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American Jesus: How the Son of God Became a National Icon, by Stephen Prothero

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Jesus the Black Messiah; Jesus the Jew; Jesus the Hindu sage; Jesus the Haight-Asbury hippie: these Jesuses join the traditional figure of Jesus Christ in American Jesus, which was acclaimed upon publication in hardcover as an altogether fresh exploration of American history--and as the liveliest book about Jesus to appear in English in years.

Our nation's changing images of Jesus, Stephen Prothero contends, are a kind of looking class into the national character. Even as most Christian believers cleave to a traditional faith, other people give Jesus a leading role as folk hero, pitchman, and countercultural icon. And so it has been since the nation's founding--from Thomas Jefferson, who took scissors to his New Testament to sort out true from false Jesus material; to the Jews, Buddhists and Muslims who fit Jesus into their own traditions; to the people who adapt Jesus for stage and screen and the Holy Land theme park. American Jesus is "a lively, illuminating and accessible survey that takes us into unexpected corners of our shared religious heritage" (Dan Cryer, Newsday).

• Sales Rank: #339706 in Books
• Brand: Prothero, Stephen R.
• Published on: 2004-09-18
• Released on: 2004-08-26
• Original language: English
• Number of items: 1
• Dimensions: 8.26" h x 1.06" w x 5.46" l, .90 pounds
• Binding: Paperback
• 376 pages

From Publishers Weekly
No religious personality has captivated so many Americans for so long as Jesus. Indeed, as Boston University historian Prothero demonstrates in this sparkling and engrossing book, Jesus is the one religious figure nearly every American, whether Christian or not, past and present, has embraced. From Thomas Jefferson's cut-and-paste Bible to Jesus Christ Superstar, from the feminized Christ of the Victorians to the "manly redeemer" of Teddy Roosevelt's era, from Buddhist bodhisattva to Black Moses, Prothero surveys the myriad ways Americans have remade Jesus in their own image. He usefully divides these American Jesuses into "resurrections"-revivals of Jesus within mainstream Christianity-and "reincarnations"-appropriations of Jesus by outsiders. This scheme allows Prothero to range widely, and if he sometimes drifts from his primary focus, the digressions are fascinating in their own right. Nearly every page offers a fresh portrait of some corner of American religious history. A work of this breadth must depend heavily on other writers, but Prothero almost always has a judicious interpretation of his own to add-most of all, his contention that Jesus' enduring appeal confirms America's essentially Christian character even as it also demonstrates America's growing religious diversity
Copyright 2003 Reed Business Information, Inc.

From The New Yorker
To the Puritans who settled the Colonies, Jesus was a marginal figure, and the Old Testament more important than the New. In the four centuries since, however, he has slipped the bonds of Christianity altogether to become icon and brand, as American as Mickey Mouse or the Coca-Cola bottle. This wide-ranging history traces a dual evolution: of American religion (not only Christianity but Judaism, Hinduism, and Buddhism) in terms of its relationship to Jesus; and of his multiform manifestations in response to changing cultural currents, from Thomas Jefferson's publication of a book of Jesus' life and sayings that excised all mention of the miracles and the resurrection to the Hindu Vedantists' veneration of "Christ the Yogi."
Copyright © 2005 The New Yorker

From Booklist
On magazine covers, movie screens, and even hot-air balloons, images of Jesus abound in a modern America ever more mesmerized by the central figures of Christianity-yet ever less conscious of Christian theology and doctrine. In a wide-ranging investigation, religious historian Prothero probes the cultural dynamics that have transformed Jesus into a ubiquitous American presence while weakening the tethers of orthodoxy. The analysis begins with stern Puritan divines emphatic about the justice of the Father but nearly silent about the mercy of the Son. But the focus soon shifts to liberal nineteenth-century Protestants joyous in their celebration of a tender, even feminine Jesus. A muscular, manly Jesus came next, and eventually even non-Christian Americans were turning Jesus into everything from a Jeffersonian sage to a Hindu avatar. Prothero assembles a dizzying national collage, piquant but strangely selective: Catholic images of Jesus occupy less space in this assemblage than outré characterizations of him in rock music and science fiction. Fortunately, a rich bibliography will help readers to sort out the confusing plethora of American Jesuses. Bryce Christensen
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

51 of 52 people found the following review helpful.
An Entertaining Discussion of how Americans have made Jesus into their image
By Dr. Marc Axelrod
This was a fascinating, well written book. Prothero discusses how Jesus has been co-opted and claimed by numerous groups in the United States. He discusses the Jesus Movement's Hippie Jesus, the Black Jesus, the Oriental Jesus, the evolving Jewish understanding of Jesus, and the Sweet Savior Jesus of the 19th century church hymns.

Prothero also has a chapter about the movement in the early 20th century to make Jesus more muscular and masculine. He also has an informative discussion about the impact of the classic Sallmann painting "Head of Christ."

I also enjoyed the chapter about the Elder Brother Mormon Jesus. I had no idea that there was such a difference of opinion about how to approach Jesus within Mormon circles.

The only comment I have by way of criticism is that Prothero tends to be a bit sensationalistic in the way he writes. He speaks of the Second Person of the Trinity breaking free from the control of God the Father, as if there was a heavenly falling out between the two.

He also makes unneccesarily sharp bifurcations between Calvinism and evangelicalism, apparently not realizing that many Calvinists were evangelicals (Jonathan Edwards, George Whitefield).

But this book is so well written and well researched in spite of its flaws, that I have no choice but to give it my highest recommendation. Again, it must be stressed that this is not a book about the biblical Jesus or the historical Jesus, but it is a look at the cultural American Jesus, and how He has been viewed by Americans.

32 of 33 people found the following review helpful.
Fascinating trip through American history
By Harold McFarland
In "American Jesus: How the Son of God Became a National Icon", Boston University historian Stephen Prothero examines how Jesus has moved from being a divine Savior to a folk icon. No matter what his or her religious inclination, or lack thereof, nearly everyone in America has embraced Jesus in one form or another. For some it is a religious understanding, for others a recognition of Him as the great teacher, for others a recognition of the political benefits of being associated with Jesus, and to still others He is the ultimate sales tool or the ultimate appeal to a higher authority in support of their particular beliefs.
This is a fascinating trip through American history as Prothero discusses the progressive change of the American view of Jesus from the Puritanical lawgiver to a tender, caring and effeminate Jesus, to a strong, muscular Jesus and finally to our current state where images of Him are likely to appear on a refrigerator magnet, rock music poster, or a bumper sticker. During this trip he examines incident after incident of how this transformation slowly took place. In addition to discussing these various changes he explains how the various societal factors of the time influenced them.

One of the most interesting points on the relationship of Americans with Jesus is that while His popularity as a celebrity or bumper sticker continues to grow, Bible study has continued to decline. What are the factors that have allowed the average person to so effectively separate Jesus from the religious trappings that have always been associated with Him in the past? How have these small changes allowed us to come to a point where He is truly a celebrity figure with only minimal traits of divinity? These are some of the questions that Stephen Prothero looks at and what makes "American Jesus" an interesting and highly recommended read.

27 of 29 people found the following review helpful.
Your Own Personal Jesus
By Fritz Zimmerman
Whether you're a believing Christian or not, you probably have some idea in mind of what Jesus is/was like as a person. And since the USA is arguably the most Jesus-centric culture on earth, you might believe that those around you share that idea. But that may, apparently, be a mistake. As Prothero's engaging and far-reaching book explains, the American Jesus is able to conform to just about any perception one wants to have of him, depending on the national mood (or even one's individual mood). Is Jesus the compassionate, soft-spoken proponent of hearth and home and simple pleasures? Is he the manly firebrand who overturned the money-changers' tables? Is he the free-spirited, counter-cultural flower-child of 'Godspell'? The Elder Brother of the Mormons? An avatar of Vishnu? A Boddhisatva? Or was he fundamentally a Jewish teacher who should be studied in a Jewish context? In America, Jesus is all of these things at once, or some of them, or something else entirely. In America, everyone's entitled to a Jesus they can call their own, and this book shows how we came to that pass. I only wish the author had spent some time covering Islam, but the Muslim presence in this country has been of recent enough beginnings that there may not yet be an American twist on the Koranic Isa (Jesus). Still, I recommend the book to believers and non-believers alike.

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* Fee Download 77 Dream Songs: Poems (FSG Classics), by John Berryman

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77 Dream Songs: Poems (FSG Classics), by John Berryman

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A wild, masterful Pulitzer Prize-winning cycle of poems that half a century later still shocks and astounds
John Berryman was hardly unknown when he published 77 Dream Songs, but the volume was, nevertheless, a shock and a revelation. A "spooky" collection in the words of Robert Lowell-"a maddening work of genius."
As Henri Cole notes in his elegant, perceptive introduction, Berryman had discovered "a looser style that mixed high and low dictions with a strange syntax." Berryman had also discovered his most enduring alter ego, a paranoid, passionate, depressed, drunk, irrepressible antihero named Henry or, sometimes, Mr. Bones: "We touch at certain points," Berryman claimed, of Henry, "But I am an actual human being."
Henry may not be real, but he comes alive on the page. And while the most famous of the Dream Songs begins, "Life, friends, is boring," these poems never are. Henry lusts: seeing a woman "Filling her compact & delicious body / with chicken páprika" he can barely restrain himself: "only the fact of her husband & four other people / kept me from springing on her." Henry despairs: "All the world like a woolen lover / once did seem on Henry's side. / Then came a departure." Henry, afraid of his own violent urges, consoles himself: "Nobody is ever missing."
77 Dream Songs won the Pulitzer Prize in 1965, but Berryman's formal and emotional innovations-he cracks the language open, creates a new idiom in which to express eternal feelings-remain as alive and immediate today as ever.

• Sales Rank: #589108 in Books
• Published on: 2014-10-21
• Released on: 2014-10-21
• Original language: English
• Number of items: 1
• Dimensions: 8.21" h x .34" w x 5.50" l, .0 pounds
• Binding: Paperback
• 112 pages

Review
“The Dream Songs . . . [is] indeed, the most entertaining American long poem written this century.” ―Nicholas Everett, The London Review of Books

About the Author

John Berryman (1914–1972) was an American poet and scholar. He won the Pulitzer Prize for 77 Dream Songs in 1965 and the National Book Award and the Bollingen Prize for His Toy, His Dream, His Rest in 1969. Henri Cole was born in Fukuoka, Japan, and raised in Virginia. He has published eight collections of poetry and received many awards for his work, including the Jackson Prize, the Kingsley Tufts Award, the Rome Prize, the Berlin Prize, a Guggenheim Fellowship, and the Lenore Marshall Award. His most recent collection is Touch (FSG, 2011). He is poetry editor of The New Republic and lives in Boston.

Most helpful customer reviews

8 of 9 people found the following review helpful.
Berryman's confessional poetry is poignant but tinged with warmth and irony
By Christopher Culver
Beginning in 1955, John Berryman began a long cycle of confessional poems, all following a strict form of three stanzas with six lines each. Eventually he produced 385 of them, and these were ultimately collected in The Dream Songs. But that full collection has so much material that it is overwhelming for anyone approaching this poetry, so the first collection, 77 DREAM SONGS, is worth examining on its own.

The protagonist of the Dream Songs is a man named Henry, whose last name is never pinned down. The first poem introduces this character and the state he finds himself in: "All the world like a woolen lover / once did seem on Henry's side. / Then came a departure. / Thereafter nothing fell out as it might or ought. I don't see how Henry, pried / open for all the world to see, survived." Berryman denied that depictions of Henry were autobiographical, but in fact the poems are clearly based on Berryman's own anguished life: feelings of romantic and sexual inadequacy, alcoholism, the travails of life in academia, temporary relief in travels in the Orient, and sorrow at the death of literary friends like Frost and Roethke (and lingering pain from the suicide of the poet's father decades before). Over these individual achings hangs a general existential one:

"Life, friends, is boring. We must not say so. / After all, the sky flashes, the great sea yearns, / we ourselves flash and yearn, / and morever my mother told me as a boy / (repeatedly) 'Ever to confess you're bored / means you have no // Inner Resources.' I conclude now I have no / inner resources, because I am heavily bored."

As much as Berryman/Henry's existence is plagued with doubt, his poetry is powerful. We can all identify with the loss and yearning expressed in these poems. And by applying his problem to this character named Henry, Berryman can sometimes stand aside from them and offer some humour. It is this humour that saves the collection from being grim to the point of absurdity, and the zaniness should appeal to a wide audience.

There is occasionally a second presence in these poems, that controversially speaks in the faux-African-American speech of 19th century minstrelry and addresses Henry always as Mr. Bones. This second personality is but another aspect of Henry/Berryman's own, and though Berryman is open to accusations of casual racism, he also clearly appreciates African-American English as a source of greater expressive possibilities in English. And there's another kind of linguistic virtuosity here, the confused syntax of the drunkard (and/or one half asleep -- these are "dream songs"): "When worst got things, how was you? Steady on? / Wheedling, or shockt her & / you have been bad to your friend, / whom not you writing to. You have not listened. / A pelican of lies / you loosed: where are you?"

And to quote one poem that contains all the features of which I've written, consider number 36:

"The high ones die, die. They die. You look up and who's there? / -- Easy, easy. Mr. Bones. I is on your side. / I smell your grief. / -- I sent my grief away. I cannot care / forever. With them all again & again I died / and cried, and I have to live.

-- Now there you exaggerate, Sah. We hafta die. / That is our 'pointed task. Love & die. / -- Yes; that makes sense. / But what makes sense between, then? / What if I roiling & babbling & braining; brood on why and / just sat on the fence?

-- I doubts you did or do. De choice is lost / -- It's fool's gold. But I go in for that. / The boy & the bear / looked at each other. Man all is tossed / & lost with groin-wounds by the grand bulls, cat. / William Faulkner's where?

(Frost being still around.)"

If you like some of the mid-20th century poets who grappled with torment and doubts, and were open about it, like Robert Lowell or Theodore Roethke, then the Dream Songs will probably provide many pleasures.

3 of 3 people found the following review helpful.
Beautiful and honest
By Francois Pointeau
I am reading “77 Dream Songs” by John Berryman out loud to myself. I find it is the only way to hear the music of his poems. I tried reading them silently, but I couldn’t understand them—they spoke nothing to me—and so I started reading them out loud in a scruffy voice while sipping on some dark coffee; and finally, I started to understand them; at a raw level of emotion, is where they speak to me, because for the most part, I don’t understand the words, or rather, I don’t understand their order, their syntax, their exterior meaning ... but the music, that’s where it’s at, the music of a very disenchanted heart. Beautiful and honest.

0 of 2 people found the following review helpful.
Five Stars
By Amazon Customer
Great shape!

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^ Download The Sorcerer's Apprentice: Picasso, Provence, and Douglas Cooper, by John Richardson

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John Richardson brings the same dazzling narrative style to this memoir as he did to Volumes I and II of A Life of Picasso. Robert Hughes called the second volume "a masterpiece in the making, the most illuminating biography yet written on a twentieth-century visual artist and the only one that can sustain comparison with Painter on Proust, Ellman on Joyce, or Edel on Henry James"; he also praised Richardson's "crispness of writing" and "impressive eye for the offbeat or scandalous detail." All these qualities conspire to make The Sorcerer's Apprentice a brilliant and fascinating chronicle.

This book is a sharply etched portrait of Douglas Cooper, the colorful Evelyn Waugh-like figure who single-handedly assembled the world's most important private cubist collection. It is also the story of Cooper and Richardson's association, which began in 1949 and came to fruition -- and ultimately disaster -- at the Chateau de Castille, the eighteenth-century colonnaded folly in Provence that they restored and filled with masterpieces by Picasso, Braque, Leger, and Juan Gris. Besides these artists and the women in their lives, Jean Cocteau, W. H. Auden, Cyril Connolly, Marie-Laure de Noailles, Helena Rubenstein, Peggy Guggenheim, and Anthony Blunt are just some of the figures who, through Richardson's insightful prose, leap off the page to appear before us in an entirely new light. A major revelation of the book is its portrait of Picasso in private; Richardson's friendship with the artist coincided with a period of dramatic change in the artist's life. Not since Gertrude Stein's The Autobiography of Alice B. Toklas has anyone given so intimate a picture of leading modern artists and their circle at work and play, or with such insight and understanding.

The flawless style, highly tuned sensitivity, and incisive wit of The Sorcerer's Apprentice make it one of the most entertaining and captivating memoirs of one of the great periods of artistic activity in this century.

• Sales Rank: #912179 in Books
• Published on: 1999-11-18
• Released on: 1999-11-18
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 1.33" h x 6.47" w x 9.47" l,
• Binding: Hardcover
• 336 pages

Amazon.com Review
Two quotations from Francis Bacon bookend this curious, exasperatedly affectionate memoir by John Richardson, distinguished art historian and 1991 Whitbread Award-winning biographer of Picasso: the prophetic "she'll try to lure you to bed, and then she'll turn on you. She always does," finds its uncanny conclusion in "Didn't I warn you she was a thoroughly treacherous woman?" The sorcerer (art collector Douglas Cooper) and his apprentice (Richardson) lived for 10 years in the grandiose "folly" Château de Castille in Provence, where they entertained a circle that included Pablo Picasso, Jean Cocteau, Angus Wilson, Tennessee Williams, and a range of other usual suspects from that period's artistic fraternity. When Richardson left Cooper for the lights of New York, Cooper, in the great tradition of spurned lovers, burned Richardson's remaining possessions, stole his paintings, denounced him to friends and employers, and even attempted to arrange his arrest by Interpol. Cooper was a duplicitous, sadistic bully (among his more outrageous acts was loudly booing the queen outside Westminster Abbey at her coronation). But his deep knowledge of art history and classical cubism and his pioneering collecting of the works of Picasso, Braque, Léger, and Gris were an essential counterpoint to the staid policy of the Tate Gallery and its director, Sir John Rothenstein, for whom he held a deteriorating scorn. Richardson's delight in reviewing this formative period reignites the fire in Cooper flaring nostrils and borrows some of its flame to stoke what is arguably an enriching addendum to his Picasso magnum opus, which, appropriately, bears a dedication to his old sorcerer. --David Vincent, Amazon.co.uk

From Publishers Weekly
Richardson is the acclaimed biographer of Picasso, so his gossipy, candid memoir of his 12-year affair with cubist art collector Douglas Cooper (1911-1984) and their doings as part of Picasso's inner circle is something of an art-world event. Painter-turned-critic Richardson first became involved with flamboyant art historian Cooper in 1949, when he was 25 and Cooper 38. Together they moved into and restored a dilapidated 16th-century chateau in Provence, filling it with pictures by Klee, L?ger, Mir? and Picasso. In Richardson's withering, occasionally bitter portrayal, CooperAthe mentor who opened up the world of modern art to himAis presented as abusive, vainglorious, vindictive, viciously competitive, a Jekyll/Hyde whose bright, sweet exterior masked a cauldron of envy, resentment and rage. Though Richardson describes their stormy relationship as one held together by a passionately shared experience of works of art, one wonders why they stayed together so long if Cooper was truly so horrible. Through Richardson's eyes, we see Picasso as a protean genius turning out paintings, prints, sculpture and ceramics on a grand scale, but also as an egocentric, misogynistic sadist. One spurned mistress, Dora Maar, sobs over Picasso's brutally anatomic, erotic drawings of her, while another mistress (later his wife), Jacqueline Roque, is pathetically subservient and self-sacrificial, turning to drink for consolation. Splendidly illustrated with 121 photographs and art reproductions, this vivid reminiscence shines with its firsthand glimpses of painters Francis Bacon, Georges Braque, Graham Sutherland, poets W.H. Auden and James Schuyler, art historian/spy Anthony Blunt, Bernard Berenson, Jean Cocteau, Isaiah Berlin and many more. First serial to Vanity Fair. (Dec.)
Copyright 1999 Reed Business Information, Inc.

From Library Journal
In this remarkably candid memoir, the author of the ongoing, acclaimed A Life of Picasso recounts his own life with Douglas Cooper, his mentor in post-World War II France. Richardson was a young man when he met Cooper and became his confidante. Cooper renovated a villa in Castille, which became a social hub; his collection of cubist art was the best private collection in the world, and his opinions were widely sought after. Moreover, Cooper's exotic behavior earned him a favored place in Picasso's court, and Cooper and Richardson's friendship with the artist yielded many treasured gifts. It also gave the author a behind-the-scenes look at the art world and high society. But there was a dark side to Cooper, related by Richardson rather objectively, considering that when Richardson moved to America Cooper burned all his belongings. Perhaps the keenly observed Sorcerer's Apprentice signals a change in future volumes of A Life of Picasso, reflecting first-hand experiences more than secondary sources. Art watchers will revel in this seamless account, and the many illustrations and photographs add a personal touch to a public dialog. Recommended for general as well as specialized collections.
---Ellen Bates, New York
Copyright 1999 Reed Business Information, Inc.

Most helpful customer reviews

17 of 18 people found the following review helpful.
Delicious/Malicious Fun, by fermed
By Fernando Melendez
John Richardson has set aside his scholarly masterpiece (A Life of Picasso: Volumes I & II completed, Volumes III & IV eagerly awaited)to produce something bubbly and light; it is not soda-pop, though, but vintage champagne. Far different from the careful and meticulous research of his Picasso oeuvre, The Sorcerer's Apprentice is a welcome intermission and a clearing of the palate.
Richardson writes about himself and his friends, and especially about his love affair with Douglas Cooper ("The Sorcerer" of the title), art collector, critic and expert on cubism from whom Richardson learned a great deal, both good and bad.The book illuminates not only the relationship between the older, impossible, Cooper and his young apprentice, but also back lights aspects of Picasso, Braque, Lèger and Juan Gris as they are reflected in the tumultuous lives of that odd couple.
The author is an inveterate gossip, as good biographers should be. He likes to tell the little details that deflate or humanize others. He does not have the malice of Capote (although sometimes he comes close), and he is obviously too amiable and forgiving to twist the knife or seek idle revenge.
One cannot be sure about the motives that led to putting out this light froth between the serious stuff; I am glad it is out there, though, and glad I read it. Being taken into Mr. Richardson's confidence and getting to know him will make the enjoyment of his next Picasso volumes all the more intense.

11 of 12 people found the following review helpful.
New and fascinating views of Picasso and cubism.
By Midwest Book Review
Richardson's fine survey of Douglas Cooper, who assembled the world's most important private cubist collection, provides an excellent consideration of both the man and his involvement in the arts and Richardson's personal involvement with Cooper's works. Chapters offer new views of Picasso based on Richardson's friendship with the artist, plus many other unusual insights on artists and works of the times. Highly recommended.

5 of 5 people found the following review helpful.
Astonishing cultural history
By Bradley F. Smith
By Picasso's most distinguished biographer, this memoir of life in Provence in the 1950s with art collector Douglas Cooper mesmerizes with its cast of quirky characters. The inside glimpses of Picasso at work and play are the book's highlight, but one can't underrate other protraits of the arts intelligentsia of the time. Many great candid photos enhance the superbly written text. Why did Richardson stay with Cooper for more than a decade if Cooper, the world's first huge cubist collector, was as horrid a person as portrayed? That's unanswered, and Cooper is long dead and unable to defend himself. Both men, not quite closeted gays in the '40s and '50s, were esteemed companions for some of the era's greatest creatives, so one must temper this acidic portrait with a bit of doubt. Well worth reading even if you haven't looked into the author's Picasso bio, still in progress.

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Now at last in one volume, Michael Crichton's Jurassic Park and The Lost World--the two incomparably suspenseful, supremely scary, utterly unputdownable, worldwide best-selling return-of-the-dinosaurs novels, which together constitute Jurassic World.

• Sales Rank: #423394 in Books
• Brand: Knopf
• Published on: 1997-09-30
• Released on: 1997-09-30
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 1.87" h x 6.67" w x 9.59" l,
• Binding: Hardcover
• 816 pages

Features

• Great product!

About the Author
Michael Crichton was born in Chicago in 1942. His novels include The Andromeda Strain, The Great Train Robbery, Congo,
Rising Sun, Disclosure, and Airframe. He is also the creator of the television series ER.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Two Stars
By Sharri Nicholson
This book smelled terrible. Like it had sustained water damage.

6 of 9 people found the following review helpful.
A Must-Have If You Like the Films
By Roland Dark
Michael Crichton's popular Jurassic Park novels that spawned two blockbuster motion pictures are together, uncut and unabridged, in this spectacular book. If you liked either one of the Steven Spielberg films, this is definitely a must-have, both as companion for the films and for its literary value.
I am part of the iconoclastic ilk who believe a film can be better than the book. Michael Crichton's "Jurassic Park" is an example. And that is not knocking Michael by any means. The novel - written three years before the film version - is packed with far more scientific facts, fascinating theories, and interesting techno-babble than the motion picture ever could. Reading "Jurassic Park" is almost like a crash course in paleontology and DNA. However, that aspect of the book giveth and taketh away. Too often it gets bogged down in a superfluity of sometimes boring scientific jargon. The last 15% of the book is slow-going, and the ending is anticlimactic. But there are plenty of adventure/suspense elements and compelling characters (most of which appear in the film) that made this so attractive for motion picture studios. Crichton has a keen ability to delineate vivid images of the dinosaurs. He also has a knack for writing amusing dialogue. The computer screen illustrations lend much-needed visual aid, and it is fun to watch the fractals of Ian Malcolm's "Chaos Theory" grow from chapter to chapter. The pros (and prose) of this book far outweigh the cons.
Now, all those literary purests should be pacified. I think "The Lost World" is far superior to the film (of course, it is almost impossible for it not to be). This is one of those rare books that I actually have trouble putting down before I finish - spent thirteen hours straight reading it. If you can get through an oppressive section early on, the rest of the book is fast-paced and compelling. The plot of the novel is far more credible than the film, and is spared that ridiculous scene in which tyrannosaurus rex wreaks havoc in San Diego. Interestingly, there are fewer characters in the book than in the film. Jack Thorne almost seems like a reverse composite character. A lot of the dialogue in "The Lost World" is comic book caliber, and Crichton occasionally digresses into the tedious scientific lectures prevalent in "Jurassic Park", but not nearly to the same extent. Overall, the "Jurassic World" book is a fine read.

6 of 7 people found the following review helpful.
Two Great Books In One Volume
By Bill R. Moore
This omnibus has two of the greatest novels of all-time in one volume: Jurassic Park, and the Lost World. But of course you already knew that. If you want to know my opinions on the individual books then look up my reviews for them, but I can tell you that these are two awesome books and each so much better than the (by no means bad) movies. And they're in one volume! If you don't yet own these two books, this is the best way to purchase them, as it is cheaper. On the other hand, if you already own or have read these two novels there is absolutely no reason to purchase this one, as it has nothing new except for slightly different packaging.

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@ Free Ebook The Man with Night Sweats: Poems (FSG Classics), by Thom Gunn

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The Man with Night Sweats is a haunting depiction of a world ravaged by illness that is part elegy for those who have been lost and part evocation of the changes that await those who survive. It is also one of the few works of literature that have fully met both the aesthetic and the moral challenges that the AIDS epidemic poses. The nobility and sobriety of Thom Gunn's forms enhance and underscore the gravity and pathos of his subjects. The results have the cathartic and healing power of great art.

• Sales Rank: #424757 in Books
• Published on: 2007-04-17
• Released on: 2007-04-17
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .26" w x 5.50" l, .32 pounds
• Binding: Paperback
• 112 pages

Amazon.com Review
In the title poem of Thom Gunn's The Man with Night Sweats, the speaker wakes from a nightmare of "mind reduced to hurry" and "flesh reduced and wrecked." In this haunting prelude to his laments for friends lost to AIDS, he explores his own body for damage, and concludes, Hugging my body to me
As if to shield it from
The pains that will go through me,

As if hands were enough
To hold an avalanche off.
As this avalanche of tragedy begins to slide down the hills of Gunn's adopted San Francisco, the poems themselves change form. They cascade from the elegiac couplets of "The J Car," about the decline of a gym owner, into the harrowing free verse of "In Time of Plague," in which the speaker remembers being too "afraid of the strength / of my own health" to indulge with "Brad and John, these fiercely attractive men / who want me to stick their needle in my arm." Gunn's understated emotional weariness is especially compelling when read alongside the book's many songs of innocence. The simple "Seesaw," for example, provides an ars poetica that applies equally to life: "So it ends / as it begins. / Off we climb / And no one wins." Although the specter of plague stands behind much of the book, he maintains the tense prosodic trajectory he's followed since 1954's Fighting Terms. His long California residency aside, Gunn writes the best British poetry of his generation, and The Man with Night Sweats is his finest book to date. --Edward Skoog

Review
"The tension of Gunn's famous earlier poems, which adventurously drew on classical themes (Achilles and Patroclus), pop icons (Presley and Brando), and existential extremes, has, in his first new collection in ten years, become muted and commemorative . . . Gunn moves with a colloquial ease and a kind of epigrammatic grace through a variety of quatrains, coupleted monologues, Skeltonic variations, and occasional free verse."--John Updike," The New Yorker
"The great and undeniable potency of The Man with Night Sweats comes from the poet's huge restraint, as much as from his tragic subject matter . . . The Man with Night Sweats shows a poet at the top of his form, gathering his world into art without ever choking off passion. The formidable craft behind these poems--the metrical, syllabic, and rhyming intricacy--is translucent, but there to buoy the emotion like an invisible net."--Matthew Gilbert, "The Boston Globe
"Perhaps his most wary, moving, personal book to date. It is a forceful reminder that Gunn . . . is one of the most singular and compelling poets in English during the past half-century . . . He writes of and from the modern climate, as if wholly at home here; these new poems have a claim to be some of the most authentic occasional poems of our time."--Hugh Haughton, "The Times Literary Supplement
"What Gunn is continually attempting to grasp or understand in this book is the condition of those around him, strangers and lovers alike, and we treasure his tone of brotherly forbearance as he makes his way . . . Gunn is a definatly unsuitable poet--a formalist who often writes in free verse, an Englishman living in America, an autobiographical poet whose subjectselude the self . . . The book, divided into four sections, begins with poems boldly erotic and ends at 'death's door' . . . Yet amid all this astringent life experience, astonishingly, a profound hope emerges."--Henri Cole, The Nation

About the Author

Thom Gunn (1929–2004) was born in England but lived in San Francisco for most of his life. He was the author of two volumes of essays in addition to his volumes of poetry.

Most helpful customer reviews

5 of 6 people found the following review helpful.
Gunn with Feeling!
By Joseph J. Hanssen
Thom Gunn's "Night Sweats" is one of his finest books of poetry. He is a master at writing lines that are so rhythmatic and flowing. These poems deal with AIDS and also drug use. They are not easy to read, and very sad at times. But they deal with problems and subjects most of us have had to face in the last 20 years, whether we liked it or not. There is true feeling and honesty here. I especially enjoyed "In the Time of Plague" and "Memory Unsettled."
I recommend this book as part of your permanent collection to be read again and again. Thom Gunn's poetry is the best.

6 of 7 people found the following review helpful.
Beautiful, sad, and moving poetry
By William Krischke
Thom Gunn is a masterful poet, and this is a book full of beauty and pain. Many of the poems deal directly with AIDS, many (such as the title work) with heroin use. And yet they are not preachy, or sentimental. He is in firm control of difficult subject matter.
Also pleasing is his use of rhythm and meter -- Gunn is one of apparently few modern poets who still writes powerfully within a given meter and rhyme scheme.
Not light or easy reading, these poems are sad and sobering. Tears are advised but not required.

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From one of the great comic innovators, the long-awaited fulfillment of a pioneering comic vision. Richard McGuire’s Here is the story of a corner of a room and of the events that have occurred in that space over the course of hundreds of thousands of years.

(With full-color illustrations throughout.)

• Sales Rank: #22741 in Books
• Published on: 2014-12-09
• Released on: 2014-12-09
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 1.10" w x 6.75" l, 1.25 pounds
• Binding: Hardcover
• 304 pages

Amazon.com Review

An Amazon Best Book of the Month, December 2014: I love older buildings. I live in one now, and despite the single circuit electricity that shorts-out on a regular basis, the lack of insulation, and other aspects of its “charm,” the place has tales to tell. And I’m a sucker for stories. Who lived there before me? What were their lives like? Whose idea was it to paint the living room baby diarrhea green? But my limited imagination only goes back a hundred or so years, when the apartment was first built. In Here, groundbreaking graphic novelist Richard McGuire takes it much, much! further—visualizing the goings-on in a specific corner of a specific room over the course of hundreds of thousands of years (past, present, and future). The result is an orgy of the ordinary that is slyly clever and unexpectedly moving. McGuire first conceived of Here in 1989. It was a six-page comic whose influence ended up being as enduring as the room in which it is set. So, the arrival of this expanded edition is cause for much celebration in graphic novel circles, and as it turns out, in mine as well. I don’t typically read graphic novels, but Here is anything but typical. And, when I sit in my little corner of the world, I’m envisioning the future for a change—all the book-loving brethren who will inhabit that space after me, who I hope will discover and delight in Here, too. –Erin Kodicek

Review
**A New York Times Notable Book of 2015**

Luc Sante, The New York Times Book Review
“Brilliant and revolutionary…. In “Here,” McGuire has introduced a third dimension to the flat page. He can poke holes in the space-time continuum simply by imposing frames that act as trans­temporal windows into the larger frame that stands for the provisional now. “Here” is the ­comic-book equivalent of a scientific breakthrough. It is also a lovely evocation of the spirit of place, a family drama under the gaze of eternity and a ghost story in which all of us are enlisted to haunt and be haunted in turn.” 

Chris Ware, The Guardian
“A book like this comes along once a decade, if not a century…. I guarantee that you’ll remember exactly where you are, or were, when you first read it.”

Jennifer Schuessler, The New York Times
“Getting from here to there can be hard enough. But it has taken Richard McGuire 25 years to do something even more complicated: get form here to here….the book promises to leapfrog immediately to the front ranks of the graphic-novel genre.”

Etelka Lehoczky, npr.com
“The magic of Here is that somehow, alchemically, this sparse little exercise begins to yank on your emotions. As your eye lurches around the page, as you flip back and forth between pages, an irresistible sentiment swells. Rare among conceptual works, Here manages to tug your heart even as it undercuts your comfortable role of reader.... Meanwhile, though, the past and present humans continue their tender little lives. Telling stories, playing, making love — what will be their fate? That’s just one of the countless questions Here leaves unanswered. Even so, it’s deeply satisfying. Kind of like a story that never ends.”

Marnie Kingsley, San Antonio Current
“Imaginative and ingenious, Here transcends the canon of traditional graphic novels. McGuire discusses the inconsistencies of memory, a central theme of Speigelman’s Maus series. He readapts the labyrinthine quality of Alison Bechel’s Fun Home and focuses on the small moments of everyday experience, similar to parts of Craig Thompson’ autobiographical graphic novel Blankets. However, Here retains almost no qualities of a novel: It is non-linear, there are no distinct characters, apart from the space, and there is no plot. Despite these seemingly large hurdles, McGuire produces a reading experience that is emotional, thought-provoking and interactive.... A brisk and brilliant read, Here combines genres and styles in a meditation on impermanence and the processes of memory.”

Financial Times
“McGuire is able to wring a surprising array of emotions from simple lines and blocks of muted colour interspersed with deliberately hackneyed jokes and the uncanny wisdom of the everyday. And the non-chronological arrangement seems faithful to how consciousness really works, the way we shape and reshape the story of ourselves by editing and re-editing highlights from our lives. I found it compelling to shuttle around in time to discover how earlier events informed later ones. Midway through the book one character says to another: ‘Life has a flair for rhyming events.’ Clearly, McGuire does too.”

Straight.com
“Even as the ground beneath your feet falls away, McGuire creates poetry out of the echoes that’s both playful and moving.”

Minneapolis Star Tribune
“For the long-awaited book-length ‘Here,’ McGuire adds lavish color and some plot, but he preserves the captivating, uncanny sense of love, anger and tragedy flying across the centuries while staying in one place.”

Dominicumile.com
“A new, full-color graphic novel version of Here is stunning. Over more than three hundred pages, McGuire revisits and rebuilds his original strip with flashy interiors set in vivid pastels, and landscape sequences fleshed-out in moody watercolors, computer software-built textures, and sketchy pencil lines….. memorable and executed wonderfully”

Patrick Lohier, Boingboing.net
“I soon found myself immersed and often moved. Here has the surprising depth as a magician’s top hat. The combination of the surreal and the nostalgic are mesmerizing. The book is an ingenious epic of time and space, and I think readers everywhere, and of many ages, will find it delightful.”

Publishers Weekly (starred review)
“Expanding on an influential piece that first appeared in Raw in 1989, McGuire, best known for his illustrated children’s books, explores a single patch of land (apparently in Perth Amboy, N.J.) over the course of millions of years…. The flat, hard lines produce art that looks like an approximation of Edward Hopper’s clean bright paintings, created on an outdated computer program. McGuire threads miniplots and knowing references through his hopscotch narrative, building up a head of steam that’s almost overwhelmingly poignant. His masterful sense of time and the power of the mundane makes this feel like the graphic novel equivalent of Terrence Malick’s The Tree of Life.”
 
Kirkus Reviews (starred review)
“Later spreads flash with terrible and ancient supremacy, impending cataclysm, and distant, verdant renaissance, then slow to inevitable, irresistible conclusion. The muted colors and soft pencils further blur individual moments into a rich, eons-spanning whole. A gorgeous symphony.”

Booklist (starred review)
“McGuire’s quiet artwork in a subdued full-color palette reveals nuanced gestures beautifully, sometimes with precise lines, others in sketchy sepia tones, all of which emphasize the passage of time. The concept is stunningly simple, and in laying bare the universality of existence—its beauty, ugliness, and mundanity—it is utterly moving.”

About the Author

Richard McGuire is a regular contributor to The New Yorker. His work has appeared in The New York Times, McSweeney’s, Le Monde, and Libération. He has written and directed for two omnibus feature films: Loulou et Autre Loups (Loulou and Other Wolves, 2003) and Peur(s) du Noir (Fear[s] of the Dark, 2007). He has also designed and manufactured his own line of toys, and he is the founder and bass player of the band Liquid Liquid. The six-page comic Here, which appeared in 1989 in Raw magazine, volume 2, number 1, was immediately recognized as a transformative work that would expand the possibilities of the comic medium. Its influence continues to be felt twenty-five years after its publication.

Most helpful customer reviews

45 of 47 people found the following review helpful.
Fascinating!
By emmejay
I received this yesterday and picked it up last night, just to look at the first pages until I could properly read it later, and (sigh) after a couple hours of fascinated immersion, I turned the last page. Wonderful. It's an entirely graphic (well, maybe 1% words) exploration of what might have happened on the site of what is, in 2014, a corner in an American home's living room. It's presented in a non-linear / non-chronological narrative from the gassy soup of 3-billion years ago through extinct animals to a future (no spoilers here) 22,000+ years from now. Numerous cultures are touched upon -- e.g. natives and colonials, but the emphasis is on the 20th-century -- all replete with period clothing, furnishings, language, technology and activities. Little plots develop through short vignettes, but there is much to miss and much to catch on a second (or tenth) reading.

I grew up in a hundred-year-old house and now live in another one -- different town, different state. I often wonder about the previous occupants and furnishings, most recently about those in the time of WWI. This book inspires me to turn my curiosity into action by looking at local historical records.

16 of 17 people found the following review helpful.
Superb graphic meditation on the passage of time
By Michael Engel
I’m probably not the only one who often wonders, “What was here 1000 years ago? Or 10,000? Or even a million?” Richard McGuire has done a marvelous job of translating that spark of historical imagination into art. I am a big fan of graphic fiction and nonfiction. That genre has undergone an explosion of creativity in the last twenty or thirty years unmatched in other cultural domains such as American fiction and popular music. “Here” is a perfect example.

What I like most about this work is McGuire’s choice of “snippets” in time. Most of us think only of major historical events and personalities: ’”George Washington slept here”. Well, he does some of that--Benjamin Franklin makes an appearance. But he mixes that in with the tiniest and least momentous fragments of ordinary life, whether it’s an American Indian woman going for a swim in the 1300's, family photo sessions over a period of time in the middle of last century, or a cat stopping to lick its paw in 1999. He goes back three billion years in time, and also teases us with imagined glimpses into the future. There are pieces of conversations represented only by speech balloons, forcing one to imagine what the context might have been. All of this is endlessly fascinating and demands repeated reading to digest all the subtleties.

“Here” is just plain brilliant.

7 of 7 people found the following review helpful.
Brilliant depiction of temporal complexities; a visual epic
By Genevieve D.
Back in the pre-digital camera days, keeping photos was an archivist ritual. Mine were always scattered in old, musty albums or clipped together in random piles with rubber bands and tossed in shoe boxes hastily labelled, to be forgotten and discovered and forgotten again. Things were in no particular order; sets were often shuffled together like playing cards. Today with Instagram and Flickr and all sorts of similar services, it's easy to create slideshows and to categorize everything using tags and hashtags, and location markers. It's easy and orderly, everything marked in its place. I sort of miss the old way, the scattered photos with their intimate chaos.

HERE by Richard McGuire takes that concept of chaotic chronologies and fragmented memories and creates an intriguing, high-concept graphic novel that captures that shifting, fluidity of time. He does this by telling the story of what happens in one room, in one location, in one house throughout the ages. It's a weirdly compressed, claustrophobic focal point and setting, which is ironic because McGuire takes us traveling through time even as we stay within the walls of this room. We get snapshots—literally as if someone were standing in one spot and snapping photos—from every age imaginable: 1971, 1957, 1999, 100,097 BC, etc.; early man, the colonial period, the fifties, the seventies, the eighties, the 'present,' and so on. McGuire gives us easter egg glimpses of these moments and as the panels build, they build in temporal complexity too. You'll see one spot of the room set in 1933, and another set in 1979.

What's so thrilling about his visual style of storytelling is how the narrative busts out of the familiar left-to-right/up-and-down tracking. Your eye is forced to roam and—if you have a good visual memory or a knack for time traveling detective work—to keep track of all the different, ever-shifting moments. Time shifts not only year to year but over time within those years. To make things easier, McGuire uses consistent color schemes for particular time periods. The drawing is done with colored pencils and water color; in fact, it feels almost rushed in parts. Stylistically, I prefer more detailed and lush work, but aesthetics aside, this graphic novel is so conceptually innovative that it could have been drawn in stick figures and I'd still have been entranced.

Expect 300-plus pages of compounding, intertwining, and fused lifetimes and stories. There's a kind of echo-chamber aspect to it, too, that's hard to describe, a thrum that's supposed to embody life from both a historical and poetical standpoint, I think. It's both distant and intimate. The cast is an ensemble, so we're not meant to focus on just one POV. It's just us, I think, our viewpoint as readers.

HERE is a bold vision, a matrix of histories and futures, something we never really take the time to grasp—the continuum of it all—and here it is tackled in a graphic novel of all things. This book will make you feel small—in a good way. Our individual place in time is just a combustible moment, and yet it matters. Places and things existed long before us and will go on and persist long after we're gone.

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>> Download Ebook Marlene Dietrich: Photographs and Memories, by Marlene Dietrich Collection

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Marlene Dietrich never threw away anything.

She kept her good-luck black rag doll (it appeared with her in The Blue Angel and followed her to dressing tables on every movie set). She kept the letters (every last one) she received from her lovers and her husband of fifty-three years. She kept every article of clothing made for her by the great French couturiers and the legendary Hollywood costume designers. She kept everything.

And she believed in storage. Six storage companies, from New York to California, London, and Paris, held pieces of Miss Dietrich’s life, locked away for decades like the pieces of the life of Charles Foster Kane. Over the years, hundreds of thousands of dollars were paid in rental fees. After Dietrich’s death, the articles were gathered together—twenty-five thousand objects and eighteen thousand images. Some were auctioned at Sotheby’s in Los Angeles. The major pieces of Dietrich’s vast collection were assembled in an archive and given to the FilmMuseum Berlin.

Now, her treasures are brought together in 289 photographs from her own collection, with extended captions by her daughter, Maria Riva.

We see Dietrich as a child, in velvet dress and golden ringlets...Dietrich as a young actress in Berlin...as the newly married Mrs. Rudolf Sieber, standing proudly with her husband. We see love letters and letters marking the ends of affairs. We see Dietrich in Hollywood...with Chaplin...with Fritz Lang...at the Paramount commissary...Dietrich captured in snapshots by her movie-creator, Josef von Sternberg...Dietrich as a mother.

We see her at war...in never-before-published photographs of a USO tour...in uniform (tailor-made for her, of course) disembarking from a transport plane...Dietrich with the 82nd Airborne...Dietrich rolling into Germany in
a U.S. tank.

Here she is with her directors and fellow actors: Katharine Hepburn, Claudette Colbert, Judy Garland, John Wayne, Ernst Lubitsch, Clark Gable, Cary Grant, Tyrone Power. Here are portraits of her by Cecil Beaton, Horst P. Horst, Milton Greene, John Engstead. And here is Marlene, shimmering, in Las Vegas, the consummate performer, and at the Palladium in London, triumphant!

• Sales Rank: #1006438 in Books
• Published on: 2001-11-20
• Released on: 2001-11-20
• Original language: English
• Number of items: 1
• Dimensions: 10.47" h x 1.15" w x 10.51" l,
• Binding: Hardcover
• 304 pages

From Publishers Weekly
Dietrich fans, sit up and take notice. Marlene Dietrich: Photographs and Memories, compiled by Jean-Jacques Naud and captioned by Maria Riva, offers hundreds of photographs of the pack rat's possessions (her dog tags, her cigarette case, her clothing and letters to and from lovers), and, of course, snapshots and publicity stills of the incomparable Dietrich herself (in her "Eisenhower battle jacket" and in her gowns and jewels). Touching reminiscences from Josef von Sternberg and Jean Cocteau, among others, round out this valuable addition to the wealth of books dedicated to the German actress who became one of America's greatest icons.

Copyright 2001 Cahners Business Information, Inc.

From Library Journal
Legendary actress Marlene Dietrich is honored in this beautiful coffee-table book, which is introduced by brief recollections from director Josef von Sternberg, Orson Welles (who worked with her in Touch of Evil), Ernest Hemingway, and others. The Film Museum of Berlin contains 25,000 objects and 18,000 images related to Dietrich, and this book is like a museum exhibition held expressly for Dietrich lovers. It is divided into sections such as "Portraits," "Beads, Furs, and Feathers," and "Possessions" and displays her dresses and accessories in pristine condition, alongside excerpts from letters and diaries. Daughter Maria Riva (author of a 1994 biography, Marlene Dietrich) provides extended captions to the many photographs of the actress and her belongings. Also included are a filmography, theatography, concertography, discography, and collection inventory with exhibitions. Recommended for film collections. Barbara Kundanis, Batavia P.L., IL
Copyright 2001 Reed Business Information, Inc.

From the Inside Flap
Marlene Dietrich never threw away anything.

She kept her good-luck black rag doll (it appeared with her in The Blue Angel and followed her to dressing tables on every movie set). She kept the letters (every last one) she received from her lovers and her husband of fifty-three years. She kept every article of clothing made for her by the great French couturiers and the legendary Hollywood costume designers. She kept everything.

And she believed in storage. Six storage companies, from New York to California, London, and Paris, held pieces of Miss Dietrich?s life, locked away for decades like the pieces of the life of Charles Foster Kane. Over the years, hundreds of thousands of dollars were paid in rental fees. After Dietrich?s death, the articles were gathered together?twenty-five thousand objects and eighteen thousand images. Some were auctioned at Sotheby?s in Los Angeles. The major pieces of Dietrich?s vast collection were assembled in an archive and given to the FilmMuseum Berlin.

Now, her treasures are brought together in 289 photographs from her own collection, with extended captions by her daughter, Maria Riva.

We see Dietrich as a child, in velvet dress and golden ringlets...Dietrich as a young actress in Berlin...as the newly married Mrs. Rudolf Sieber, standing proudly with her husband. We see love letters and letters marking the ends of affairs. We see Dietrich in Hollywood...with Chaplin...with Fritz Lang...at the Paramount commissary...Dietrich captured in snapshots by her movie-creator, Josef von Sternberg...Dietrich as a mother.

We see her at war...in never-before-published photographs of a USO tour...in uniform (tailor-made for her, of course) disembarking from a transport plane...Dietrich with the 82nd Airborne...Dietrich rolling into Germany in
a U.S. tank.

Here she is with her directors and fellow actors: Katharine Hepburn, Claudette Colbert, Judy Garland, John Wayne, Ernst Lubitsch, Clark Gable, Cary Grant, Tyrone Power. Here are portraits of her by Cecil Beaton, Horst P. Horst, Milton Greene, John Engstead. And here is Marlene, shimmering, in Las Vegas, the consummate performer, and at the Palladium in London, triumphant!

Most helpful customer reviews

6 of 6 people found the following review helpful.
wonderful glimpse of a star
By C. Tolley
I simply had to have this book when I first heard about it, being the huge Dietrich fan that I am. I couldn't wait for it to arrive, and when it did come in, I ripped the box open. The book was truly worth the wait! Filled with photos of incredible costumes, rare "in-life" moments, private letters from lovers, this book helps create an understanding of "Dietrich", the person. No book, no film, no insight could ever truly capture all the many mysteries that exist in each and every person. In Dietrich, there seemed to be many more than usual. While not going into great depth as to why she had all those lovers, or how she learned to create and control her incredible image, the book does offer an amazing trip down Dietrich Lane, which any Marlene fan will absolutely adore. The book is well worth the price, as it fills 260 pages with 289 photos, many not seen before. A must-have for Dietrich fans!

0 of 0 people found the following review helpful.
Four Stars
By Lorraine
Some of it was very good. Arrived fast, excellent quality.

8 of 8 people found the following review helpful.
A vulnerable, more open Marlene
By A Customer
Here are images we've never seen before. The ones of her life on the front in W.W. II are amazing. Brave woman fighting for the US soldiers. And the picture of her in the bathtub is worth the book alone. The private dresses, her lingerie, her jewels -- these are amazing.

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