Sachar presents a nuanced view of the Jewish experience in post-Reformation Europe: "These constructs must be judged in the context of their time, of course. If Jews possessed fewer rights than did their urban Christian neighbors, they also bore fewer obligations and enjoyed more privileges than did Europe's peasant masses."(p. 5).

A moderate amount of attention is devoted to the massive pogroms in 19th century Russia. Based on archival research, Sachar rejects the notion that the pogroms of 1881 had been instigated by the tsarist government (p. 199). However, Sachar believes that Tsar Nicholas II was in fact behind the 600 pogroms that took place in 1905 (p. 295). Sachar also recounts the experience of Mendel Beilis, who had been framed on an accusation of ritual murder (pp. 305-309). Beilis received a considerable amount of international support and was eventually acquitted.

After Poland was partitioned in the late 1700's, the erstwhile Polish Jews of eastern Poland became Russian Jews, as described by Sachar: "All attempts by Jews to participate in municipal government were effectively blocked by their Russian neighbors, on the grounds that the Jews engaged in "parasitical" "exploitative" activities among the surrounding peasants, especially through their control of the liquor trade. The latter charge actually was well founded. Accustomed in Poland to function as middlemen between aristocrats' estates and the countryside, Jews had become proficient in buying up and converting harvested grain and potato crops into mash, and mash into distilled spirits, which resisted the vicissitudes of the weather. The peasantry offered a sure and certain marker for liquor, and the Jews exploited it fully."(p. 54).

During the Russian rule of eastern and central Poland, a Jewish bourgeoisie developed in Congress Poland (pp. 70-71). In time, this pitted Poles against the mostly-Jewish industrialists. Of course, Jewish dominance of commerce also occurred at lower levels. Sachar describes the Polish-Jewish conflicts that became widely known soon after the resurrection of the Polish state: "In the 1920's, too, the government found ways to restrict Jewish economic activity. The rationale was Jewish overcrowding in commerce and the professions. Here, in fact, the statistics bore out the charge. By 1922, Jews comprised 52% of Poland's tradesmen and owned 48% of the nation's retail shops (although most of these were diminutive market stalls). A majority of attorneys in larger cities were Jews, and in medicine the Jewish presence ranked second only to the German."(p. 414). Sachar, however, doesn't put any of the foregoing statistics in context: Jews comprised only 10% of the Polish population.

Sachar elaborates on the role of Jews in Communism. On one hand, he cites Alexander Kerensky, who asserted that 99% of Russian Jews were anti-Bolshevik (p. 334). On the other hand, the very disproportionate number of Jews in Communism is striking. Bearing in mind the fact that Jews comprised a small percentage of the Russian population, one can appreciate Sachar's figures on Jewish Communism (the Zydokomuna). In December 1917, 5 of the 21 members of the Soviet Central Committee were Jews, prompting Sachar to remark: "Never before had so many Jews served in any European cabinet."(p. 327). Sachar believes that Jews were prominent in Soviet Communism no less so than they were in the Communist parties of western Europe. By the early 1920's, Jews in the Soviet Union accounted for 15-20% of delegates to party congresses (p. 330), and comprised an even higher percentage of party technocrats (including mid-level administrators).

Unfortunately, Sachar recycles an old canard from WWII-era Communist propaganda. He repeats the charge (p. 551) that Tadeusz Bor-Komorowski, the head of the Polish Underground Army (AK) and later leader of the Warsaw Uprising, gave an order for the killing of Jewish partisans because of their "banditry" and "Bolshevism." In fact, Bor-Komorowski never ordered the killing of Jews. He did order armed resistance against bands of bandits. This has been twisted, without any supporting evidence, into a supposed veiled order to kill fugitive Jews. Anyone who has actually lived in formerly-northeast Poland during the German occupation will attest to the fact that banditry, conducted by bands of Poles as well as Jews, was in fact a serious problem. As for partisan action, even non-Communist Jewish partisans eventually became subordinated to the Soviet Union. Owing to the fact that the Soviets progressively came out as enemies of the AK, the Jewish partisans and the AK were also drawn into enmity against each other.

Sachar discusses the reparations for the Holocaust paid out by West Germany (p. 630), including the fact that the reparations cover property losses of the Jews. Those individuals and organizations seeking compensation from Poland for WWII-era property losses are clearly asking the wrong nation for reparations.

24 of 28 people found the following review helpful.
Wonderful, as Always
By Seth J. Frantzman
Sacher has previously written on such subjects as Zionism, the Jews in Europe between the wars and Jews in the Diaspora. Now he applies his wonderful talents as a historian and writer to the Jewish experience in modern times from the 17th century to today. He examines European anti-semtism and the rise of nationalism alongside the enlightenment and the new rights for Jews. Also looked at is the situation of Jews in Muslim lands and elsewhere, subjects usually given short shrift in books of this kind. Finally we are given excellent portraits of Jewish migration to the Americans and within Europe. Most are not aware that in 1930 many of the Jews in Germany and France were recent arrivals from the east, Jews from the Shtetl of Russia and Ukraine escaping persecution, dire poverty and revolution. These Jews contrasted greatly with the `liberated' and `assimilated' Jews of Germany who had created the reform movement. Important Jewish personalities like the Rothschilds are interwoven along with fascinating stories about Jews in Latin America and elsewhere.

This is a tour de force, as always well written and researched and easily readable.

Seth J. Frantzman

2 of 2 people found the following review helpful.
Wonderful
By Ilya Elyashkevich
I've been looking for a secular based book of Jewish history for a while and I randomly stumbled upon this gem. Firstly, I really like Sachar's writing style; for me the reading was like a history textbook on one side and a novel on the other, it grabs you to an extend where it's actually difficult to put it down sometimes. His approach is also great, this is a secular based book and one realized this almost from the start. It does not go into any religious interpretations of events, but shows the effect secular life had on the mainstream Jewish religion. I think that's great, if I want to read a religious or philosophical history of the Jews, there are lot of options, but this is the first real HISTORY book I've found.

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~~ Download PDF November 1916: A Novel: The Red Wheel II (FSG Classics), by Aleksandr Solzhenitsyn

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November 1916: A Novel: The Red Wheel II (FSG Classics), by Aleksandr Solzhenitsyn

November 1916: A Novel: The Red Wheel II (FSG Classics), by Aleksandr Solzhenitsyn



November 1916: A Novel: The Red Wheel II (FSG Classics), by Aleksandr Solzhenitsyn

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November 1916: A Novel: The Red Wheel II (FSG Classics), by Aleksandr Solzhenitsyn

In time for the centenary of the beginning of the Russian Revolution, a new edition of the Russian Nobelist's major work

The month of November 1916 in Russia was outwardly quiet―the proverbial calm before the storm―but beneath the placid surface, society seethed fiercely.
In Petrograd, as St. Petersburg was then known, luxury-store windows are still brightly lit; the Duma debates the monarchy, the course of war, and clashing paths to reform; the workers in the miserable munitions factories veer toward sedition.
At the front, all is stalemate, while in the countryside sullen anxiety among hard-pressed farmers is rapidly replacing patriotism.
In Zurich, Lenin, with the smallest of all revolutionary groups, plots his sinister logistical miracle.
With masterly and moving empathy, through the eyes of both historical and fictional protagonists, Solzhenitsyn unforgettably transports us to that time and place―the last of pre-Soviet Russia.
November 1916 is the second volume in Aleksandr Solzhenitsyn's multipart work, The Red Wheel. This volume concentrates on a historical turning point, or "knot," as the wheel rolls inexorably toward revolution.

  • Sales Rank: #413716 in Books
  • Published on: 2014-08-19
  • Released on: 2014-08-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.17" h x 1.85" w x 6.03" l, 3.24 pounds
  • Binding: Paperback
  • 1040 pages

Review

“A superb blend of fact and fiction written in a racy, original style.” ―John Keep, The Times Literary Supplement

“Solzhenitsyn's tremendous gifts as a novelist shine in his creation of characters and his depiction of war on the front line.” ―The New Yorker

“Solzhenitsyn achives something exceedingly rare among novelists dealing with history . . . He gets a sense of the past not as something to be understood in the light of the present, but as a teeming womb of incalculablility and possibility.” ―John Bayley, The New York Book Review

About the Author

Aleksandr Solzhenitsyn was a Russian novelist, historian, and winner of the 1970 Nobel Prize in Literature. He served as a decorated commander in the Red Army during World War II before he was arrested for anti-Soviet propaganda and sentenced to eight years in a labor camp, where he drew inspiration for his controversial novel One Day in the Life of Ivan Denisovich. Exiled in 1974, he returned to Russia after the dissolution of the Soviet Union and died in Moscow in 2008.

Most helpful customer reviews

35 of 37 people found the following review helpful.
Great story slowed down by superfluous research papers
By Anyechka
I was really excited to see this book had finally been translated into English, having just read the old (and terrible) Michael Glenny hack job translation of 'August 1914.' It was a bit slow to pick up, but this is my favourite writer, so I knew that once it got going, it would be as impossible to put down as all of his other books. Unfortunately that was not the case. I abandoned it in frustration midway through the first of the six miniature research papers, on the history of the Kadet movement, and didn't return to it and start all over again till three and a half years later. This time I didn't give up at any point, though it wasn't easy getting through most of the small-print material in the non-fiction chapters. I really believe that he did want to educate his fellow Russians on a period in their history which isn't well-taught or well-understood instead of showing off the mammoth research he did on this book, but surely there could have been a way to convey that same information without interrupting the narrative a total of six times to bring the reader this tedious material, a mixture of non-fiction narrative and long quotes from the historical figures being discussed. Maybe, like in some of his other books I've read, have page references in the back to what was being talked about there, have footnotes, or a general introduction or afterword on the history behind the story. I know this is his life's work, the second of the four books that were the obsession of his writing life (thankfully he's lived long enough to finish them), but the information would have been gotten across just as well had these six chapters been cut out or had the information presented in the course of the fictional story, the way a good historical fiction writer presents historical events and figures important to the story. It was also hard to keep track of who was who, with all of these names, like Markov, Uncle Khvostov, Nephew Khvostov, Maklakov, Rodzyanko, Protopopov, Milyukov, Krivoshein, St?rmer, and Shipov, as well as who had been dismissed by the Tsar, whom Rasputin and the Tsarina were trying to get rid of, who was a Centrist, Rightist, Kadet, Leftist, ultra-Leftist, ultra-Rightist, a Duma member, or one of the Tsar's ministers. I love Russian history, but this was way too much information to process. The only non-fiction chapters I felt belonged there were the final two, the Duma transcripts, which read more like part of a story than a detached research paper.
The scope of this book is far wider than 'August 1914,' and there are far more characters to keep track of. A number of characters from that book also appear here, in varying degrees of importance. The most important recurring character is Colonel Georgiy Vorontyntsev; here we also get to meet his wife Alina, his baby sister Vera, and their childhood nanny. Since the time during which this book takes place, late October to mid November of 1916, was primarily a time of stalemate, the majority of the action takes place on the homefront. The chapters that do involve the characters in the military don't include any battles. It's hard to not see why revolution occurred when it did--everything on the homefront is going to the dogs, what with fixed grain prices for the peasants, rising prices for the people in the cities, anti-German pogroms, men between the ages of 38 and 41 being called into the military, along with boys who were born in 1898, the youngest possible class who can serve, Russia bankrupt, the strange behaviour of the Tsar, the replacement of the popular but ineffective Supreme Commander of the army, Nikolasha, with his great-nephew the Tsar himself, and the world shutting off its banking with Russia. Everyone was humiliated and angry, from the Tsarists to the revolutionaries living in exile abroad. The Tsar was a genuinely nice fellow, but kept making all of the wrong moves and making revolution even more inevitable.
Some people don't like this book because it has so many different characters, but that's the point--it's showing how these events affected all of these different classes of people, at all levels of society, how each of them reacted to it. It's harder to summarise, and very exhausting to read (I read it in two weeks, surprising given the sheer length), but the ending is really beautiful, a classic final thought. It was worth it just to read the end.

12 of 19 people found the following review helpful.
overwhelming
By NURsesRUN
i am a fan of Mr. Solzhenitsyn both as a person and as a writer. and i have read a number of his works, including August 1914 (this book's prologue, as i'm sure you know). however, this volume of 1000 pages was just too much for me. i forced myself to keep reading up to the point where i had covered 300+ pages .... and then i gave up.

i wanted to love this book, but it was too pedantic for me and seemed to lack Mr. Solzhenitsyn's usual desire to make his characters come alive. was it just me or did the characters fade into insignificance? was Mr. Solzhenitsyn so taken with relating facts and foibles that his characters got lost in the shuffle? or was this book intentionally written as a history book and the characters were "necessary evils" ? i don't know.

i seem to recall in other books by Mr. Solzhenitsyn (e.g. Cancer Ward) a "slow start" with multiple characters (here read - this reviewer gets easily confused). however, typically after 100+ pages Mr. Solzhenitsyn begins to focus on one or two related souls and then blends his character development with history & implied comment. that is what i had hoped for and was expecting - work then reward, effort then involvement. i genuinely regret to say that i could never get past feeling as if i were a pinball being bounced from one uninteresting transcript to another.

bottom line - if one is (somewhat ?) knowledgeable of Russian history during this epoch, perhaps he/she will find this book worthy of 4 or 5 stars. otherwise, don't waste your time. by all means read Mr. Solzhenitsyn, but perhaps A Day In The Life Of .... would be a better place to get a taste of his prophetic and literary skills.

13 of 13 people found the following review helpful.
Second Part of an Epic Story
By Kevin M. Derby
This is the second volume of Solzhenitsyn's epic "The Red Wheel" and, unlike "August 1914", this book focuses more on Russian society than the war. A number of the same characters return from the first work and Solzhenitsyn takes them, and the reader, to the parlors of St. Petersburg, the homes of Moscow, the trenches, the schools, the factories, the farms, and the legislative assemblies. It is an astonishing work, capturing the mood in Russia before chaos consumed her and showing the last days of a failing society.

There are some flaws. Solzhenitsyn continues using the "camera eye" technique that he used in the first novel and, again, does not quite succeed with it. He is better in his use of newspaper headlines than he was in "August 1914." Where he truly fails though is in the numerous essays he includes giving the history of political parties, legislative leaders, even transcripts from the Duma debates. It is a bit too much and Solzhenitsyn is not particularly subtle in his contempt for progressives and society.

Where Solzhenitsyn excels is when his characters dominate the narrative. Above all, the powers of redemption and love flow through the book despite the chaos, despite the coming Soviet horror. There are scenes that remain with the reader: a priest and a young officer talking about faith in the trenches; a colonel who comes to St. Petersburg to make a major political impact only to have it undermined by his attraction to a woman, a woman going to confession crying over her dead child, a writer on a train and his assorted notes and musings. This is an epic book to be sure but Solzhenitsyn is truly incredible when he describes the intimate moments of daily life.

Be warned. While the book was translated in English a decade ago, the last two volumes have yet to be translated. Despite the book going on for 1,000 pages and a difficult read, you will want more. "The Red Wheel" is not for everyone but those who pursue it will find one of the greatest novels written in the last half of the twentieth century.

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