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Set in our own time along the bloody frontier between Texas and Mexico, this is Cormac McCarthy’s first novel since Cities of the Plain completed his acclaimed, best-selling Border Trilogy.

Llewelyn Moss, hunting antelope near the Rio Grande, instead finds men shot dead, a load of heroin, and more than $2 million in cash. Packing the money out, he knows, will change everything. But only after two more men are murdered does a victim’s burning car lead Sheriff Bell to the carnage out in the desert, and he soon realizes how desperately Moss and his young wife need protection. One party in the failed transaction hires an ex–Special Forces officer to defend his interests against a mesmerizing freelancer, while on either side are men accustomed to spectacular violence and mayhem. The pursuit stretches up and down and across the border, each participant seemingly determined to answer what one asks another: how does a man decide in what order to abandon his life?

A harrowing story of a war that society is waging on itself, and an enduring meditation on the ties of love and blood and duty that inform lives and shape destinies, No Country for Old Men is a novel of extraordinary resonance and power.

• Sales Rank: #68947 in Books
• Published on: 2005-07-19
• Released on: 2005-07-19
• Format: Deckle Edge
• Original language: English
• Number of items: 1
• Dimensions: 8.65" h x 1.33" w x 5.71" l,
• Binding: Hardcover
• 320 pages

From Publishers Weekly
Starred Review. Seven years after Cities of the Plain brought his acclaimed Border Trilogy to a close, McCarthy returns with a mesmerizing modern-day western. In 1980 southwest Texas, Llewelyn Moss, hunting antelope near the Rio Grande, stumbles across several dead men, a bunch of heroin and $2.4 million in cash. The bulk of the novel is a gripping man-on-the-run sequence relayed in terse, masterful prose as Moss, who's taken the money, tries to evade Wells, an ex–Special Forces agent employed by a powerful cartel, and Chigurh, an icy psychopathic murderer armed with a cattle gun and a dangerous philosophy of justice. Also concerned about Moss's whereabouts is Sheriff Bell, an aging lawman struggling with his sense that there's a new breed of man (embodied in Chigurh) whose destructive power he simply cannot match. In a series of thoughtful first-person passages interspersed throughout, Sheriff Bell laments the changing world, wrestles with an uncomfortable memory from his service in WWII and—a soft ray of light in a book so steeped in bloodshed—rejoices in the great good fortune of his marriage. While the action of the novel thrills, it's the sensitivity and wisdom of Sheriff Bell that makes the book a profound meditation on the battle between good and evil and the roles choice and chance play in the shaping of a life.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
McCarthy’s Border Trilogy, distinguished by the award-winning All the Pretty Horses (1992), contains dark Westerns set against beautiful, bleak landscapes. His newest novel updates his character-driven plots and themes of violence and moral ambiguity. Perhaps the true sign of a master is one whose work raises debate—and this is what No Country has done. Most critics praised McCarthy’s clean, simple prose, though a few thought it too spare for such a graceful stylist. ("The man looked at Chigurh’s eyes for the first time. Blue as lapis. At once glistening and opaque. Like wet stones.") Compelling characters (even women) abound, but Sheriff Bell came off as either smart or too long winded. Finally, the violence seemed gratuitous to some. Even if No Country may be a more minor McCarthy novel, it’s still a terrifying page-turner in the vein of the Trilogy.

Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
*Starred Review* Dark themes suffuse McCarthy's first offering since his completion of The Border Trilogy, wose opening installment, All the Pretty Horses earned him both the National Book Award and National Book Critics Circle Award in 1992. Texas welder Llewelyn Moss makes a dubious discovery while out hunting antelope near the banks of the Rio Grande: a dead man, a stash of heroin, and more than $2 million in cash. Moss packs out the money, knowing his actions will imperil him for the rest of his life. He's soon on the run, left to his own devices against vengeful drug dealers, a former Special Forces agent, and a psychopathic freelance killer with ice blue eyes. Shades of Dostoyevsky, Hemingway, and Faulkner resonate in McCarthy's blend of lyrical narrative, staccato dialogue, and action-packed scenes splattered with bullets and blood. McCarthy fans will revel in the author's renderings of the raw landscapes of Mexico and the Southwest and the precarious souls scattered along the border that separates the two. Many are the men here who maim in the name of drugs. "If you killed 'em all," says the local sheriff, "they'd have to build an annex onto hell." Allison Block
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

208 of 225 people found the following review helpful.
"Somewhere out there is a true and living prophet of destruction."
By Mary Whipple
Cormac McCarthy's first novel since completing the Border Trilogy in 1998 is a dramatic change of pace. Gone is the focus on the wild Texas plains and the encroachment of civilization. Gone are the lyrical descriptions of untamed nature and young love. Gone is the belief that love and hope have a fighting chance in life's mythic struggles. Instead, we have a much darker, more pessimistic vision, set in Texas in the 1980s, a microcosm in which drugs and violence have so changed "civilization" that the local sheriff believes "we're looking at something we really aint even seen before."

Forty-five-year-old Sheriff Ed Tom Bell must deal with the growing amorality affecting his small border town as a result of the drug trade. The old "rules" do not apply, and Bell faces a wave of violence involving at least ten murders. Running parallel with Bell's investigation of these murders is the story of Llewelyn Moss, a resident of Bell's town, who, while hunting in the countryside, has uncovered a bloody massacre and a truck containing a huge shipment of heroin. He has also discovered and stolen a case containing two million dollars of drug money, which results in his frantic run from hired hitmen. Hunting Moss is Anton Chigurh, a sociopathic cartel avenger, a Satan who will stop at nothing, the antithesis of the thoughtful and kindly Bell. A rival hitman named Wells is, in turn, stalking Chigurh.

By far McCarthy's most exciting and suspenseful novel in recent years, the story speeds along, the body count rising in shocking scenes of depravity. Bell's first person musings about crime, society, and the people around him break the tension periodically, allowing the reader to ponder the wider implications of the action and to see it as a symbolic struggle for man's soul between good and evil, love and hate, God and Satan. As the violence continues and Bell becomes more discouraged, he visits his elderly Uncle Ellis, a former deputy sheriff and war veteran, and as they talk about World War I and the Vietnam War, where they were willing to give their lives for a presumably winnable cause, the contrast between those battles and this battle on the home front is seen in broader and bleaker perspective.

McCarthy's desire to preserve traditional values, and his grim vision of the present and future, reflect a view of life that many readers will not share. The artistry the reader has seen in McCarthy's thematic development throughout the rest of the novel is sacrificed in the last forty pages, in which Bell's overt warnings and cautionary remarks about the future sound preachy. Still, the novel is breathtaking in its construction, and Sheriff Ed Tom Bell is one of McCarthy's best-drawn characters. (4.5 stars) n Mary Whipple

100 of 108 people found the following review helpful.
Holy Cats!
By Dave Schwinghammer
If you like your conflicts fully resolved, you may want to look elsewhere; if you're bothered by unconventional punctuation, you may be irritated by this book; if you despise jump cuts and point of view shifts, you may find yourself rereading sections of this book to catch your bearings. Otherwise, however, you may find this one of the most original books you've read in years.

The story begins when Llewelyn Moss stumbles across the aftermath of a drug shootout while out antelope hunting. He follows a trail out into the desert at the end of which he finds a dead man and 2.4 million dollars. What he doesn't find (until it's too late) is the bug hidden in the money. Soon he has a dauntless hit man on his tail. The bodies pile up like cord wood. This part of the story is pretty conventional. Llewelyn Moss is likable and smart. He seems to anticipate the killer's every move, until he meets a fourteen-year-old, female hitchhiker, who proves to be too much of a distraction.

About two-thirds of the way through the book, the focus switches from Llewelyn to Sheriff Bell, who's trying to save Llewelyn from himself. There's more quirky point of view stuff going on here as McCarthy has Bell tell us what he's thinking in first person, then switches immediately to third, still using Bell as a focus. Bell philosophizes about how he's never seen criminals quite as bad as these drug pushers. He never really believed in Satan until confronted with these people. McCarthy does like to preach occasionally and Bell is a willing stand-in; he indicts not only the drug pushers, but also the people who buy them, and he also seems to hint at some kind of organized crime syndicate that is intentionally chipping away at the American character, hence the title NO COUNTRY FOR OLD MEN.

I have to admit that I was completely caught off guard by what happened to Llewelyn Moss. It happens after a jump cut, and I kept thinking McCarthy was playing some kind of trick on the reader. No such luck. McCarthy is just as ruthless as Chigurh, the hit man. And there's another surprise in story when it comes time to resolve Sheriff Bell's story arc. You won't believe that one either.

43 of 44 people found the following review helpful.
Literature at its best
By H. Cassell
There's so much to this novel that any review or description will fail to do it justice. McCarthy does many things with near perfection: dialogue (oh! his dialogue!), suffering, the American West, doom, beauty, humor, and violence, to name only a handful. All of these familiar, essential McCarthy elements are present here, but this is a different kind of book than McCarthy has written before.

"No Country for Old Men" is a thriller but it resists so many of the temptations and cliches of popular thrillers. It is gritty and violent, without reveling in its violence; its bad guy is chillingly evil without being boastfully so; and Sheriff Bell is the right combination of admirable guy and flawed hero. It is also quicker and easier to read than McCarthy's previous novels, but to read it superficially would be a mistake, as you'll miss so many powerful literary allusions that dot the landscape. Even though you know how this novel is going to end (more or less), McCarthy keeps you engaged with taut writing and mesmerizing prose. Not many writers have that ability.

Cormac McCarthy isn't for everyone, with his disdain for quotation marks and apostrophes, the improper (but true to life) grammar that invades characters' speech, and the affinity he has for creating compoundwords. He gives few introductions to his characters and their circumstances, leaving much for the reader to deduce alone--quite a change from typical dumbed-down fiction.

I think the best parts of McCarthy's books are the endings. Things don't fall perfectly into place and there's a lot of room for interpretation. I much prefer this to force-fed, off-into-the-sunset conclusions that are so appealing to writers. I wonder what those who complained so heatedly about it were expecting? Well, not to worry, when it comes to a big screen near you (as it undoubtedly will), Hollywood in all its infinite wisdom will surely slap a conclusion on it that Answers All Your Questions.

I finished this book two days ago and I'm thinking about it. That, to me, is a hallmark of great fiction, which "No Country for Old Men" is.

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The modern obsession with celebrity began with the Bright Young People, a voraciously pleasure-seeking band of bohemian party-givers and blue-blooded socialites who romped through the gossip columns of 1920s London. Drawing on the virtuosic and often wrenching writings of the Bright Young People themselves, the biographer and novelist D. J. Taylor has produced an enthralling account of an age of fleeting brilliance.

• Sales Rank: #923083 in Books
• Published on: 2010-01-05
• Released on: 2010-01-05
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .89" w x 5.50" l, .79 pounds
• Binding: Paperback
• 384 pages

From Publishers Weekly
Fans of Evelyn Waughs Vile Bodies and Decline and Fall will recognize the glittering world of the Bright Young People, the London socialites of the 1920s who had their costume parties and other exploits celebrated (and excoriated) in the tabloid media. Taylor, a literary critic and biographer, acknowledges that this crowd—which included Cecil Beaton and Nancy Mitford—were the Britney Spears and Paris Hilton of their day, but doesn't belabor the point excessively. Taylors account is not so much a straightforward history as a bundle of thematic essays arranged chronologically; one chapter, for example, discusses the ways some gay Brights were able to avoid much of the repression prevalent throughout British society at the time, while another covers the themes of the fiction that came out of the scene. There are still plenty of juicy anecdotes to go around, although Taylor says that reports of drug-fueled orgies are exaggerated, and points out that Britain in the 1920s was a tightly regulated society. The text is enlivened by several Punch cartoons from the period, vividly depicting the hold these rich young partygoers once held on the publics imagination. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
In 1920s London, privileged and moneyed young people fell in with one another to create a social scene that thrived on sensation and notoriety to an extent that might rival today’s cult of celebrity. Some of their names endure: Evelyn Waugh, Cecil Beaton, Nancy Mitford, Hermione Baddeley. But many others, household words in their day, have not thrived as well in memory: David Tennant, Elizabeth Ponsonby, Anthony Powell. Their parties were legend, the scavenger hunts they organized in Mayfair to flaunt their excess time and money figured in every newspaper, and Noel Coward sang of their exploits. They frequented Rosa Lewis’ legendary Cavendish Hotel. Much of their flamboyance was a reaction to the privations and losses of World War I. Taylor has done a masterful job of detailing this hedonistic moment, but American readers may find many of the references to people and places not immediately familiar and recognizable. --Mark Knoblauch

Review

“[Taylor] tells this story with a good deal of essayistic flair, precision and flyaway wit. Just as important, he relates this ultimately elegiac narrative with a surprising amount of intellectual and emotional sympathy.” ―Dwight Garner, The New York Times

“[An] incisive social history . . . [A] richly detailed work.” ―Caryn James, The New York Times Book Review

“In Bright Young People Taylor is writing splendid social history, not fiction, and he brings a more tempered and rueful approach, showing the sadness beneath an entire generation's compulsion to waste its promise and dance in the spotlight. Scott Fitzgerald, a writer admired by Waugh (who was no soft touch), called his own ‘lost' contemporaries ‘the beautiful and damned'; here, Taylor makes us feel the full force of the reckoning implied in that sad conjunction . . . Taylor has a nice way with a one-liner--‘The books Brian Howard never wrote would fill a decent-sized shelf'--and is excellent on the evolution of BYP argot . . . By placing generational tensions and tenderness center-stage, Taylor gives his book a beating emotional heart.” ―Richard Rayner, Los Angeles Times Book Review

“That rarest of books--one you can safely recommend both to scholars of Evelyn Waugh and the entourage of Paris Hilton . . . Taylor's skillful reconstruction of the whole hazy time feels like a lasting party favor.” ―Troy Patterson, NPR

“[An] entertaining and incisive group portrait.” ―Barbara Fisher, The Boston Globe

“Jampacked and delicious, crammed with a cast of selfish, feckless, darling, talented, almost terminally eccentric, good-looking men and women, Bright Young People chronicles the doings of London's gilded youth in the Roaring Twenties. Even if you think you know a lot (or enough) about them; even if you've read the acerbic novels of the early Evelyn Waugh or plowed your way through Anthony Powell's A Dance to the Music of Time, there's bound to be material here you haven't seen or heard of.” ―Carolyn See, The Washington Post

“Thanks are due . . . to English critic D. J. Taylor, who brings [the Bright Young People] back to life in Bright Young People. Some were distinguished, others once famous only for being famous and now pretty much forgotten--but they were almost invariably fascinating.” ―Martin Rubin, The Wall Street Journal

“Absorbing . . . The book really takes hold when Taylor seizes on the actual trajectory of the lives of individual members, most . . . poignantly that of Elizabeth Ponsonby . . . The pages devoted to her, enriched by Taylor's access to the Ponsonby family papers, are all the biography her lack of accomplishments and frittered-away youth warrant; yet they greatly deepen this study of a social phenomenon.” ―Katherine A. Powers, The Boston Globe

“One yearns to have been a fly on the wall at the ‘fancy dress ball . . . featuring a gang of fashionable debutantes dressed as the Eton rowing eight,' or the notorious Bruno Hat exhibition of faked modernist paintings. Taylor expertly connects this shrill game-playing to memorable depictions of it in Waugh's Vile Bodies, Powell's Afternoon Men and Henry Green's Party Going, while never neglecting the actual achievements of their lesser peers (e.g., Beverley Nichols's forgotten novel Singing Out of Tune). A note of genuine pathos is struck in his description of how the increasingly straitened economic and political circumstances of the '30s began rendering this gaudy subculture obsolete. Immensely readable, and of real value as a sharply pointed cautionary tale.” ―Kirkus Reviews

“There are . . . plenty of juicy anecdotes to go around . . . The text is enlivened by several Punch cartoons from the period, vividly depicting the hold these rich young partygoers once held on the public's imagination.” ―Publishers Weekly

“[Conveys] precisely the aspect of the Bright Young People that is most difficult to give expression to on paper: not books or parties, but ‘an atmosphere . . . An outlook, a gesture, an essence.' ” ―Mark Bostridge, The Independent on Sunday

“Compelling and ultimately touching . . . A witty and sensitive account of the pathos and the glamour of the generation fated to ‘sorrow in sunlight.' ” ―Rosemary Hill, The Guardian

“Excellent . . . the brightest of the Bright Young People [make] their fictional counterparts in Waugh pale into insignificance . . . [Taylor] lays bare their cavortings with an archeological eye.” ―Philip Hoare, The Independent

“Taylor, for years a journalist, is fascinated by--and authoritative on--the lucrative relationship forged between the shrewdest of the Bright Young People and the glamour-hunting press . . . Shrewd and absorbing in his analysis of the way Waugh and Nancy Mitford . . . promoted the world they would soon skewer in fiction.” ―Miranda Seymour, The Sunday Times (London)

“Moving and always entertaining.” ―Jane Stevenson, The Daily Telegraph

“Fascinating . . . A complex study of family, fear and breakdown . . . Taylor's achievement is to remind us that there are few periods of recent history more culturally interesting than the years between the wars.” ―Frances Wilson, New Statesman

“A goldmine . . . If I had to choose one book as a summing up of the BYP, it would be Taylor's.” ―Bevis Hillier, The Spectator

Most helpful customer reviews

17 of 17 people found the following review helpful.
Portraits from an age of parties
By MarkK
Throughout much of the 1920s, Londoners had a front-row seat to the antics of a small group of socialites about town. These young men and women staged lavish parties, disrupted activities with scavenger hunts and other stunts, and provided fodder for gossip columnists and cartoonists. This group, dubbed the "Bright Young People," was fictionalized in novels, recounted in memoirs, and is now the subject of D. J. Taylor's collective history of their group.

An accomplished author, Taylor provides an entertaining account of the group. He describes its members - which included such people as Stephen Tennant, Elizabeth Ponsonby, Brian Howard, Bryan Guinness, and Diana Mitford - and the antics that often attracted so much attention. Yet his scope is also broadened to include people such as Cecil Beaton and Evelyn Waugh, socially on the fringe of the group and yet important figures whose interactions with them prove highly revealing. Through their works and the sometimes obsessive coverage they received on the society pages he reconstructs the relationships and the events that captivated the public's attention.

From all of this emerges a portrait of a phenomenon that was in many ways a unique product of its time. In the aftermath of the demographic devastation of the First World War, the 1920s was a decade that saw the celebration of youth, all of whom grew up in the shadow of a conflict that was the dominant experience of men and women just a few years older than them. The survivors lived in a world where the older generations were discredited and traditional social structures faced increasing economic pressures. In this respect, the Bright Young People represented a garish defiance of the old order and a celebration of life, yet one driven by an undercurrent of sadness and sense of loss.

Taylor's account is infused with both sympathy and insight. At points his narrative degenerates into descriptions of one party after another, when the people threaten to blur into a single generic stereotype, but he succeeds in conveying something of the flavor of the era. From the photos included, the reader can see the fun the young men and women smiling and hamming it up as they pose for the camera, but for what lay behind their expressions readers should turn to this book.

15 of 16 people found the following review helpful.
Wanted it to be better
By D. Steele
I bought this book with real eagerness and was disappointed with it. The author kept losing focus. He would zero in on a chapter about Evelyn Waugh and Cecil Beaton and it would be a page turner. Then, unfortunately, he would move on to another chapter and lose the thread. He did finally focus on the life of Elizabeth Ponsonby and perhaps that is how he should have dealt with the material which is voluminous. There was just so much ground to cover and I think the author didn't know how to grapple with the material successfully. Having just read some of the diaries of James Lees-Milne and an autobiography by Leolia Ponsonby (who is mentioned in this book) I can see why this writer was attracted to the subject matter, but I think he just never got a real handle on it. I loaned the book to a friend who is an avid reader and this should have been right up his alley but he put it down half way through and returned it. Not a good sign.

10 of 10 people found the following review helpful.
A Solid Portrait Of A Feckless Time
By John D. Cofield
Britain's Lost Generation grew up immediately after World War I. Too young to take part in the fighting, their childhoods were scarred by loss and privation. Its small wonder that in the early 1920s these young men and women began to make their marks as brainless partiers intent on having a good time, unchecked by the influence of older brothers (dead on the battle field) or parents (somewhat poorer and definitely out of fashion). D.J. Taylor does an excellent job of chronicling the lives of these men and women through the 1920s and 1930s and then beyond.

Many of the Bright Young People were highly gifted writers, like Evelyn Waugh, Harold Acton, and Nancy Mitford. They began producing novels and thinly disguised memoirs of the Bright Young People while the group was still in its heyday. Others, like Elizabeth Ponsonby and Brian Howard, squandered whatever creative talent they possessed in a fog of booze, drugs, and ceaseless but purposeless activity. I enjoyed reading the many anecdotes with which Taylor enlivens his text, describing elaborate masquerades or complicated and sometimes cruel practical jokes, but it grew wearisome to think that the people participating kept it up unceasingly for more than a decade. Often what seems like a good idea and a lot of fun at 21 begins to seem rather dull and pointless by 25 and unbearable by 30, but that never seemed to dawn on many of the Bright Young People, making that sobriquet seem even sadder and more ironic. Taylor thoughtfully provides us with an afterword in which he summarizes the later careers of the Bright Young People, some brilliant and many more banal.

Bright Young People is an entertaining work which will appeal to social historians and scholars of twentieth century English literature, as well as anyone who enjoys reading about gifted and talented young people and their less brilliant but still amusing hangers-on.

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Elizabeth Bishop's prose is not nearly as well known as her poetry, but she was a dazzling and compelling prose writer too, as the publication of her letters has shown. Her stories are often on the borderline of memoir, and vice versa. From her college days, she could find the most astonishing yet thoroughly apt metaphors to illuminate her ideas. This volume―edited by the poet, Pulitzer Prize–winning critic, and Bishop scholar Lloyd Schwartz―includes virtually all her published shorter prose pieces and a number of prose works not published until after her death. Here are her famous as well as her lesser-known stories, crucial memoirs, literary and travel essays, book reviews, and―for the first time―her original draft of Brazil, the Time/Life volume she repudiated in its published version, and the correspondence between Bishop and the poet Anne Stevenson, the author of the first book-length volume devoted to Bishop.

• Sales Rank: #1233363 in Books
• Published on: 2011-02-01
• Released on: 2011-02-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.16" w x 6.00" l, 1.20 pounds
• Binding: Paperback
• 528 pages

From Publishers Weekly
Starred Review. The most exciting part of the Bishop reissue project may be this volume, which contains all of the prose published in her lifetime, as well as a few hard to find things and a thing or two you won't find anywhere else. As a frequent contributor to the New Yorker (the poet's decades-long relationship with the magazine is brought to life in The Complete Correspondence) and other publications, Bishop crafted all kinds of prose, from autobiographical short stories ("In the Village") to loving reminiscences ("Efforts of Affection: A Memoir of Marianne Moore"); she was as original a prose writer as she was a poet, an under-known fact this volume may help solidify once and for all. The real gem of this book is "Brazil," a book-length essay on Bishop's adopted homeland, whose published version, which came out as a Time-Life guide, Bishop hated. Here we have her original draft, written in her inimitable style: "The history of South America in the nineteenth century resembles Shakespeare's battle scenes: shouts and trumpets; small armies on stage, small armies off stage..." Take that, Lonely Planet! (This title is also available with Poems as a hardcover boxed set, , ISBN 978-0-374-12558-5.) (Feb)
(c) Copyright PWxyz, LLC. All rights reserved.

Review

“It is no exaggeration to say that these stories will be read beside her poems, as Keat's letters are beside his . . . 'The Sea & Its Shore' and 'In Prison' [are] worthy of Kafka or Poe.” ―David Kalstone, The New York Times Book Review

“A stunning collection. . . . These are the kind of stories you should linger over, savor, and rediscover again and again.” ―Elin Schoen, Mademoiselle

“A record of merciless observation, full of surprises both tragic and comic . . . Again and again, in these pages, it is the precision that astonishes . . . So often what Bishop gives us are these small, exact glimpses of the mundane, shorn of all rhetorical indulgence. But when looking is thus transformed, will any word but ‘vision' do?” ―April Bernard, Newsday

About the Author

Elizabeth Bishop (1911–79) won the Pulitzer Prize, the National Book Award, and the National Book Critics Circle Award.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Prose as lucid and entertaining as her poetry!
By cavedave
I was recently introduced to the poetry of Bishop and then learned that she was equally as great as a prose writer. I wanted a companion edition to the Amazon book,Poetry,by Elizabeth Bishop and found this 500-page bargain edition at the Amazon website. This is a valuable adition to my library and is an important reference book for anyone who want to read great prose or who want to attempt to write great prose. You won't be disappointed!

1 of 3 people found the following review helpful.
Final
By gelica215
"In the Waiting Room" takes place in a dentist office. For most people a dentist office is not a fun place to be, but for many people it is just a chore that needs to be done. As a kid a dentist office might be filled with screams and horrible memories , perhaps what Bishop is recalling is a childhood memory. A majority of Bishop's poems are written about her personal experiences. The reader knows this is probably a young girl, a young Bishop, because the character refers to adults as "grown up people"( 8). Normally adults do not refer to other adults by a name like that. Another hint that this poem is from a childhood memory is when the National Geographic magazine first appears Bishop writes "I could read" as if this is an accomplishment the reader should be astonished by. Of course to a child being able to read is a skill to be proud of and a child would note this in his or her writing.
As for "Visits to St. Elizabeths" the setting is a hospital. Once again hospitals are not a fun, cheerful place to be.A way this poem contrasts from the other is instead of a child character, this poem includes a grown man, a "tragic"(5) "old" (11) man. The phrase "wearing the watch/that tells the time" (18-19)is repeated throughout the poem. This phrase is significant because many people who are in hospitals are there for reasons that may take their life away. Bishop may be using this setting to create a moral: for people need to realize time is limited.
I found both these poems to be patricianly interesting because "In the Waiting room", even the title is hinting at time, is about a childhood memory and "Visiting St. Elizabeths'" is about a grown man. The poems have such a difference in age yet both include time. The girl from the dentist office has nothing but time to wait around for her aunt, and while she is waiting she finds something to occupy herself, let her imagination run free, something to make her happy. However this grown man is dreading time. He has lived his life and now is just aimlessly waiting for something, anything, lively to happen in this dull hospital.
Bishop is fantastic at creating layered writing; writing that builds anticipation. In the poem "In the Waiting Room" Bishop uses what i would call a wide lens to start her poem, then Bishop moves into a more smaller view, a view that is personal. For example the poem begins in a dentist office, then isolates to a magazine that is in the dentist's office, then Bishop describes each picture in the magazine in the dentist's office. The way Bishop describes the pictures is immaculate. My personal favorite is the way she paints the picture of a volcano:
"Black,full of ashes;/ then it was spilling over/ in rivulets of fire"(18-20). What is important here is the rest of the poem, except when Bishop describes the photographs, is in past tense. Words like "went"(2), "was"(6), and "said"(53) are used. However Bishop knows she creates an active image in the readers mind by using the present term "spilling"(19) as if the volcano eruption is happening right before the reader's very eyes.
The second poem,"Visiting St. Elizabeth", has the complete opposite style of "In the Waiting Room". "Visiting St. Elizabeth" starts off with a figurative zoomed in lens and gradually zooms out through each stanza. There are twelve stanzas in this poem; the first stanza is one line, the second stanza is two lines, the third stanza is three lines and so on. Bishop adds another line to each stanza which provides more detail which in a sense zooms the lens out into a larger picture.

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^^ Get Free Ebook Who the Hell's in It: Portraits and Conversations, by Peter Bogdanovich

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Peter Bogdanovich, known primarily as a director, film historian and critic, has been working with professional actors all his life. He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).

Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.
Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.

On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.”

On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ”

Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”

John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”
These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.

• Sales Rank: #232646 in Books
• Published on: 2004-09-28
• Released on: 2004-09-28
• Original language: English
• Number of items: 1
• Dimensions: 9.54" h x 1.70" w x 6.58" l,
• Binding: Hardcover
• 544 pages

From Publishers Weekly
While Who the Devil Made It allowed Bogdanovich to chat with Hollywood's great directors, this work finds him hobnobbing with some of the screen's legendary actors. He arranges the profiles according to when he met the subjects. Bogdanovich began as an actor, studying under Stella Adler, but met many of his subjects as a journalist for Esquire and other publications in the 1960s. Some of those encounters resulted in lifelong friendships with stars like Cary Grant and Jerry Lewis, but once Bogdanovich began writing and directing his own movies (like the Oscar-nominated The Last Picture Show), several relationships became professional, too, which leads to tales of working with legends like Boris Karloff and Audrey Hepburn at the end of their careers, as well as a heartbreakingly poignant chapter on the making of River Phoenix's last film. There's someone for just about every sort of film buff: from Bogart and Bacall to Sinatra and Martin, from John Wayne and Jimmy Stewart to John Cassavetes and Ben Gazzara. Despite the strong autobiographical context, Bogdanovich never dominates, always giving his stars center stage and ending each chapter with a list of recommended viewing. Those who like classic movies will fall in love with this book and, despite its nearly 600 pages, they'll find themselves wishing for more. 120 photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
As they did with his 1997 compendium on film directors, Who the Devil Made It, critics embraced Bogdanovich’s Who the Hell’s in It, his paean to legendary Hollywood actors, most of whom are now dead. Reviewers applaud the detail and care with which Bogdanovich paints his subjects—Audrey Hepburn and Marlene Dietrich, among them—and the professional insight he brings to this collection. "Inside the bon vivant and raconteur that is today’s Bogdanovich," writes the Washington Post, "is an honest-to-goodness film historian." They agree Bogdanovich is singular when he allows Lauren Bacall to reminisce about Bogey and prompts Jerry Lewis to hold forth on Dean Martin. However, several conclude that Bogdanovich’s friendship with his principals sometimes obscures his ability to view them with the cold eye necessary for objective analysis.

Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
In this follow-up to his collection on directors (Who the Devil Made It, 1997), Bogdanovich turns here to actors, profiling 26 of the most influential of the past century, including Lillian Gish, Charlie Chaplin, Audrey Hepburn, Cary Grant, James Stewart, Marlene Dietrich, Sidney Poitier, and Marlon Brando. Many of these pieces first appeared elsewhere, particularly in Esquire magazine, but Bogdanovich adds introductions, thumbnail performance critiques, and choice anecdotes. For example, the author tells of chatting with John Wayne about movies on the set of El Dorado (1965), after which Duke exclaimed, "Jeez, it was good talkin' about--pictures! Christ, the only thing anybody ever talks to me about these days is--politics and cancer!" An invaluable archive of a nearly lost cinematic world--only five of the subjects are still alive--that director-actor Bogdanovich has himself intimately inhabited for some 50 years. Alan Moores
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Alice M. Elrod
great

11 of 11 people found the following review helpful.
More Stars Than there are in Heaven
By enubrius
If you're looking for a book that spills the dirt on some of the biggest names in Hollywood (when Hollywood WAS Hollywood), this ain't it! Bogdanovich, as he did with the great directors in "Who The Devil Made It?", has penned love-letters to some of tinsel town's greatest performers. As with the first volume, almost all of these pieces are told from the personal viewpoint of his inter-actions with each of the stars, a ploy that could become tedious in less capable hands. It is important to remember, however, that, before he was a director, and sometime actor, Bogdanovich was one of the best writers on the art of film, a talent he retains to this day. The pieces vary in length from less than 10 pages to an almost novella length essay on Jerry Lewis. The problem, if any, is that the short pieces often seem TOO short and the longer ones, especially the Lewis piece, could have stood a little trimming. But, all in all, these mash notes (you won't find many negative comments on any of his subjects) are beautifully written and speak of a time and place we shall never see again. If you love film, this is your next big read!

8 of 8 people found the following review helpful.
Uneven, but a few good chapters
By Amazon Customer
Peter Bogdanovich, the director of such films as The Last Picture Show and The Cat's Meow, has compiled in this book a group of essays, each one about a specific actor, many, if not all, of them legendary (the actors, not the essays). The actors range from Stella Adler, the legendary acting coach, to River Phoenix, the tragic model for fatal drug overdoses.

Some of the chapters are less involving than others, and this can be attributed to Bogdanovich's limited relationships with some of the subjects in the book. However, some of the chapters are also incredibly gripping, as Bogdanovich paints personal portraits of those close to him throughout his years in film.

My personal favorite chapter was about the aforementioned Phoenix, who was a train wreck waiting to happen, but as Bogdanovich tells it, he was also an unbelievable talent and just a great guy to be around - that is, while he was still around.

The other actor that really captured my attention was John Cassevetes, who is probably more well-known as a pioneering director and producer of independent films. Bogdo (as Cassevetes referred to him) is able to explain some of Cassevetes's genius and cavalier attitude towards filmmaking, which was basically "I'm making this film the way I want - you're either in or out." You just have to respect that.

Overall, the book is uneven, and it almost has to be, with such a wide array of Peter-profiled personalities. This gets a recommendation for those interested in classic Hollywood film lore and the "real" lives of screen legends.

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~ Fee Download Raised on Radio, by Gerald Nachman

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For everybody "raised on radio" -- and that's everybody brought up in the thirties, forties, and early fifties -- this is the ultimate book, combining nostalgia, history, judgment, and fun, as it reminds us of just how wonderful (and sometimes just how silly) this vanished medium was. Of course, radio still exists -- but not the radio of The Lone Ranger and One Man's Family, of Our Gal Sunday and Life Can Be Beautiful, of The Goldbergs and Amos 'n' Andy, of Easy Aces, Vic and Sade, and Bob and Ray, of The Shadow and The Green Hornet, of Bing Crosby, Kate Smith, and Baby Snooks, of the great comics, announcers, sound-effects men, sponsors, and tycoons.

In the late 1920s radio exploded almost overnight into being America's dominant entertainment, just as television would do twenty-five years later. Gerald Nachman, himself a product of the radio years -- as a boy he did his homework to the sound of Jack Benny and Our Miss Brooks -- takes us back to the heyday of radio, bringing to life the great performers and shows, as well as the not-so-great and not-great-at-all. Nachman analyzes the many genres that radio deployed or invented, from the soap opera to the sitcom to the quiz show, zooming in to study closely key performers like Benny, Bob Hope, and Fred Allen, while pulling back to an overview that manages to be both comprehensive and seductively specific.

Here is a book that is generous, instructive, and sinfully readable -- and that brings an era alive as it salutes an extraordinary American phenomenon.

• Sales Rank: #1048605 in Books
• Published on: 1998-10-13
• Released on: 1998-10-13
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x 6.25" w x 1.50" l,
• Binding: Hardcover
• 535 pages

From Publishers Weekly
Before it fell victim to the voracious adolescence of television in the late 1950s and early 1960s, American radio was the country's dominant cultural force. It served as a testing ground for new advertising and marketing models, created huge celebritiesAJack Benny and Fred Allen, for exampleAand installed programs such as Amos 'n' Andy and You Bet Your Life in America's cultural pantheon. There have been several attempts to create a popular history of the medium's Golden Age but none quite as successful as Nachman's book. Organized thematically rather than chronologically, the 24 chapters cover everything from radio's domestic comedies ("Nesting Instincts") and the quiz-show phenomenon ("Minds Over Matter") to the medium's dependence on ethnic types ("No WASPS Need Apply"). A syndicated humor columnist and reporter on the arts, Nachman also presents vivid portraits of radio's major figures and a few of its fascinating minor ones, including maverick comic Henry Morgan and horror maven Arch Obler, the Rod Serling of his day. Nachman doesn't shy away from such issues as racism and sexism; throughout he stresses the overarching theme that radio has served as a national conscience and a socioeconomic mirror. He takes such delight in chronicling the medium's rise and fall that even readers raised away from radio will understand why a whole generation projected their imaginations onto this vast sonic canvas. Photos.
Copyright 1998 Reed Business Information, Inc.

From Kirkus Reviews
A sharp, nostalgic homage to the golden era of radio, told as both a memoir and a social history. Nachman, a columnist for the New York Times syndicate, attempts to explain just how radio came to define American pop culture from the 1920s to the '40s by examining the personalities, genres, and behind-the-scenes politics of network radio productions. As the earliest tycoons (like George Washington Hill of the American Tobacco Company and barn broadcaster Dr. Frank Conrad) contributed to radios availability and mass-market appeal, a boom began that drew talent of varying degrees and generated a patriotic hype not unlike that which surrounds todays information superhighway: radio was to be the American medium that would bring culture and democracy around the globe. Instead, it introduced advertising to the country and created the formatssoap operas, news, sports, variety, sitcom, and dramathat remain in popular entertainment to this day. Nachman recalls the 30 remarkable years of radios reign by remembering the programsinspired first by vaudeville, then by Broadwaythat he enjoyed as a child: from the sassy satirist Fred Allen (the David Letterman of radio) to the fluffy but arousing teen-girl dramas like Junior Miss. Mirroring the countrys domestic politics, radio programs of that era attempted to sweeten immigrant stereotypes and launch antiracist images of blacks (in what Nachman calls a rather thin rainbow coalition): the Italian immigrant comedy Life with Luigi, the blue-collar characters in The Life of Riley, and the Jewish family in The Goldbergs all told the immigrant story with bursts of ethnic humor and staunch American patriotism. Beulah, a show about a black maid, tried to honor black culture (while using white actorsa practice that happily died out early on). Still lovable despite its flaws, network radio through Nachmans eyes is a treat. A humorous account of a radiophiles memory and longing for the return of the lost era. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.

Review
...[a] captivating, highly personal book.... With the amplitude of a Ken Burns television documentary and with the added asset of a keen sense of comic proportion, the author takes the reader step by step through the story of radio, which he calls "the ultimate populist medium." -- The New York Times, Mel Gussow

...an adoring, nostalgic, and anecdote-stuffed history of radio's golden age.... Nachman has a superb knack for ... vivid shorthand description, which keeps the book briskly moving along. -- The Boston Globe, Scott Alarik

Clearly Nachman ... did extensive research and conducted many interviews, and he has spared the reader few of his findings. -- The New York Times Book Review, Ruth Bayard Smith

Most helpful customer reviews

7 of 7 people found the following review helpful.
Relive the days when radio was king...
By Eddie Landsberg
I really love this book... Its a great read... neither overly scholarly (as in Zzzzzzzzzzzzz...) nor overly wishy washy like some titles that might come to mind. Its just one of those books you can sit back, read and enjoy. In the process you'll get a great overview of the rise and fall of radio... you'll meet the stars and the personality in front of and behind the mic, from the actors and executives, right down to the writers and sound effects men. - - I'm not sure if one could call it definitive... but for sure whether its definitive or not, it tells the story well and is re-readable as many of those classic radio shows are still relistenable. - - All in all, if you're a die hard "OTR" buff and want to know who played so and so in episode 154 of a certain radio show, its original airdate, and when it re-aired... the book probably isn't for you... - - If, however, to hear the story of radio as a whole, relive this golden age, and experience it not only from the perspective of the people who made it, and the generation that grew up on it this is one must have piece of literature - - (...to boot, almost all of my favorite radio shows were covered... atleast in brief !)

4 of 4 people found the following review helpful.
Good starting point for casual readers on "Old Time Radio"
By Edison McIntyre
This review is based on the hardcover version.

This is neither a formal history of American radio's "Golden Age" (c.1928-1950), nor is it a book likely to please every "Old Time Radio" fanatic who wants elaborately detailed accounts of his favorite programs and performers. Gerald Nachman came of age in the waning days of bigtime network radio; he fondly remembers the medium; and he tries to convey some of his warm regard (dare one call it "nostalgia?") for the people and broadcasts that have most impressed him. For those who were not "raised on radio" (or, more likely, grew up in the later decades of disc jockeys and "talk"), the book provides an introduction to the basics of Old Time Radio.

Nachman affectionately hits the high points with chapters on Jack Benny, Fred Allen, and Bob Hope, a paean to the ultimate radio soap opera, "One Man's Family," and insightful analyses of such cultural icons as Walter Winchell, the Quiz Kids, Burns and Allen, Arthur Godfrey, and others who made a medium that (along with the movies) dominated American popular culture in the 1930s and 1940s. His assessment of the "Amos `n' Andy" controversy - should African-Americans be offended or flattered by two well-meaning white comedians in aural blackface? - is on the mark. On the other hand, Nachman doesn't put enough emphasis on Orson Welle's 1938 "War of the Worlds" broadcast, which demonstrated the power of radio to scare the hell out of casual listeners; but there are numerous other books on that phenomenon. One also can quibble that there's not a chapter about commercial radio's efforts to popularize "high culture" - e.g., Arturo Toscanini, Sigmund Spaeth, the Metropolitan Opera - although Nachman does mention them in passing. Most of the chapters are devoted to specific entertainment genres - soap operas, kids' shows, dramatic series and serials, quiz programs, musical/variety shows, westerns, etc. - and cover major performers and programs in each.

As one might expect, Nachman bemoans the demise of "live" network radio in the 1950s and 1960s, as Americans turned from prime-time listening to prime-time viewing. If the book has a major failing, it's a lack of information about and understanding of American radio audiences and why they largely abandoned network radio for television. A chapter on audiences and the radio ratings systems might have been appropriate - but, again, this is not a history so much as an "appreciation."

Nachman cites several interviews and includes a long list of books he apparently consulted for his own work; but since there are no footnotes, it's difficult for a non-specialist to judge if there are as many factual errors here as other reviewers claim. (By the way, Adlai Stevenson WAS a presidential contender in 1960, at least until John F. Kennedy locked up the Democratic nomination; but there was no primary "election night" prior to Winchell's departure from network radio that year, so he couldn't have made his on-air comment, comparing Stevenson with Christine Jorgenson, quite as Nachman relates it.)

Still, Nachman writes in a lively, easy-flowing style; his chapters are well-organized and self-contained, short enough for casual reading. All in all, "Raised on Radio" is a good introduction for younger readers (born after 1960, shall we say) to the basics of Old Time Radio, a good place to get one's bearings before tackling more specialized books and, of course, listening to the programs themselves.

11 of 11 people found the following review helpful.
A must for anyone raised on radio.
By El Tigre TA Esmitz
I come at this book from an oblique angle. Yes, I was definitely raised on radio shows like "The Great Gildersleeve" and "Fibber McGee and Molly," but I was born in 1971, twenty years after the demise of the medium! Thanks to a nostalgia program called "The Big Broadcast" on the Washington DC public radio station WAMU, however, every Sunday night for years I was drawn out of my 1980s media world (of The Empire Strikes Back and The Dukes of Hazzard) and into the wonderfully different, off-beat universe of vintage radio.
Like my father, forty years before me, I was a kid with a radio hang-up, who's head spun around with the adventures of "The Shadow" (in reality, wealthy man-about-town Lamont Cranston) and who thrilled to stories of "Suspense!" None of my friends...not one...had any idea that this world recaptured from the past existed. That had its advantages: I could use any routine from Jack Benny or Fred Allen and claim it as my own. But it had its disadvantages as well. Radio was filled with loveable characters and great shows...you want to talk about them! Being one of the tiny minority of my generation who knew who Sheriff Matt Dillon was, I was all alone.
Until now! Gerald Nachman's book RAISED ON RADIO is like having a great conversation with the world's biggest old-time radio authority...and enthusiast! I haven't listened to some of these shows in ten years, and yet its amazing how well I remember the VOICES when Mr. Nachman quotes an old gag or piece of dialogue. That's the magic of radio: the voices approach you intimitely, and your imagination takes flight. Whether you are 27 (as I am) or 72 (and you listened to the original broadcasts of "Mercury Theater on the Air" or "Dragnet") the voices are probably still echoing in your memory. Mr. Nachman's book is a great key to open that closet of remembrances in your head: a closet as jam-packed as ever Fibber McGee's was!
Thank you, Gerald Nachman!

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From Robert B. Reich-political economist, distinguished public servant, and author of The Work of Nations, Locked in the Cabinet, and other acclaimed and best-selling books-a brilliant analysis of the new economy and how it is affecting our lives, for better and for worse.

The dizzying exuberance of the Internet-driven marketplace offers unprecedented opportunities and an ever-expanding choice of deals, products, investments, and jobs-ranging from the merely attractive to the nearly irresistible-for the people with the right talents and skills. The technology that is the motor of this transformation relentlessly sharpens competition. When consumers can shift allegiance with the click of a mouse, sellers must make constant improvements by cutting costs, adding value, and creating new products. This is a boon to us as consumers, but it's wreaking havoc in the rest of our lives.
Reich demonstrates that the faster the economy changes-with new innovations and opportunities engendering faster switches by customers and inves-tors in response-the harder it is for people to be confident of what they will be earning next year or even next month, what they will be doing, where they will be doing it. In short, those fabulous new deals of the fabulous new economy carry a steep price: more frenzied lives, less security, more economic and social stratification, the loss of time and energy for family, friendship, community, and self.

With the clarity and insight that are his hallmarks, and using examples from everyday life, Reich delineates what success is coming to mean in our time-the pitfalls and downturns hidden in the apparent advantages and advances-and suggests how we might create a more balanced society and more satisfying lives. The trends he discusses are powerful indeed, but they are not irreversible, or at least not unalterable.

The Future of Success is a stunning, timely book, certain to galvanize the nation's attention and transform the way we look at our future.

• Sales Rank: #2065916 in Books
• Published on: 2001-01-09
• Released on: 2001-01-09
• Original language: English
• Number of items: 1
• Dimensions: 1.11" h x 6.53" w x 9.54" l,
• Binding: Hardcover
• 304 pages

From Publishers Weekly
From his dual perspective as former Clinton administration secretary of labor and academic social scientist, Reich (bestselling author of Locked in the Cabinet) offers a knowledgeable overview of the pros and cons of today's economy for the average worker. New ways of doing business spurred by digital technology, he states, have led to "eye-popping deals and bargains, opportunities never dreamed ofAexactly what you want, from anywhere, at the best price and value" for consumers. At the same time, the ease with which potential buyers can switch to any better new deal puts all producers under intense competitive pressure. Reich argues that the choice between innovation or death that producers now face has filtered down to workers in the form of reduced loyalty from employers and sharply curtailed retirement and fringe benefits. Those who suspect that they are working harder over longer hours will find confirmation here that they are in good company, as well as a keen analysis of the impact of our new working arrangements on marriages, children and how we enjoy our lives. Then Reich pops the $1 million question: Would we willingly accede to the new demands of the workplace if we fully appreciated the consequences for our family lives? Sensing a growing dissatisfaction across the nation, Reich offers tantalizing proposals for moderating the more disruptive influences that have arrived along with the blessings of the emerging economy. (Jan. 15) Forecast: Reich's personal, engaging approach to the hot button topic of worker burnout in the new economy, combined with his high visibility in the traditional media, should raise the profile of this title, which has an announced 100,000-copy first printing, as well as a simultaneous audiobook release from Random.
Copyright 2000 Reed Business Information, Inc.

From Library Journal
The former secretary of labor, author of best sellers like The Work of Nations, analyzes the benefits and stresses of the new Internet-driven economy.
Copyright 2000 Reed Business Information, Inc.

From Booklist
The erstwhile secretary of labor says he loved that job like no other he ever had. He spent long hours at it--so long that his small son asked his father to wake him when he came home, even though the boy would be sleeping, because then he would know for sure that his father was around. Reich decided shortly after to resign and to make the ever longer hours Americans are working the stuff of a new book. The first section of his tripartite essay describes the radical deracination of work during the last three decades as standardization gave way to personalization because new technologies, crucially including the computer and its myriad applications, allow narrowly targeted marketing to thrive and prosper. The second homes in on the new ways of life and success under the constant-growth economy, which include working forever, selling yourself constantly, outsourcing the functions of the family, and regarding all social attachments (i.e., "communities") as just so many disposable or tradable goods. In the last section, consisting of two chapters on choice (choice is, by the way, supposed to justify the personalized economy that requires the additional working hours), Reich concludes that you can either be successful or have a life but, for the foreseeable future, not both. Despite the fact that most of what he says will strike many as dreadfully probable and some few as utterly ghastly, Reich is ebullient. Ray Olson
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

89 of 91 people found the following review helpful.
The Paradox of Success
By Donald Mitchell
This book clearly deserves more than 5 stars. It is Professor Robert Reich's best book, and the first to go beyond Professor Peter Drucker's thinking about the future of "knowledge" work. It is well written, and designed to stir a debate and self-examination . . . rather than answer all of the questions in an opinionated way. Nicely done!
In sharing an epiphany that he had, Professor Reich describes the trap of success that he ran into as Secretary of Labor for President Clinton. "My problem was that I loved my job and couldn't get enough of it." Sounds okay so far, doesn't it? Well, read on. " . . . [A]ll other parts of my life shriveled into a dried raisin." He quit after calling to tell his children that he would not be home before bedtime for the sixth night in a row, and he son begged him to wake the son during the night simply for the comfort of knowing his father was in the house. As a result of having had that experience and happily changing his life balance, "I am writing here about making a living and making a life . . . [and it's] geting harder to do both."
The book is an excellent summation of the reasons why the most successful people typically work the longest hours and the most intensely. Trends suggest that this imbalance is likely to get worse.
Basically, the current economy puts a huge premium on finding new, creative solutions whether as a technologist, designer of new business models, new product conceptualizer, or marketer. Most people cannot synthesize all of those roles into one person -- the perfect entrepreneur. Those who can are even more valuable. The digital society vastly increases the rewards for these innovations by making them available to more people faster. Much of this new work is "creative" rather than "knowledge" work. I think that distinction is a useful one that should be retained in examining the subject.
Some of the consequences of this situation are that personal lives are disappearing under the waves of career. Loyalty to anything but the current assignment is modest. Family life is shriveling. Naturally, that may be what you want. Or is it?
The book culminates in suggesting that each person more consciously consider the personal choices of how to allocate time. In addition, there is a choice that society must make about how hard to pursue economic opportunity versus creating a more balanced connection among people. The ultimate strivers tend to hang out and live with each other, and have less and less contact with those who are not the top performers. It is a new form of elitism that can undermine many of our social mores. He suggests that we think about this choice in both economic and moral terms.
In both cases he finds, "It's a question of a balanced society."
My own experience is that it's good to step back from concentration, even if your goal is only to achieve economically. That seems to give your subconscious time to come up with better solutions.
I also suspect that many people end up overcommitted to work because they do not have the skill to insulate themselves from work. That isn't taught anywhere. You have to learn it on your own. Unfortunately, many people have to crash and burn first . . . sometimes taking their families with them. That's the hard way. I'm sure we can find easier ways. With people living longer, it's even less reasonable to expect that everyone will want to or be able to keep up these enormous paces for many years. The most intense field (like investment banking) have always been mostly handled by the young. But what do you do for an encore?
However you decide what balance should mean for you, I do hope you will consider the question. You and those you love will be much better served by your conscious decisions as a result.
May you enjoy a wonderful balance of health, happiness, peace, and prosperity!

61 of 62 people found the following review helpful.
Why work is getting harder, and life more lonely. . .
By ConsultantsMind
Reich (personal bio covered by other reviewers) covers
some of the mega-trends that are affecting our lives.
The book follows this train of thought, if only roughly.
1) Technology and globalization is breaking down barriers for competition. With so many suppliers, buyers have more choice. There are better deals everywhere and switching costs are going down. You can change (your house, job, lifestyle) easier than ever before.
- Every year 17% of American¡¯s change residences, and 20% of them change jobs.
2) It is a buyers market and sellers are forced to innovate. Everything must be better, faster, and cheaper. The innovators are increasingly independent, and networked free agents (rather than a vertically-integrated conglomerate). These free agents seek market visibility by associating with large recognized brand portals: Disney, Dell, Harvard, and AOL.
- 90% of the 7,000 entertainment firms in Los Angeles have fewer than 10 employees.
3) Loyalty? Companies are constantly trying to cut costs and looking for cheaper suppliers (and employees). "The underlying cause isn¡¯t a change in the American character. It is to be found in the increasing ease by which buyers and investors can get better deals, and the competitive pressure this imposes on all enterprises. As the pressure intensifies, institutional bonds are loosening.¡± (page 71)
4) The nature of work has changed. There is more emphasis on the individual; they must provided for themselves, and constantly define their value. It is an opportunity, but also a great source of insecurity.
The gap in wealth is increasing.
- In the US, the top 1% of people hold 18% of the wealth.
- CEO pay (as a % of typical worker¡¯s salary) has risen from 40x (1980) to 85x (1990) to 419x (2000)
5) Americans are working longer hours. The opportunity cost of not work is very high: people are compelled to work for that marginal income. The free agent culture: People take their work home with them
- Americans work 350 hours a year more than Japanese and Europeans
- 30% of families are supported by single parents
6) As free agents, we sell ourselves constantly. (Not just when applying for a job) ¡°Individuals now blaze their own career paths by making reputations in their fields, not in their organizations.¡± (page 143)
7) Families are shrinking, as both women and men feel compelled to work more. Many of the functions for the family are being outsourced: meals, childcare, shopping.
- The percentage of unmarried people with no children is 32% (1998)
- In Massachusetts, more babies are born to women over thirty (than under thirty)
- Spending on take-out & restaurants exceeds the spending on groceries.
8) Although technology is making our lives easier, more efficient, we are very alone. As a result, we are paying for attention: spas, clubs, counseling, childcare, and brokerage. Companies are segmenting their markets by their customers¡¯ ability to pay for service (or attention). Invariably, this trend will continue as more people work longer hours and spend less time at home and with their families.
9) Communities are becoming commodities. People are more mobile. We choose our location, neighbors and lifestyles. Friendships start and end easier. We choose the communities that offer the best return on investment: lifestyle, schools, and real estate value. Society is becoming more segregated as people bargain for something better; no one wants to subsidize anyone else.
10) Leadership is about attracting and keeping talent; governance is salesmanship (section title pg. 209).
Finally, Reich discusses the choices we must make in light of the world we live in. Overall, it is an insightful and organized view of the hectic life we live.

63 of 65 people found the following review helpful.
Excellent, comprehensive overview but...
By JackOfMostTrades
What Former Labor Secretary Reich does say, he says with insight and clarity: the transformation of society into one that is obsessively "bottom line" driven, whether it be a company seeking highest profitable returns or an on-line customer seeking the quickest delivery time for an item. However the result of this thinking, according to the author creates two major problems: it widens the income gap between economic classes and it makes "time is money" the paradigm of the new millenium--at the expense of personal and family relations, self-reflection and understanding, enjoyment of life outside of work. The well-off have access to service (massage, personal trainers, limousines,); as for the poor: let them do stretching exercises, jog, and take the bus. The author insists that as the more affluent become more insular, they do not intentionally separate themselves from the needy or disadvantaged; it's just that they follow the dictates of common sense that says why not get the best bang for the buck (for example, not caring or acting on the fact that low prices of computers is at least due in part to woefully low wages among foreign workers who produce the chips). We need to reassess our values, according to Reich, and ask ourselves whether indeed do we really want to live overworked if pampered lives with less and less time for those things which traditionally display our humanity. All in all, a very inclusive, incisive book with such disparate citations as Oscar Hammerstein and brain chemistry research to promote the thesis. Two small issues I have though: 1) I wonder if we really aren't so aware of the injustices around us and simply have a "that's life" attitude; and 2) I believe the author might have included a bit more regarding the role of the media in influencing opinion, especially given that other opinion forums are not much examined or respected. Nevertheless, anyone who is concerned about the future of work, American culture, and "family values" should enjoy and receive insights from this book even if he or she doesn't totally agree with it.

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