ufreydalebooks: July 2015

Wednesday, July 29, 2015

## PDF Ebook Blues Poems (Everyman's Library Pocket Poets)From Young, Kevin (EDT)

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Born in African American work songs, field hollers, and the powerful legacy of the spirituals, the blues traveled the country from the Mississippi delta to “Sweet Home Chicago,” forming the backbone of American music. In this anthology–the first devoted exclusively to blues poems–a wide array of poets pay tribute to the form and offer testimony to its lasting power.

The blues have left an indelible mark on the work of a diverse range of poets: from “The Weary Blues” by Langston Hughes and “Funeral Blues” by W. H. Auden, to “Blues on Yellow” by Marilyn Chin and “Reservation Blues” by Sherman Alexie. Here are blues-influenced and blues-inflected poems from, among others, Gwendolyn Brooks, Allen Ginsberg, June Jordan, Richard Wright, Nikki Giovanni, Charles Wright, Yusef Komunyakaa, and Cornelius Eady. And here, too, are classic song lyrics–poems in their own right–from Bessie Smith, Robert Johnson, Ma Rainey, and Muddy Waters.

The rich emotional palette of the blues is fully represented here in verse that pays tribute to the heart and humor of the music, and in poems that swing with its history and hard-bitten hope.

Sales Rank: #236149 in Books
Brand: Young, Kevin (EDT)
Published on: 2003-09-02
Released on: 2003-09-02
Original language: English
Number of items: 1
Dimensions: 6.49" h x .70" w x 4.43" l, .52 pounds
Binding: Hardcover
256 pages

From the Inside Flap
Born in African American work songs, field hollers, and the powerful legacy of the spirituals, the blues traveled the country from the Mississippi delta to "Sweet Home Chicago," forming the backbone of American music. In this anthology--the first devoted exclusively to blues poems--a wide array of poets pay tribute to the form and offer testimony to its lasting power.
The blues has left an indelible mark on the work of a diverse range of poets: from "The Weary Blues" by Langston Hughes and "Funeral Blues" by W. H. Auden, to "Blues on Yellow" by Marilyn Chin and "Reservation Blues" by Sherman Alexie. Here are blues-influenced and blues--inflected poems from, among others, Gwendolyn Brooks, Allen Ginsberg, June Jordan, Richard Wright, Nikki Giovanni, Charles Wright, Yusef Komunyakaa, and Cornelius Eady. And here, too, are classic song lyrics--poems in their own right--from Bessie Smith, Robert Johnson, Ma Rainey, and Muddy Waters.
The rich emotional palette of the blues is fully represented here in verse that pays tribute to the heart and humor of the music, and in poems that swing with its history and hard-bitten hope.

About the Author
KEVIN YOUNG is the author of ten books of poetry, including Book of Hours, winner of the Lenore Marshall Poetry Prize from the Academy of American Poets and a finalist for the Kingsley Tufts Award; Ardency: A Chronicle of the Amistad Rebels, winner of a 2012 American Book Award; and Jelly Roll: A Blues, a finalist for the National Book Award. He is also the editor of The Hungry Ear: Poems of Food & Drink and seven other collections. His book The Grey Album: On the Blackness of Blackness won the Graywolf Nonfiction Prize, was a New York Times Notable Book and a finalist for the National Book Critics Circle Award for criticism, and won the PEN Open Book Award. He is currently the Charles Howard Candler Professor of Creative Writing and English and curator of both Literary Collections and the Raymond Danowski Poetry Library at Emory University.

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0 of 0 people found the following review helpful.
Five Stars
By Belaid Amine
I love it!!!

1 of 1 people found the following review helpful.
I enjoy the cultural and social history behind them
By Nick and Lauren
While I'm not much of a blues girl, I enjoy the cultural and social history behind them. This is a fine collection - although they left out Billie Holiday on the grounds she's more jazz than blues, which was slightly vexing. But, that's a personal issue. I found this to be a fine, well-rounded collection. Young's introduction about blues was an excellent start to a collection that includes song lyrics, poems about the blues, and poems about blues singers, all from the beginning of the blues to recent years. For anyone interested in blues, Black culture in the 1930s and 40s, poetry, or Black history, this is an excellent choice. A well-done collection.

0 of 0 people found the following review helpful.
Five Stars
By Sandra McPherson
This work should be made part of everyone's blood-and-bones-and-brain: the most essential poetry, wisely collated by Kevin Young.

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Tuesday, July 28, 2015

> Download Ebook The Dialectic of Sex: The Case for Feminist Revolution, by Shulamith Firestone

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"No one can understand how feminism has evolved without reading this radical, inflammatory second-wave landmark." ―Naomi Wolf

Originally published in 1970, when Shulamith Firestone was just twenty-five years old, and going on to become a bestseller, The Dialectic of Sex was the first book of the women's liberation movement to put forth a feminist theory of politics.

Beginning with a look at the radical and grassroots history of the first wave (with its foundation in the abolition movement of the time), Firestone documents its major victory, the granting of the vote to women in 1920, and the fifty years of ridicule that followed. She goes on to deftly synthesize the work of Freud, Marx, de Beauvoir, and Engels to create a cogent argument for feminist revolution. Identifying women as a caste, she declares that they must seize the means of reproduction―for as long as women (and only women) are required to bear and rear children, they will be singled out as inferior. Ultimately she presents feminism as the key radical ideology, the missing link between Marx and Freud, uniting their visions of the political and the personal.

In the wake of recent headlines bemoaning women's squandered fertility and the ongoing debate over the appropriate role of genetics in the future of humanity, The Dialectic of Sex is revealed as remarkably relevant to today's society―a testament to Shulamith Firestone's startlingly prescient vision. Firestone died in 2012, but her ideas live on through this extraordinary book.

Sales Rank: #145908 in Books
Published on: 2003-03-05
Released on: 2003-03-05
Original language: English
Number of items: 1
Dimensions: 8.14" h x .66" w x 5.55" l, .45 pounds
Binding: Paperback
240 pages

Review

“The Dialectic of Sex is a must-have for those interested in feminist theory, both past and present. It's reappearance now, during yet another period of 'ridicule' towards women's rights, is perhaps even more pertinent than its first publication.” ―Kathleen Hanna, founding member of the Riot Grrrls movement

“The Dialectic of Sex is a truly visionary work. Thirty years later, many of Firestone's ideas remain startlingly relevant, making Dialectic essential reading not only for its value as feminist history but its contribution to feminism's future.” ―Lisa Miya-Jervis, editor and publisher Bitch: Feminist Response to Pop Culture

“Although Gen X women like to fancy ourselves the "freshmakers" of feminism, Shulamith Firestone reminds us that sisters have been "keeping it real" long before that expression was even invented. These power-packed chapters are live and direct, with a cultural shelf life that spans well into our times.” ―Ophira Edut, editor Body Outlaws: Young Women Write about Body Image and Identity, founder and publisher HUES magazine

About the Author

Shulamith Firestone was a founder of the women's liberation movement and editor of Notes, a journal of radical feminism. She lives in New York City.

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0 of 0 people found the following review helpful.
Five Stars
By Astroman
great

11 of 12 people found the following review helpful.
ONE OF THE MOST IMPORTANT WORKS OF THE "SECOND WAVE" OF FEMINISM
By Steven H Propp
Shulamith Firestone (born 1945) is a Jewish, Canadian-born feminist, who was a founding member of the New York Radical Women, Redstockings, and New York Radical Feminists.
Here are some quotations from this 1970 book:

"Freudianism subsumed the place of feminism as the lesser of two evils." (Pg. 69)
"Women and children are always mentioned in the same breath... The special tie women have with children is recognized by everyone. I submit, however, that the nature of this bond is no more than shared oppression." (Pg. 81)
"Racism is a sexual phenomenon... racism is sexism extended." (Pg. 122)
"I draw three conclusions based on these differences: 1) That men can't love... 2) That women's 'clinging' behavior is necessitated by their objective social situation. 3) That this situation has not changed significantly from what it ever was." (Pg. 152)
"I submit, then, that the first demand for any alternative system must be: 1) The freeing of women from the tyranny of their reproductive biology by every means available, and the diffusion of the childbearing and childrearing role to the society as a whole, men as well as women... 2) The full self-determination, including economic dependence, of both women and children... 3) The total integration of women and children into all aspects of the larger society... 4) The freedom of all women and children to do whatever they wish to do sexually." (Pg. 236)

10 of 12 people found the following review helpful.
the best book on the feminist revolution ive ever read
By toby
i wish they would re release this book. its by far my favorite feminist book. unfortionatly you either have to search really hard (i found mine in a bargain lot in an auction) or pay out the ear for it. It is to me the most important book in womens studies i have found. that and the feminine mystique. its also never been released on kindle (hint hint amazon, id so love to have it on there because my copy is probably as old as the movement it was written on jk).
people go to feminism for a multitude of reasons and in doing so seek knowledge of its origins. to me the dialectic of sex is one of the most empowering books ive ever read. shulamith firestone is so raw and bold in this rock in books of feminist studies. so much more than i could imagine for that time period. if you are new to feminism or are an old hand at it i would especially recommend looking for a copy of the dialectic of sex because this book is life changing. i wouldnt part with mine for anything.

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> Ebook Free A Meeting by the River: A Novel (FSG Classics), by Christopher Isherwood

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Isherwood's final work of fiction―an epistolary novel that explores sexual identity and Eastern mysticism

After a long separation, two English brothers meet in India. Oliver, the idealistic younger brother, prepares to take his final vows as a Hindu monk. Patrick, a successful publisher with a wife and children in London and a male lover in California, has publicly admired his brother's convictions while privately criticizing his choices.
First published in 1967, A Meeting by the River delicately depicts the complexity of sibling relationships―the resentment and competitiveness as well as the love and respect. Ultimately, the brothers' exposure to each other's differences deepens their awareness of themselves. In A Meeting by the River, Christopher Isherwood dramatizes the conflict between sexuality and spirituality that inspired his late writings.

Sales Rank: #1620377 in Books
Published on: 2013-11-19
Released on: 2013-11-19
Original language: English
Number of items: 1
Dimensions: 8.18" h x .51" w x 7.13" l, .37 pounds
Binding: Paperback
192 pages

About the Author

Christopher Isherwood (1904–1986) was born outside Manchester, England. He lived in

Berlin from 1929 to 1933 and emigrated from Europe to the United States in 1939. A major figure in twentieth-century fiction and the gay rights movement, he wrote more than twenty books, including A Single Man and Goodbye to Berlin.

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0 of 0 people found the following review helpful.
mainstream or cult?
By Mr. D. P. Jay
I wonder how much of this book covers similar ground to Isherwood’s book ‘My Guru And His Disciple ‘ but it’s so long ago that I read it that I am not sure. I became suspicious when Ollie mentioned his ‘Mahanta’ – the title of the leader of an American spiritual group (regarded by some as a cult) called Eckankar.

I am not sure why such a fuss is made of the brother becoming Brahmacharya. This is simply the first of four stages which any high-caste Hindu takes below the age of 25 and doesn’t automatically lead on to the other, more ascetic stages.

The Sanskrit title maharaja was originally used only for rulers who ruled a considerably large region with minor tributary rulers under them. Since the mediaeval times the title was used even by rulers of smaller states since they claimed to be the descendants of the ancient maharajas. In this book it is used of a chief monk – as it was when the Beatles went to India. The title seems to be used mainly for Hindus who spread their ideas outside India.

The shraddha ceremony seems to be limited to certain branches of Hinduism – the again, ‘Hinduism’ is a Western term and it doesn’t fit the huge variety of religious practices which it claims to label.

Yes, in an interview with the Paris review, he claims that “two monks from the Vedanta monastery here were coming out to India to take their final vows, sannyas, and I was in close contact with their feelings and the whole predicament of being about to take sannyas. For a long time I’d wanted to write a confrontation story where the representative of something meets the representative of something else, and quite suddenly it came to me that this was the way to do it. I talked a great deal with the monks afterward while I was writing it and checked up immensely on the details.”

Two people who know more about India and its vast array of religious practices, however, tell me that scepticism about the monastic details are unfounded. I admit that leaning about Hinduism in a white, Western university isn’t the whole story.

There are autobiographical bits: “Not long after I met Swami Prabhavananda, the war began, and I went to work with the Quakers at a hostel for refugees in Philadelphia, and after 1940 and Pearl Harbor I volunteered to join a Quaker ambulance corps going to China.”

0 of 0 people found the following review helpful.
Isherwood's Final Reckoning with Religion
By RNJ
Isherwood’s final novel, Meeting is both enjoyable and frustrating to read. The story of two brothers—told mostly in an epistolary fashion—holds one’s attention most of the time. The prose, as always, is seductive, leading a reader from one sentence to the next, one letter to the next. The author’s grasp of his material, that one of the brothers, Oliver, is planning to become a Hindu monk, is quite adequate—based on his own extensive study of and participation in the religion.

But the storytelling seems facile at times. The plot becomes a bit more complex when the other brother, Patrick, is married but is having an affair with a young man named Tom. Oliver finds out rather by accident and is unmoved by it, stating that from the standpoint of being Hindu, he doesn’t care. What is odd and a bit disconcerting is that none of the letters that Patrick or Oliver writes is ever answered directly. They both dutifully write their mother, and Patrick writes his wife. However, except for very rare indirect references to their responses, all of the information is outgoing—limiting the scope of the narrative, no doubt Isherwood’s intent. But why?

I located his thoughts concerning the novel from the second volume of his Diaries: “Yesterday I finished the first draft of A Meeting by the River; it has taken me exactly three months, to the day! I have just finished reading it through. There is something in it. But it seems quite boring in parts. Perhaps it needs cutting down to a long short story. It’s now 110 pages—let’s say a bit over 35,000 words” (367). I believe his instincts are headed in the wrong direction. He must add to it!

Isherwood also receives a response to a third draft from friend and writer, Edward Upward: “Obviously the reader isn’t meant to accept Patrick’s view that Oliver is becoming a monk in order to escape the ambitiousness which is natural to him but which he knows their mother wouldn’t approve of in him . . . . On the other hand the reader can’t quite believe that Oliver becomes a monk solely because the social work he’s been doing doesn’t seem ‘real’ enough to him” (400). Diaries.

I believe this observation is what makes the novel not as strong as it might be: one is never convinced of either character’s viability. One doesn’t learn enough about Oliver’s former social work to be able to compare it to what he might accomplish as a monk. One doesn’t quite believe that Patrick works in Hollywood, that he either loves his wife and children, or that he loves Tom, his paramour. And both characters, because of the similarities in their prose, might as well be two manifestations of the same character! Though Isherwood talks himself and his editor into publishing the book in this condition, there seems to be a lot missing. It, like A Single Man, is only about 50,000 words. If Isherwood could have added at least 30,000 words and developed both characters to their fullest, if he could have used the letter writing to its fullest capabilities, the reader might have become a bit more compelled to care about either brother and what happens to him.

0 of 0 people found the following review helpful.
Five Stars
By Lulu
Beautifully written story on the shores of the Ganges in letter-diary format about 2 brothers and their relationship.

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Friday, July 24, 2015

@ Ebook The Poetry of Pablo Neruda, by Pablo Neruda

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The most comprehensive English-language collection of work ever by "the greatest poet of the twentieth century--in any language" (Gabriel García Márque)

"In his work a continent awakens to consciousness." So wrote the Swedish Academy in awarding the Nobel Prize to Pablo Neruda, the author of more than thirty-five books of poetry and one of Latin America's most revered writers, lionized during his lifetime as "the people's poet."

This selection of Neruda's poetry, the most comprehensive single volume available in English, presents nearly six hundred poems, scores of them in new and sometimes multiple translations, and many accompanied by the Spanish original. In his introduction, Ilan Stavans situates Neruda in his native milieu as well as in a contemporary English-language one, and a group of new translations by leading poets testifies to Neruda's enduring, vibrant legacy among English-speaking writers and readers today.

Sales Rank: #27686 in Books
Published on: 2005-04-01
Released on: 2005-03-24
Original language: English
Number of items: 1
Dimensions: 8.30" h x 1.94" w x 5.55" l, 2.21 pounds
Binding: Paperback
1040 pages

From Booklist
*Starred Review* The great Chilean poet Neruda, who received the Nobel Prize in 1971, two years before his death at age 69, acknowledged the twofold path of his poetry when he wrote, "I have a pact of love with beauty: / I have a pact of blood with my people." The earth's glory was the portal to truth for Neruda, and his nature poems are as ravishing in the splendor of their brilliant metaphors and the eroticism of their luscious detail as his renowned love poems. The poet's deep compassion for humankind, ardor for history, and attention to politics also inspired him to write incisively of conquistadors and tyrants, war and corporate imperialism. Passionate and prolific, Neruda himself was a force of nature, filling 35 books with poetry remarkable for its "simplicity, honesty, and conviction." Critic Ilan Stavans has created the first comprehensive English-language survey of Neruda's legendary oeuvre, judiciously selecting and expertly discussing 600 poems to create a genuinely invaluable and deeply pleasurable volume. Major works are presented in the original Spanish in this literary landmark, and the adept translators include such outstanding poets as Martin Espada, Jane Hirshfield, W. S. Merwin, and Mark Strand. Donna Seaman
Copyright © American Library Association. All rights reserved

Review

“Not since Whitman has a poet of genius embraced a whole continent, as Neruda has his, or spoken so directly to the nonpoets among his readers.” ―Selden Rodman

“Ambitious . . . Meticulously edited . . . Stavans deserves high praise for the volume he has assembled.” ―John Freeman, San Francisco Chronicle

“The Poetry of Pablo Neruda advertises itself as 'the most comprehensive single volume available in English'--and it certainly is.” ―Charles Simic, The New York Review of Books

“The greatest poet of the twentieth century--in any language.” ―Gabriel Garcia Marquez

“[This book provides] an opportunity to reflect on the poet's achievement and his canonical position.” ―Christopher Winks, The Harvard Review

“If, as Stavans believes, 30 years after his death the time is right for a reappraisal of Neruda, then this volume is just what's needed to jump-start the process. Highly recommended.” ―Library Journal

“Critic Ilan Stavans has created the first comprehensive English-language survey of Neruda's legendary oeuvre, judiciously selecting and expertly discussing 600 poems to create a genuinely invaluable and deeply pleasurable volume.” ―Booklist

About the Author

Pablo Neruda (1904-73), Chile's greatest poet, was awarded the Nobel Prize in 1971.

Ilan Stavans is Lewis-Sebring Professor in Latin American and Latino Culture at Amherst College.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Giorgia
Absolutely liked it! Elegant poetry, also the original spanish version is amazing!!

34 of 37 people found the following review helpful.
A missed opportunity. Una lastima.
By sylviaplath79
I was very excited for this book, hoping to fill in gaps of my Neruda collection. but after reading it I was frustrated and disappointed, not only in the quality of many of the translations and the lack of the Spanish there next to the English, but I feel the editor left out many important poems while putting in a lot of Neruda's weaker work. It was clunky. I found a review in the New York Book Review on the web by the poet Charles Simic which explains my thoughts perfectly:

"As one would expect from an undertaking aiming to be so comprehensive in scope, The Poetry of Pablo Neruda is an uneven book. There are first-rate translations by John Felstiner, Margaret Sayers Peden, Jack Schmitt, Greg Simon, Alastair Reid and a dozen others alongside many mediocre ones. I'm not competent to judge the accuracy of individual translations, but I can compare their quality as poems since there are previous renderings of the same poems which seem to me far superior to the ones we have here. For instance, neither of the two versions of "Walking Around" in this book are as good as the one I quoted by H.R. Hays, or the one W.S. Merwin did years ago. As their worst, the translations do not convey the stylistic range and verbal integunity of the original, making Neruda sound instead like a Chilean Carl Sandburg.

The choice of poems is also at times debatable. In order to make the book representative of all of Neruda's work, Stavans has left out some well-known poems and included plenty of questionable ones..."

A missed opportunity. Una lastima.

5 of 5 people found the following review helpful.
A massive selection of poems, but it has its problems
By Dallas Fawson
I was incredibly excited to get a hardcover of this at a thrift store, in nearly brand new condition, for fifty cents. Why someone threw it away I have no idea.
And while it's a large selection and for the most part is very good, it has some issues, first and foremost, inconsistency in translations. Since the book has dozens of translators throughout, it's going to be hit and miss. Fortunately, it's mostly hit, but I was sad to see that "Ode to Enchanted Light," one of my favorite Neruda poems, was butchered in the translation. There are a few other duds throughout, translators who knew nothing of Neruda or his flow.
Some people have complained that it isn't side by side bilingual, but this isn't too much of a problem for me. While it would be nice, it would also cause the book to be over 2,000 pages, and it's already huge.
My final thought is that while it's not perfect, it's a good book. I certainly wouldn't pay $40 for it (the hardback cover price), but buying a paperback or a used hardback would be a good move for lovers of Neruda.

See all 42 customer reviews...

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>> Ebook A World of Trouble: The White House and the Middle East--from the Cold War to the War on Terror, by Patrick Tyler

Ebook A World of Trouble: The White House and the Middle East--from the Cold War to the War on Terror, by Patrick Tyler

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A World of Trouble: The White House and the Middle East--from the Cold War to the War on Terror, by Patrick Tyler

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The White House and the Middle East―from the Cold War to the War on Terror

The Middle East is the beginning and the end of U.S. foreign policy: events there influence our alliances, make or break presidencies, govern the price of oil, and draw us into war. But it was not always so―and as Patrick Tyler shows in this thrilling chronicle of American misadventures in the region, the story of American presidents' dealings there is one of mixed motives, skulduggery, deceit, and outright foolishness, as well as of policymaking and diplomacy.

Tyler draws on newly opened presidential archives to dramatize the approach to the Middle East across U.S. presidencies from Eisenhower to George W. Bush. He takes us into the Oval Office and shows how our leaders made momentous decisions; at the same time, the sweep of this narrative―from the Suez crisis to the Iran hostage crisis to George W. Bush's catastrophe in Iraq―lets us see the big picture as never before. Tyler tells a story of presidents being drawn into the affairs of the region against their will, being kept in the dark by local potentates, being led astray by grasping subordinates, and making decisions about the internal affairs of countries they hardly understand. Above all, he shows how each president has managed to undo the policies of his predecessor, often fomenting both anger against America on the streets of the region and confusion at home.

A World of Trouble is the Middle East book we need now: compulsively readable, free of cant and ideology, and rich in insight about the very human challenges a new president will face as he or she tries to restore America's standing in the region.

Sales Rank: #509259 in Books
Published on: 2010-02-16
Released on: 2010-02-16
Original language: English
Number of items: 1
Dimensions: 8.50" h x 1.44" w x 5.50" l, 1.06 pounds
Binding: Paperback
656 pages

From Publishers Weekly
In this epic, remarkably readable history of U.S. involvement in the Middle East from Eisenhower to Bush II, Washington Post reporter Tyler uses an up-close, journalistic style to depict the power struggles and compromises that have defined the past half-century. Tyler focuses on key turning points in U.S.–Middle East relations and documents the conversations and real-time decision-making processes of the presidents, cabinet members and other key figures. Readers are treated to an intimate view of Eisenhower's careful, steady diplomacy during the Suez crisis, Kissinger's egocentric and fateful decision to fully arm Israel in the October war of 1973 while Nixon struggled through the Watergate scandal, and the tangled web of communication and intentional deceit during the Reagan administration that led to the Iran-Contra scandal. Tyler makes the issues and relationships clear without resorting to oversimplification or ideological grandstanding, and his journalistic instincts steer him toward direct quotation and telling anecdotes rather than generalization. Readers in the market for an examination of how leadership has embroiled the U.S. in the Middle East are well-advised to consult this riveting text. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review

“An authoritative, richly detailed account of American policy in the Middle East . . . [Tyler] writes vividly, allowing the reader access to White House meetings, huddles in the corridors of power, seats at international summits.” ―Adam LeBor, The New York Times

“Patrick Tyler . . . has written an engaging but idiosyncratic account of U.S. interactions with the Middle East from 1956 onward.” ―Steven Simon, The Washington Post

“Tyler documents not the interest of Israel but the cost in treasure and blood that the United States and the Middle East peoples have paid during decades without a coherent US policy in the region. He shows vividly the damage done by Israeli and Arab leaders alike in persistently bringing too little, too late, to the peace process.” ―Charles A. Radin, The Boston Globe

“Tyler is forthright in a way American journalists usually are not. . . . [A World of Trouble] completes a formidable charge sheet against the occupants of the White House over the last half century which is, in its page-by-page human detail, as gripping as it is depressing.” ―Martin Woollacott, The Guardian (UK)

“Rich in irony and incident, Patrick Tyler's history of the White House and the Middle East would make instructive reading for the latest occupant of the Oval Office. . . . A lucid and even-handed introduction to a deeply contentious subject.” ―Dominic Sandbrook, The Sunday Times (UK)

About the Author

PATRICK TYLER has reported extensively from both the Middle East and Washington for The New York Times and The Washington Post. A Texan, he lives in Washington, D.C.

Most helpful customer reviews

15 of 16 people found the following review helpful.
No president is spared
By Greg
Patrick Tyler's approach is dispassionate and concise, and it's clear he has done his homework. Americans who have any interest in the Middle East must read this book or their understanding of their own leaders will be incomplete.

The only president who comes out looking OK is Eisenhower. The rest of them are a sad lot and a couple of them were outright disasters, and Tyler doesn't care how politically popular they are or how much trouble he is likely to get in from their apologists. His sole purpose in this book is to offer the reader a clear-eyed, non-partisan view of America's top officeholder. I recommend this book to the smartest people I know.

23 of 27 people found the following review helpful.
Keep your friends close, and your enemies closer
By Ed Ball
As a 20 year Navy veteran, I've often stated "history repeats itself" and this book tells us why. Power, corruption, naive aspirations, incompetence, risk takers, spiritual quests, political ransom, blood letting, heroics, leadership, major accomplishments, scheming, and simple minded childish behavior it's all here. We call them Mr. President.
Highly recommended, make sure you have plenty of time off, you won't put this one down! This will probably change your opinion of our role in the Middle East, it has mine. You be the judge.

14 of 18 people found the following review helpful.
An excellent and enlightening panorama
By Robert Barkin
Not just a well-told tale that takes you deep into the history, places and players that have involved America in the middle east, this book smartly reveals the incredibly complex matrix from which today's problems emanated. Tyler's rich character portraits bring life to the names and figures that have been reported on and analyzed before, but not really brought alive for the reader until now. If you read only the opening chapter, you will know more about the personality and character of George Tenet than any other reporting has offered.

It's a great piece of historical reporting woven into a fast-moving, very informative and entertaining book. Very highly recommended if you have any interest in knowing what the middle east is all about or if you just want to understand why this part of the world so heavily shapes American policies.

See all 15 customer reviews...

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Sunday, July 19, 2015

>> Download Everyone Loves a Good Train Wreck: Why We Can't Look Away, by Eric G. Wilson

Download Everyone Loves a Good Train Wreck: Why We Can't Look Away, by Eric G. Wilson

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Why can't we look away?

Whether we admit it or not, we're fascinated by evil. Dark fantasies, morbid curiosities, Schadenfreude: as conventional wisdom has it, these are the symptoms of our wicked side, and we succumb to them at our own peril. But we're still compelled to look whenever we pass a grisly accident on the highway, and there's no slaking our thirst for gory entertainments like horror movies and police procedurals. What makes these spectacles so irresistible?
In Everyone Loves a Good Train Wreck, the scholar Eric G. Wilson sets out to discover the source of our attraction to the gruesome, drawing on the findings of biologists, sociologists, psychologists, anthropologists, philosophers, theologians, and artists. A professor of English literature and a lifelong student of the macabre, Wilson believes there's something nourishing in darkness. "To repress death is to lose the feeling of life," he writes. "A closeness to death discloses our most fertile energies."
His examples are legion and startling in their diversity. Citing everything from elephant graveyards and Susan Sontag's On Photography to the Tiger Woods sex scandal and Steel Magnolias, Wilson finds heartening truths wherever he confronts death. In Everyone Loves a Good Train Wreck, the perverse is never far from the sublime. The result is a powerful and delightfully provocative defense of what it means to be human―for better and for worse.

Sales Rank: #566429 in Books
Published on: 2013-02-19
Released on: 2013-02-19
Original language: English
Number of items: 1
Dimensions: 8.00" h x .51" w x 5.00" l, .41 pounds
Binding: Paperback
224 pages

From Booklist
Wilson, a professor of English literature and author of Against Happiness: In Praise of Melancholy (2008), certainly has an unusual way of looking at things. Admitting his own fascination for the macabre and the tragic, he asks why we, as a society, are drawn to things that you’d think should repel us. Why do we have morbid curiosity, and what does that say about us? Exploring the question through consideration of a variety of phenomena—our fascination with the 9/11 footage of the towers coming down, our enjoyment of other people’s failures, our fondness for Hollywood tearjerkers and horror flicks, the popularity of serial killers, real and fictional—he develops the theme that we need this element of ourselves, that it’s essential to us. In essence, he argues that we need darkness in order to understand light. Not, perhaps, a blindingly original theme, but Wilson explores it with zeal and a great deal of wit. It’s hard, as one reads this fascinating book, not to see quite a bit of ourselves. --David Pitt

Review

“Eric G. Wilson's smart, probing new book . . . sets out to explain what lies beneath our collective fascination with death and suffering . . . Everyone Loves a Good Train Wreck isn't some holier-than-thou polemic out to cure us of our dark leanings . . . Instead, it simply aims to help readers gain ‘a fulfilling response to two of life's greatest, most pressing and persistent questions. What is the meaning of suffering? What is the significance of death? . . . The book's slim, peripatetic chapters cover an awful lot of erudite territory, as Wilson draws ideas and research from a delightful grab bag of academics, artists and thinkers. Aristotle, Freud, Kant, Goya and Hardy all make appearances, alongside an assortment of sociopaths and serial murderers.” ―John Wilwol, NPR.org

“Wilson is provocative, entertaining and above all honest.” ―Chris Tucker, The Dallas Morning News

“A leisurely, light-footed overview of our cultural obsession with doom, gloom, and gore.” ―Josh Rothman, The Boston Globe

“Compelling . . . Wilson keeps hearing a voice within that tells him to ‘look.' He follows this instinct, energized by the idea that his thoughtful connoisseurship of the world's darkness is good--noble, even. Wilson draws on philosophers, poets, psychologists, filmmakers and more to build a case that ‘an eager, open-minded interest in the macabre' provides ‘a special invitation to think about life's meanings' . . . Wilson's guidance is personal, engaging, and convincing . . . The book offers heaps of terribly tantalizing topics.” ―Chris Jozefowicz, Rue Morgue

“Mixing anecdotes, arguments and his own quirky persona, the author of Against Happiness delivers a provocative meditation on morbid curiosity and the pleasure of seeing others suffer.” ―The Times-Picayune (New Orleans)

“Wilson explores [his theme] with zeal and a great deal of wit. It's hard, as one reads this fascinating book, not to see quite a bit of ourselves.” ―David Pitt, Booklist

“[Everyone Loves a Good Train Wreck] reassures: enjoying grotesque, horrible, frightening images is a natural impulse. From fairy tales to crime dramas, they hit us where we are most human.” ―Kate Tuttle, The Boston Globe

“Ruminations of an exceptionally intelligent academic on why people--himself among the guilty parties--seem to search out and enjoy instances of human pain and suffering . . . [Wilson] does a thorough job of examining the people who can't look away.” ―Nona Nelson, The Roanoke Times

“[Wilson is] fluent and comfortable, whether he is poking for clues in the bewildering complexity of Edmund Burke's sublime, as experienced in the stomach-dropping irresistibilty of, say, a tornado; the Jungian shadow, that archive of everything we hate about ourselves, those destructive crazes and unadmitted tendencies without recognition of which we would not be whole; or the simple, malicious pleasure of another's misfortunes.” ―Peter Lewis, The Barnes & Noble Review

“Invoking everything from horror movies and television news footage of the Sept. 11 attacks to Dante's tormented verse and Goya's paintings of cannibals, Wilson makes a strong case that humans are natural-born rubberneckers . . . A hybrid of memoir, journalim and theory, [Everyone Loves a Good Train Wreck] investigates what this impulse tells us about ourselves and how it might inspire constructive reactions like compassion . . . Everyone Loves a Good Train Wreck necessarily deals with a host of grim subjects, yet there are also instances of unqualified beauty.” ―Kevin Canfield, Star-Tribune (Minneapolis)

“In the teeming ranks of the American Professoriat, you could argue that Eric G. Wilson is among those most palpably needed by the world at large . . . Everyone Loves a Good Train Wreck is a personal book that touches on ‘death tourism,' Hannibal Lecter, Maurice Sendak, Tipper Gore, Francisco Goya, serial killers (a handwritten note by Jeffrey Dahmer can fetch $1,700, he cheerfully informs us), Tiger Woods sex scandals, and Mel Gibson's The Passion of the Christ, all embedded in an Alexandrian library of literary allusions that can be encompassed in less than 200 pages.” ―Jeff Simon, Buffalo News

About the Author

Eric G. Wilson is the Thomas H. Pritchard Professor of English at Wake Forest University in Winston-Salem, North Carolina. He is the author of Against Happiness: In Praise of Melancholy, The Mercy of Eternity: A Memoir of Depression and Grace, and five books on the relationship between literature and psychology.

Most helpful customer reviews

3 of 3 people found the following review helpful.
My Review - Everyone Loves a Good Train Wreck
By Philip Arnold
After reading and enjoying Eric G. Wilson's Against Happiness, I was pleased to see his latest offering, Everyone Loves a Good Train Wreck. With much of the same scrutiny and informed insight, Wilson lifts the veil and illuminates the darker forces that shadow the human condition. What we often assume to be abnormal, taboo, or insensitive in our attractions or curiosities, Wilson claims instead to be affirming. Clearly it's a tough argument. But the book covers a great deal of territory - from cinema and the news media to 'celebrity' criminals to horrific public spectacles - to posit a convincing, if not a sometimes unsettling, argument. What I appreciate the most are the various angles he uses to support his ideas, borrowing from psychology, mythology, literature, etc. All in all, its a great read, deeply insightful, exhaustive in its coverage, and highly persuasive. I highly recommend the book.

3 of 3 people found the following review helpful.
An extended essay with some good content, but page after page
By Michael S. Gross
An extended essay with some good content, but page after page, the moralistically self-obsessed author wrings his hands until they chafe, while the reader vainly hopes that he will finally wake up to the fact that the problem is with his conventional leftyish premises. But he never questions these premises
.

2 of 2 people found the following review helpful.
Hard to look away
By Deb
Welcome to the dark side.

And, now meet your guide: author Eric G. Wilson, whose book _Everyone Loves a Good Train Wreck_ takes us on an illuminating voyage deep into our dark side. He explores the innate morbid curiosity found within all of us (yes, all of us!), and shows how our dark side might not be so dark after all. His book supports his core belief that:
"the morbid offers illuminations brighter than the sun...Darker emotional states--doubt, confusion, alienation, despair--inspire a deeper and more durable experience of the sacred than contentment does." (p. 163)

Each of the 50 bite-sized, yet content-rich, chapters delve into an aspect of morbid curiosity, which Eric defines as "an eager, open-minded interest in the macabre--disease or destruction or death--as a special invitation to think about life's meanings...a spiritual yearning, a hunger to penetrate the most profound mysteries of existence." (pp. 126, 186)

Our morbid curiosity is what brings us to the dark side. Gory horror films, the literary genre of tragedy, the misfortunes of others, flirtations with death, the increasingly popular dark tourism industry, our fascinations with serial killers--we just can't seem to get enough. Eric unearths the factors fueling this fascination with the macabre, including: it allows us to better empathize with the pain of others; it helps us build morale; it inspires ecstasy; it helps us become psychologically whole and integrate our psyche's destructive powers into our bright reason; it reminds us of our imperfections and cuts through the delusions of what's real vs. unattainable (i.e. a world that needs to be perpetually happy and bursting with butterflies and happy faces); it serves as a catalyst for purgation and catharsis for aggression; it allows for the incorporation of the shadow; it offers us a sense of community; it helps us find meaning in suffering and contemplate life's mysteries of love and death; and ultimately, it opens us to truth, good, and the beautiful.

He also extends his exploration of the dark side to fathom his own personal struggle with bipolar disorder and the unexpected wisdom of depression:
"Stripped of its dark powers, the disorder has emerged as more than an affliction. I can see it now as an indispensable energy in the shaping of my identity...my productive sensibilities, my love of contemplation, my honesty about life's troubles, my willingness to endure confusion and discover solutions...The morbidity of sorrow--not cultivated sorrow, but that which comes inevitably--is often a productive sluggishness, a time when the soul slows down, too weary to go on, and takes stock of where it's been and where it's going. During these gloomy pauses, we often discover parts of ourselves we never knew we possessed, talents that, properly activated, enrich our lives." (pp. 170, 172)

So, lead your morbid curiosity this way to discover the light underlying the darkness. But, be prepared, once you start reading, it'll be hard to look away.

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^^ Download PDF Casa Rossa: A Novel, by Francesca Marciano

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Casa Rossa: A Novel, by Francesca Marciano

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A mesmerizing story of three generations of a twentieth-century Italian family.

Casa Rossa—a farmhouse in Puglia owned by the Strada family—is being sold. And as she packs up the house, Alina Strada pieces together the history of her family’s past, and of the lives of three extraordinary Strada women.

Grandmother Renée, a beautiful Tunisian, is wife, muse, and model for Alina’s painter grandfather, but she leaves him and flees to Nazi Germany. Alina’s mother, Alba, marries a melancholic screenwriter and lives la dolce vita in 1950s Rome until her husband’s mysterious death. Isabella, Alina’s sister and once her best friend, finds herself drawn to a dangerous ideology in the 1970s; the sisters’ love for one another soon shifts to a betrayal of which they can never speak. As these individual lives unfold, so does the larger one—the story of a family whose secrets collide with history.

From the duplicity of Italy’s role in the thirties to the dark years of terrorism in our own times, and moving from Rome and Southern Italy to New England and New York City, Casa Rossa is a brilliant weave of lives and memories: an enthralling novel.

Sales Rank: #1854914 in Books
Published on: 2002-08-20
Released on: 2002-08-20
Original language: English
Number of items: 1
Dimensions: 9.51" h x 1.18" w x 6.51" l,
Binding: Hardcover
352 pages

Amazon.com Review
In Casa Rossa, Roman native Francesca Marciano tells a riveting tale of three generations of women whose separate acts of betrayal set the stage for later destruction. Renée, the grandmother, forsakes her artist husband and her life in rural Puglia at Casa Rossa, to live with a woman. Alba, her daughter, takes a lover and pushes her husband to suicide. Isabella and Alina, Alba's daughters, take extreme measures to keep each other out of their lives, leading to upheaval. Told through the voice of the youngest daughter, Alina, Casa Rossa weaves the selling and closure of the family estate with the family's sordid and unforgettable history. Spanning the 20th century and providing entrée into the not-so-incompatible worlds of Italian cinema and political terrorism, Marciano, author of Rules of the Wild, reveals an authenticity in the way this emotionally warped family comes to terms with its fragmented past. It's a fine, highly entertaining work, laced with lovely writing and emotionally resonant characters. --Emily Russin

From Publishers Weekly
In this passionate tale of three generations of one 20th-century Italian family, Marciano brings Southern Italy as boldy to life as she did Kenya in her first novel, the well-received Rules of the Wild (1998). As Alina Strada prepares to sell the family farmhouse in Puglia, she reflects on the tumultuous past, beginning with the purchase and restoration of the crumbling farmhouse before WWII by her grandfather, Lorenzo, a moderately successful portrait painter. When Lorenzo's Tunisian wife and model, Ren‚e, runs off with a German woman, he takes revenge by painting a huge nude of Renee on the inner patio wall. After a brief nervous breakdown, he marries his nurse, Jeanne, who immediately has the white stone house, so typical of the region, painted red-hence the name Casa Rossa-and the nude mural covered up. Lorenzo's daughter, Alba, has two daughters, Alina and Isabella, by her dashing husband, Oliviero, who leaves a murky legacy after his early demise. As the girls mature and governments come and go in postwar Italy, Alina has a brush with drugs, while her less fortunate sister, Isabella, joins a group of terrorists. Alina works for a time with a Fellini-esque filmmaker before moving to New York, where she gets a job at an art gallery and falls in love with an American. Alina's perspective on 1980s New York nicely complements her American boyfriend's subsequent view of Italy. The intricate complications may challenge belief, but the author imperturbably weaves them together into a glamorous, romantic whole.
Copyright 2002 Reed Business Information, Inc.

From Library Journal
Spanning the 20th century, this is the tale of three generations of Italian women. At the center of their lives and the connective thread among them is Casa Rossa, a beautiful old farmhouse in rural Puglia. As the novel begins, Alina is packing up the homestead and reflecting on the events that have led to the present. The first woman to run the house was her grandmother, Renee, who came to Casa Rossa as the young bride of Alina's painter grandfather and served as his model and muse. After growing bored with country life, she ran off to Nazi Germany with her new lover, leaving behind her husband and young daughter Alba, who also longed for more excitement. Alba ended up marrying a young screenwriter and moving to Rome, and the narrative continues with her daughters, Isabella and Alina. Marciano (Rules of the Wild) effectively intermingles family secrets, Italian history, and the loves and lives of her characters. A good read for fans of multigenerational sagas and modern Italian history, this is recommended for most libraries. Robin Nesbitt, Columbus Metropolitan Lib., OH
Copyright 2002 Cahners Business Information, Inc.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Artful, real and eloquently told story about being the younger sister
By SWS138
This book is fluid and readable and yet complex in how the story reveals itself one thread at a time---not always in sequence. Marciano is an extremely intelligent and insightful writer who is a master at building tension and subtext into a scene and at revealing the dimensions of human psychology. It is a universal story about sisters and how deeply that bond inspires us and at times criples us. It is the story of 2 sisters surviving a dysfunctional family: one crumbles as an adult while the other does not-- but instead, learns to process it, make art from it and live beyond it (healing seems too simplistic a word). It is a story that takes place in Italy but it is a story that could have taken place anywhere.

21 of 22 people found the following review helpful.
gripping saga, powerful women, beautiful Puglia
By A Customer
I loved Rules of the Wild, with its witty and incisive look at European expatriates in East Africa but I was totally unprepared for Casa Rossa. It is a very ambitious book. A gripping saga of a southern Italian family, it spans 3 generations, and would be a great book just for the ride, Paris in the '20, giddy Rome in the'50s (cinecitta, paparazzis), Italy under the dark influence of terrorism in the '70s, all anchored by the family old house in beautiful, hot Puglia. At the core of the story is the complex relationship between a mother and two daughters, their family secrets, the transformation of family history as it is passed down.These are strong, funny, at times terrifying women. What an exciting, wonderful book...

11 of 12 people found the following review helpful.
Compelling and insightful
By R. A. Masullo
Francesca Marciano has the verbal equivalent of a master sculptor's chisel for creating believable characters. In "Casa Rossa" she not only tells a compelling tale about three generations of a southern Italian family, she gives many wonderful insights into daily life in Italy today and in the early 20th century. I particularly liked her spin on the tarantella. Although now merely a lively dance at Italian wedding receptions, Marciano reveals the folkloric purpose of the tarantella and the ritual that is connected with it with a clarity I had not before read. The novel has great atmospheric sense as well, whether the location is the deepest Italian south, Rome, northern Italy or New York. It's only drawback is its cinematic pace.

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Thursday, July 16, 2015

? Free PDF Role Models, by John Waters

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Here, from the incomparable John Waters, is a paean to the power of subversive inspiration that will delight, amuse, enrich―and happily horrify―readers everywhere.

Role Models is, in fact, a self-portrait told through intimate profiles of favorite personalities―some famous, some unknown, some criminal, some surprisingly middle of the road. From Esther Martin, owner of the scariest bar in Baltimore, to the playwright Tennessee Williams; from the atheist leader Madalyn Murray O'Hair to the insane martyr Saint Catherine of Siena; from the English novelist Denton Welch to the timelessly appealing singer Johnny Mathis―these are the extreme figures who helped the author form his own brand of neurotic happiness.

Role Models is a personal invitation into one of the most unique, perverse, and hilarious artistic minds of our time.

Sales Rank: #231589 in Books
Brand: Waters, John
Published on: 2011-04-26
Released on: 2011-04-26
Original language: English
Number of items: 1
Dimensions: 8.21" h x .89" w x 5.41" l, .63 pounds
Binding: Paperback
320 pages

From Publishers Weekly
Waters waxes poetic about the books, artists, and individuals who have influenced him in this desultory memoir, and his selections have a fascinating range, from the novels of Ivy Compton-Burnett to Leslie Van Houten (of Charles Manson fame). His choice to narrate may have seemed a given; after all, fans would appreciate hearing his delivery and distinctive high-pitched voice. However, his projection is inconsistent from word to word, and listeners will have to continually adjust the volume to better hear him. He does convey a certain charm and rhythm with his narration, but it's not enough to compensate for the challenging soundscape. A Farrar, Straus, and Giroux hardcover (Reviews, May 3).
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
As familiar as Waters' obsessions have become over the years, writes the Onion AV Club, "he remains an affable, enthusiastic tour guide to the sort of beauty found only at the edges of good taste." Such beauty includes the profane, the violent, and the shocking, but it's par for the course for this once transgressive filmmaker and his insightful, obnoxious, and entertaining essays. Only the essay "Leslie," about Waters's friendship with Manson follower Leslie Van Houten, serving a life sentence for murder, raised debate. A few reviewers found the essay reflective, while others condemned Waters for dodging "the murky moral issues of her story" (Los Angeles Times). Role Models isn't for everyone--but even "dilettantes at liberty to skip around will find a lot to charm them" (New York Times Book Review).

From Booklist
You'd hardly expect the man who made a movie star of a 300-pound transvestite to have “normal” idols, such as sports heroes and guitar gods. Sure enough, the writer-director of Pink Flamingos and Hairspray doesn't, preferring instead characters like those of his sleaziest films (e.g., Female Trouble)—an addictive lesbian stripper, the foulmouthed proprietress of a favorite “hipster hangout” bar, and two obsessive makers of “outlaw porn” (one films only marines, the other only “psychos”). Considerably more mainstream among Waters' personal demigods are Johnny Mathis, Tennessee Williams, and Little Richard, who probably are idolized by mainstream folks, too, especially if, like Waters, they're gay. Perhaps the most conventionally normal Waters role model is paradoxically the most infamous: Leslie Van Houten, the longest-incarcerated Charles Manson follower, about whose reformation and for whose release Waters is eloquent and persuasive, as he is on the rest of his idols and also the books and art he admires. In fact, he's a marvelous writer, simultaneously elegant and bawdy, so passionately sympathetic that he gives bleeding-heart liberalism back its good name. --Ray Olson

Most helpful customer reviews

31 of 31 people found the following review helpful.
Loads of Fun on Audio
By Amanda J. Henning
Waters is a fantastic narrator and his new book is absolutely hilarious (but also very touching at points). I've honestly been forcing anybody who rides in my car this week to listen to the section about Lady Zorro and I'll start forcing everybody to listen to the section on Esther Martin next week. Honestly, despite other reviews that talk about his trashy side, I'm amazed how sweet and kind he comes across. From one bleeding heart liberal to another, I absolutely love this book :)

10 of 10 people found the following review helpful.
Thw World of Waters
By Richard A. Jenkins
John Waters always has elicited strong opinions from people and that seems evident here in the early reviews. Anyone who has seen or heard Waters being interviewed or seen him emcee a show will recognize the tone and style here. He rambles entertainingly through the book, with on-target observations that integrate references that range from the absurd to the refined. The chapters vary in their quality. Some passages are laugh out loud funny, but some sections drag. The chapter on Leslie Van Houten becomes rather tedious and didactic, in places, although Waters raises worthwhile questions about rehabilitation and the grandstanding of prosecutors. The section on his art collection betrayed perhaps a need to be taken seriously even as he collects pieces that most people who find academically interesting, at most. Waters' parents do not get their own chapter, but they are always present and come across as people who supported Waters' development and work in surprising ways while remaining very much the conventional parents of their time. At the same time, Waters confronts the problems and limitations of some of the eccentric Baltimore characters he had idolized, like Zorro, the lesbian stripper whose daughter somehow thrived despite a chaotic, problem-ridden environment. Despite focusing on role models, Waters creates a world where neither nature nor nurture seem to triumph. His conservative, conventional parents wound up with "The Pope of Filth" for a son, while Zorro winds up with an apparently very conventional, well-adjusted daughter. Waters lives in a world where the classic 1950s songs of Johnny Mathis co-exist with a fringe gay pornographer like Bobby Garcia, and Leslie Van Houten of the Manson Family. Somehow the only really discordant note was the repeated mention of Elton John who seems neither fringe nor conventional, nor particularly interesting.

9 of 9 people found the following review helpful.
This book will make you rethink your views on parole
By Craig Rowland
Role Models is John Waters's tribute to those who have influenced him throughout his life. I had already read two of his earlier books, Crackpot: The Obsessions of John Waters and Shock Value: A Tasteful Book About Bad Taste, so I knew what I was in for: I was ready to laugh myself silly.

Waters describes himself as "a cult filmmaker whose core audience, no matter how much I've crossed over, consists of minorities who can't even fit in with their own minorities.". One can see how the people who have influenced him the most fit in with this self-assessment.

The first major influence on John as a little boy was "Clarabell, the psychotic clown on The Howdy Doody Show, whose makeup later inspired Divine's, had been my role model.". One can't miss the similarities when comparing the two:

The chapter entitled Leslie is perhaps the most serious piece of work Waters has ever written. In it, he talks about his twenty-five-year friendship with Leslie Van Houten, the member of the Manson family who was sentenced to death for her role in the LaBianca murders in 1969. Waters makes a very convincing case for the parole of Van Houten, who has been incarcerated for over forty years. He also apologizes for exploiting the Manson family murders in his early film career:

"I am guilty, too. Guilty of using the Manson murders in a jokey, smart-ass way in my earlier films without the slightest feeling for the victims' families or the lives of the brainwashed Manson killer kids who were also victims in this sad and terrible case."

This was quite a revelation from Waters: that of guilt. Waters has visited Van Houten on a regular basis at the California Institute for Women and is convinced that Van Houten has been mentally rehabilitated for decades and is in no danger of reoffending. The most surprising thing of all is Van Houten's sense of inner peace in all this. She seems resigned to live her life to the fullest, even though she may never be granted parole. I never thought I'd ever say this, but Van Houten's lawyers should have John Waters testify in her behalf at her next parole hearing. Waters never sweeps the LaBianca murders under the rug, and often identifies with their orphaned children, and how they must feel if they were to see their parents' murderer released. Nevertheless, it is a very convincing case to parole Van Houten, and made me review my own opinions on the matter.

Waters also talks about personalities from his hometown of Baltimore. One of them was the stripper known as Lady Zorro, whom he describes as "[having] a real rage she brought to the stage, which added a demented hostile sex appeal. An angry stripper with a history of physical and sexual abuse with a great body and the face of a man. Now there's a lethal combination...Zorro was so butch, so scary, so Johnny Cash. No actual stripping for her at that point [at the end of her burlesque career]; she just came out nude and snarled at her fans, 'What the f*** are you looking at?'".

Waters fondly remembers a Baltimore bar owner named Esther Martin: "the real reason I loved Esther right from the beginning was her mouth. No one in the world cussed more! She gave the phrase 'cursing a blue streak' a refinement that seemed almost noble. 'That motherf***ing c***s***ing son of a b***h' was used as a prefix to almost every name she uttered...Just a mention of Esther's foul language makes each sibling go into hilarious imitations of their mother's tirades. 'As my dear sainted mother would say'--Dick laughs and then mimics Esther's voice--'You're as worthless as a c**t full of cold p**s.' 'Sh** and fall back in it!'". I tell you, reading Waters's reminiscences about Lady Zorro and Esther had me laughing so hard during my work lunch breaks I could barely eat anything at all.

In the chapter entitled Bookworm, Waters writes about five of his favourite fiction authors. After I read this chapter I researched these authors and looked for their books and criticisms. Waters writes about one of his favourites:

"Try reading any novel by [Ivy] Compton-Burnett. She was English, looked exactly like the illustration on the Old Maid card, never had sex even once, and wrote twenty dark, hilarious, evil little novels between the years 1911 and 1969."

The chapter on art, entitled Roommates, was surprisingly boring. It would not have been so tedious to plow through if only Waters had included some photos of the works he was describing. There is nothing more boring to read than pages and pages of descriptions of paintings. Waters did make me laugh at this remark:

"I knew about Richard Tuttle's minimalist troublemaking and respected his early hostile establishment reviews, such as 'Less has never been less than this.' His bare plywood slat pieces nailed flat to the wall with just one thin side of the depth of the wood painted white were so beautiful, so simple, so plain, that I felt exhausted just imagining how complete the artist must have felt when he decided the work was finished."

In the final chapter, Waters tells of his childhood education at Catholic schools. I again felt like laughing so hard I could barely chew:

"I hated my Catholic high school, so I certainly never went back to a reunion, although I did get to comment to The Baltimore Sun, on the school's fifty-year anniversary, that the Christian Brothers and lay faculty there had 'discouraged every interest I ever had.' A friend who attended the reunion that year said he heard me called 'f**got' and 'pornographer' by some of my p***ed-off fellow classmates who had read my criticism, but I didn't mind. The only reason to attend any school reunion is to see how the people whom you had wanted to have sex with then look today. And I had already looked up those people's addresses and driven by their homes to stalk them years before."

And when talking about those wacky saints he learned about at school:

"Of course, there are some saints we do take very seriously. Saint Catherine of Siena is without a doubt the most insane of these and we have no choice but to honor her daily. Reading Holy Anorexia by Rudolph M. Bell, the best encyclopedia of deranged saints ever written, we learn that in Catherine's time (the 1300s) she was known as 'a person of considerable reputation for outstanding holiness'--in other words, nuts! At the peak of her career she 'urged the holy hatred of oneself' and advised others to 'build a cell in your mind that you can never escape.' She was a 'bottom' for God."

and I am still laughing over the poor girl who could never succeed here:

"Catherine organized a group of fellow child masochists who flagellated themselves daily. Well, I can understand that, too. I had a Horror House in our garage and I'd charge the neighborhood kids twenty-five cents to enter. After they gave me the money, I'd tell them to wait, and I'd go inside and then yell, "Okay, come in!" The little ticket buyers would group their way into the darkness and I would squirt them with a fire extinguisher (my dad's company sold them) and then kick them in the leg. They loved it. They even came back for more. I also used to play 'school' as a kid with the little girl who lived next door, and I was always the teacher and she was always the student. Every time we played I failed her, yet she still eagerly agreed to play every time I asked, fully knowing the results."

Role Models is John Waters's most serious written work. Without his name on the cover, one would never believe that the chapters on Leslie Van Houten, art, Johnny Mathis or Little Richard was written by him. If you love Waters's humour, and need a laugh like the original "Hairspray" on the printed page, this book does not disappoint.

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Wednesday, July 29, 2015

PDF Ebook Blues Poems (Everyman's Library Pocket Poets)From Young, Kevin (EDT)

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Tuesday, July 28, 2015

Download Ebook The Dialectic of Sex: The Case for Feminist Revolution, by Shulamith Firestone

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Ebook Free A Meeting by the River: A Novel (FSG Classics), by Christopher Isherwood

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Friday, July 24, 2015

Ebook The Poetry of Pablo Neruda, by Pablo Neruda

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Ebook A World of Trouble: The White House and the Middle East--from the Cold War to the War on Terror, by Patrick Tyler

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Sunday, July 19, 2015

Download Everyone Loves a Good Train Wreck: Why We Can't Look Away, by Eric G. Wilson

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Download PDF Casa Rossa: A Novel, by Francesca Marciano

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Thursday, July 16, 2015

Free PDF Role Models, by John Waters

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