ufreydalebooks: January 2016

Sunday, January 31, 2016

## Download PDF More Than a Champion: The Style of Muhammad Ali, by Jan Philipp Reemtsma

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From one of Europe's most prominent intellectuals: a brilliant, utterly original study of the boxing style of Muhammad Ali; of his rise, ascendancy, and fall as champion of the world; and of how Ali the man came to reflect many of our own deep, often disturbing, cultural patterns.

This virtuoso essay takes as its narrative framework the legendary Ali vs. Joe Frazier fight in Manila in 1975, which Jan Philipp Reemtsma follows in three-round sections. Intercut with these vivid and telling accounts of what actually is going on (as opposed to what merely appears to be) are much wider ranging sections exploring the choreography (it is not too grand a word) that Ali crafted for his greatest title bouts, how he created a style that became its own myth, how he then came to have to act that style in the ring, and its damaging consequences.

Reemtsma also provides portraits of Ali's opponents: Sonny Liston, George Foreman, Ken Norton, and, above all, Joe Frazier, the strongest "big puncher" of them all. He even produces a startling analysis of Sylvester Stallone's five Rocky movies to show how closely linked they are with the changing mythology of Ali, then opens up that myth so that we see how Ali the man and what he represents are connected with our own lives.

Sales Rank: #4800312 in Books
Published on: 1998-03-10
Released on: 1998-03-10
Original language: English
Number of items: 1
Dimensions: 8.50" h x 5.50" w x .75" l,
Binding: Hardcover
172 pages

Amazon.com Review
Written by a German academic, More Than a Champion is an odd gem, a thin volume with a solid jab. Using the almost mythic confrontation of Ali and Joe Frazier in Manila as his centerpiece, Jan Philipp Reemtsma bobs and weaves through the champ's life and career to establish a thesis that goes the distance: that Ali, both in and out of the ring, was ultimately a prisoner of the majestic boxing style he created for himself. Though at times Reemtsma seems a little punch-drunk on his own erudition, he is a precise interpreter of boxing's essence, and an imaginative analyst of its most poetic practitioner.

From Publishers Weekly
One of the most admired and best-known boxers of the 20th century, Ali is the subject of some 30 essays and a poem by an all-star cast of prominent contemporaries, including Tom Wolfe, George Plimpton, Jackie Robinson, Leroi Jones, Irwin Shaw, Norman Mailer, Roger Kahn, Garry Wills, Bert Giamatti, Hunter Thompson, Joyce Carol Oates and Gay Talese. One surprise is that Floyd Paterson, humiliated by Ali in the 1960s and who later called him a coward, staunchly defends Ali's fight decisions, in a piece here written by Paterson and Talese. Mailer offers a turgid essay on the language of the body. Oates, who recalls the pugilist's early fights when he said he "floated like a butterfly and stung like a bee," muses on the "genius" of Ali's boxing in view of his graduating 376th out of 391 in his high school class. Other pieces tackle the subject of Ali's Muslim religion, portraying an idealistic, devout, warm, generous and admirable human being determined to help blacks fight what he describes as the "awful odds" against them. Early (Tuxedo Junction) has assembled a splendid collection. Photos. (June) FYI: Knopf has recently published the translation of a German biography of Ali: More Than a Champion, by Jan Philipp Reemtsma, trans. by John E. Woods (172p $21 ISBN 0-375-40030-3)
Copyright 1998 Reed Business Information, Inc.

From Kirkus Reviews
Reemtsma is a philologist by training, a boxing buff by avocation, and the director of the Hamburg Institute for Social Research; as might be expected, he has a big agenda in this slender book. The author strives to give an intellectual pedigree to his subject from the outset, invoking Malcolm X, Martin Luther King, and Bertrand Russell as ostensible aficionados of Ali's arcane art. The book opens with, and is framed by, a series of vignettes drawn from Ali's epic 1975 battle with Joe Frazier, the ``Thrilla in Manila,'' a fight that essentially cut short both boxers' careers with its relentless savagery. With that framing device in place, Reemtsma essentially offers a series of interlocking essays on Ali's life, his defeats, his victories, and the ways in which the five ``Rocky'' movies reflect America's (or at least Sylvester Stallone's) uneasy relationship with Ali. Very little of this is new, and one reads this far wondering exactly why a distinguished European intellectual is so preoccupied with telling us a great deal that any ordinary boxing fan already knows. A lengthy quote from Norman Mailer's The Fight also reminds the reader of how much better a real writer/fan can describe what goes on in the ring. But in the dozen pages of the book's epilogue, Reemtsma reveals his agenda at long last: He sees Ali's boxing style with its unusual combination of ``dominance and variability'' as the avatar of a late- 20th-century phenomenon, a personality that is a cross between ``the dissociated individual'' and its anti-type, ``the megalomaniac.'' Despite the book's brevity, it still seems a long way to travel for such a meager insight. As the old saying goes, what's good here isn't original, and what's original isn't good. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Good, but not good enough
By A Customer
I've read parts of this book and it held my interest simply because the subject is interesting. But there is nothing in there that I've not read, known or heard before about Ali. The author makes a conclusion of Ali's style on the basis of just one fight, even if that fight is -- to quote Ali himself -- his "greatest". It is also too short, about 200 pages in paperback and contains very few photos of its larger-than-life subject. So what if Ali created a style that he had to maintain as part of his identity before us his fans and the rest of society? That is not a very original or striking psychological observation.

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~~ Download The Secret of Parenting: How to Be in Charge of Today's Kids--from Toddlers to Preteens--Without Threats or Punishment, by Anthony E. Wolf

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Essential advice from the author of the bestselling Get Out Of My Life

Today's children--from toddlers to preteens--challenge their parents in ways that would have been unthinkable a generation ago, notes Anthony E. Wolf, and parents are often uncertain about how to cope.

In his new book, Wolf presents a fresh perspective on this less pleasant behavior and a surprisingly simple method for dealing with it. He argues that punishments and rewards don't work and may even be counterproductive. Instead, parents must act swiftly and decisively following Wolf's easy but powerful technique. Using numerous examples of effective and ineffective parent-child interactions, he offers practical advice on a wide range of basic issues, from tantrums and back talk, to getting kids off to school in the morning and eliminating sibling fights.

Humorous and easy to use, The Secret of Parenting is guaranteed to dramatically increase the joy parents get from raising their children.

Sales Rank: #432045 in Books
Published on: 2000-09-01
Released on: 2000-09-01
Original language: English
Number of items: 1
Dimensions: 8.50" h x .58" w x 5.50" l, .54 pounds
Binding: Paperback
256 pages

From Publishers Weekly
In this eminently practical and often humorous volume, Wolf outlines a system for putting the brakes on such unpleasant behavior as whining, temper tantrums and sibling rivalry. Beginning with a firm stance against harsh punishment ("Parents have great power with their children, separate from any leverage based on fear. They just need to learn how to use what they have"), he explains the difference between what he terms the "baby self" and the "mature self" and demonstrates how to deal with "baby self" behavior calmly, firmly and consistently. Using an abundance of realistically scripted examples, he covers a laundry list of topics, such as "NoAHow to Say It," "Picking Up Rooms" and "I Won't/You Can't Make Me." His commonsensical, non-reactive approach to discipline will resonate with any parent struggling to curb misbehavior in their children. Peppered throughout with the author's own whimsical cartoons and wry asides (after describing a theoretical child's angelic response to a disciplinary tactic, for instance, he notes "there is an unconfirmed story that on March 18, 1977, a child from Cedar Rapids, Iowa, responded in this manner"), this book distills Wolf's 30 years of wisdom and experience as a clinical psychologist. It could easily be subtitled Parenting 101. (Sept.)
Copyright 2000 Reed Business Information, Inc.

Review
“Dr. Wolf has the best ear of anyone listening to kids today.” ―Pamela Abrams, editor in chief of Child, on Why did you have to get a divorce?

About the Author

Anthony E. Wolf, Ph.D., is a practicing clinical psychologist. He has worked with children and adolescents for thirty years and lectures frequently on parenting topics. He lives in Suffield, Connecticut.

Most helpful customer reviews

24 of 25 people found the following review helpful.
Excellent advice, but borrows heavily from Jeremy
By Maddi Hausmann
If you have not read any of Anthony Wolf's books, and you are looking for a great book on parenting, you've found it. Wolf's advice is straightforward, logical, and reasonably easy to implement. But if you bought _It's No Fair, Jeremy Spencer Gets to Stay Up All Night_, this one won't teach you much more. _Secrets of Parenting_ borrows heavily from _It's No Fair_, to the point that there's no need for both of them.
The kernel of Wolf's approach toward dealing with children is in handling the I Want You Now personality. His descriptions of typical childhood behavior ring true to anyone who has children. Ever have your child playing quietly in the same room until you pick up the phone, and then s/he needs you to help RIGHT AWAY? Wolf will explain why this happens. Better yet, he'll tell you how to handle this so it won't keep happening.
His advice on handling bad behavior is for you to become a Robo-parent. It completely disconnects the I Want You Now behavior, because it doesn't engage. Robo-parent deals with the child, no muss, ignore the fuss, and very soon your child learns that tantrums and stickiness don't succeed. While I can't always tamp down my emotions to turn into Robo-parent, it's good to have a strategy that WILL WORK.

3 of 4 people found the following review helpful.
I can't say enough good things about this book!
By Patty Campbell
This book saved my life. Absolutely, hands-down, the best advice ever given. Dr. Wolfe dishes out logical and practical solutions to everyday problems and manages to keep the book funny. It's a quick read and very enlightening.

7 of 8 people found the following review helpful.
Why didn't we find this book sooner?!
By AL
As parents of a 9 and 7 year old who can be quite challenging, we have read MANY parenting books. The Strong Willed Child, Nurture by Nature, 123 Magic, the list goes on. None of them were very helpful. I halfheartedly started reading this book and was blown away by the first couple chapters. The description of the "baby self" explained SO much and made me feel like maybe I wasn't failing as a parent after all. It just makes so much sense. We've only been using the method for about a week but so far it's like magic. My kids, who are incredibly stubborn and persistant, really do stop their behavior when we don't "feed" the baby self, and they are much more content. My daughter was actually running around the house yelling "I'm happy! I'm happy!" yesterday. I am thrilled to have found the book, but sad that I didn't find it a few years ago. My house is so much more peaceful now and I have high hopes that it will stay that way.

See all 26 customer reviews...

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Friday, January 29, 2016

^^ PDF Ebook The Dream Songs: Poems (FSG Classics), by John Berryman

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The complete Dream Songs-hypnotic, seductive, masterful-as thrilling to read now as they ever were

John Berryman's Dream Songs are perhaps the funniest, saddest, most intricately wrought cycle of poems by an American in the twentieth century. They are also, more simply, the vibrantly sketched adventures of a uniquely American antihero named Henry. Henry falls in and out of love, and is in and out of the hospital; he sings of joy and desire, and of beings at odds with the world. He is lustful; he is depressed.
And while Henry is breaking down and cracking up and patching himself together again, Berryman is doing the same thing to the English language, crafting electric verses that defy grammar but resound with an intuitive truth: "if he had a hundred years," Henry despairs in "Dream Song 29," "& more, & weeping, sleepless, in all them time / Henry could not make good."
This volume collects both 77 Dream Songs, which won Berryman the Pulitzer Prize in 1965, and their continuation, His Toy, His Dream, His Rest, which was awarded the National Book Award and the Bollingen Prize in 1969. The Dream Songs are witty and wild, an account of madness shot through with searing insight, winking word play, and moments of pure, soaring elation. This is a brilliantly sustained and profoundly moving performance that has not yet-and may never be-equaled.

Sales Rank: #125595 in Books
Brand: Berryman, John/ Hofmann, Michael (INT)
Published on: 2014-10-21
Released on: 2014-10-21
Original language: English
Number of items: 1
Dimensions: 8.23" h x 1.27" w x 5.51" l, 1.15 pounds
Binding: Paperback
464 pages

Review

“I'd be shucking my obligation not to . . . make a renewed case for ‘The Dream Songs.' It's a book that collects Berryman's original 77 dream songs and adds the further 308 he later wrote. This new edition includes a fond, funny and brilliant introduction by the poet and translator Michael Hofmann. Here is Berryman's masterpiece, one of those books of American poetry that, like certain mountains, has its own weather. Berryman found his form in these songs. They are serious, ambitious and elastic arrangements he could put everything into, high culture and low, Shakespeare as well as the blues, strong religious feeling as well as low impulses of every variety.” ―Dwight Garner, The New York Times

“The character of Henry [the hero of The Dream Songs] is a permanent addition to our literature.” ―James Schevill

“A major achievement . . . [Berryman] has written an elegy on his brilliant generation and, in the process, he has also written an elegy on himself.” ―A. Alvarez, The Observer

About the Author

John Berryman (1914–1972) was an American poet and scholar. He won the Pulitzer Prize for 77 Dream Songs in 1965 and the National Book Award and the Bollingen Prize for His Toy, His Dream, His Rest, a continuation of The Dream Songs, in 1969. Michael Hofmann is an acclaimed poet, translator, and critic. He has published six books of poetry and has translated more than sixty books from the German, including Gottfried Benn's Impromptus: Selected Poems and Some Prose, as well as works by Ernst Jünger, Franz Kafka, and Joseph Roth. His criticism appears regularly in the London Review of Books, The New York Review of Books, and Poetry. He currently teaches poetry and translation at the University of Florida.

Most helpful customer reviews

57 of 59 people found the following review helpful.
Curses John Berryman
By J. Ott
Curse you John Berryman! You have ruined my ear for other poets. THE DREAM SONGS is one of those award-winning modern epics you wonder why you are reading until near the end, when you realize that you have slipped completely into the author's syntaxes, thoughts and, yes, dreams.
Don't let Berryman in his forward tell you different: this book is baldly autobiographical. Berryman dubbed himself Henry, gave a voice to his traumatized psyche (Mr. Bones) and set them talking, unraveling a lifetime of scholarship mixed with pain.
If you have read about Berryman, you will see him instantly in THE DREAM SONGS. Yet, unlike Robert Lowell, Berryman doesn't assume a familiarity with his biography that verges on solipsism. It is enough to know his father killed himself, Berryman killed himself, Berryman had affairs, was an alcoholic, was married several times and that he dearly loved literature, especially Shakespeare, some of whose Sonnets he parodies.
There is no narrative to the 385 Songs, per se. They come in thematic groups, which are grouped into seven 'books' and, like diary entries, chronicle whatever is on Henry's mind, which is often the untimely deaths other poets, such as Delmore Schwartz and Sylvia Plath. Like most "modern" poetry, THE DREAM SONGS is a tough slog through sentences that may or may not make sense. Except if you read them enough and carefully, they start making sense. It's a magical effect, but not gained without some serious struggle.
The poems themselves are incomparable to anything I've read before. Berryman borrows aspects of African-American English and WCWesque directness. He composes dehydrated, idiosyncratically-punctuated sentences that straddle stanzas of six lines, often rhymed and never predictable in length. Individual lines sometimes break into startling caesuras or hover outside the regular three-of-six form. However inconsisent individually, the poems achieve a perverse (foolish?) consistency overall which, grasped, is that magical concussion I spoke of before. THE DREAM SONGS are nothing if not unique; I highly-recommend them as part of a balanced poetic diet.

30 of 32 people found the following review helpful.
"I can't get him out of my mind, out of my mind /
By nina@hcs.harvard.edu
He was out of his own mind for years." The first lines of Dream Song #155 were written about another author but remind me of Berryman himself, whose struggle with depression and alcoholism was lifelong and whose innovative, compressed cadences continue to haunt me-- especially those of these 385 Dream Songs. You can recognize a D.S. straightaway if it revolves around a bumbling character named Henry (sort of a more bitter, more desperate, more adorable Homer Simpson) and/or his part-time interlocutor, Mr. Bones. The D.S.s are also characterized by this odd, oblique syntax (which at different times mimics Black dialect, pedantic jargon, and the flat speech of the mentally unstable). More or less all of them are written in a form I believe J.B. created: three six-line stanzas with an occasional orphan punch line and some irregular, slanted end-rhyme.
With 385 x 18 = almost 7000 lines, this is the book they should have called "100 Years of Solitude"; I've only lived through the first half-century myself. But what keeps me reading is the fact that this drowning man's poems can clutch and so tightly *hold* the greased pig of life, in all its sloppy, despairing, goofy, grandiose, horrified, exultation. Between the bleakness of his free-floating, unremitting guilt ("But never did Henry, as he thought he did, / end anyone and hacks her body up"), and his pathetic and bawdy speculations ("What wonders is / she sitting on, over there?"), our lovable and unloved Henry, "pried / open for all the world to see, survived." Though Berryman himself ultimately lost his own decades-long fight against suicide, stalwart Henry lives on and, as the first Dream Song tells us,
"What he has now to say is a long
wonder the world can bear & be.
Once in a sycamore I was glad
all at the top, and I sang.
Hard on the land wears the strong sea
and empty grows every bed."

30 of 33 people found the following review helpful.
and God has many other surprises, like...
By A Customer
...this book, a masterpiece of syntax and characterization. I first read Berryman's Dream Song 69 over 12 years ago. That poem drew me to this book, which has never left me since then. I have moved to other continents, and this is the one volume I would not think of leaving behind. Even when I have been in the hospital, I am sure to pack "The Dream Songs." I cannot explain why this strange and marvelous book affects me so deeply, but I could not possibly give it any higher praise. Yes, there are lulls. Certainly, there are poems which pale in comparison to others, but the work as a whole is a dazzling accomplishment. No one sounds quite like Berryman: he heaves a word like an axe and in the next stroke caresses the reader with infinite tenderness. Berryman is unique, his conversations unmistakable, and his genius lies in his wit and honesty. No other book-length poem compares to this. Throughout the elegies, the arias, the schizoid self-confidence and despair, Henry emerges a character not easily surpassed in poetry, or in literature at all.

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Wednesday, January 27, 2016

@ Download The Old Gringo: A Novel (FSG Classics), by Carlos Fuentes

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One of Carlos Fuentes's greatest works, The Old Gringo tells the story of Ambrose Bierce, the American writer, soldier, and journalist, and of his last mysterious days in Mexico living among Pancho Villa's soldiers, particularly his encounter with General Tomas Arroyo. In the end, the incompatibility of the two countries (or, paradoxically, their intimacy) claims both men, in a novel that is, most of all, about the tragic history of two cultures in conflict.

Sales Rank: #358151 in Books
Brand: Fuentes, Carlos/ Peden, Margaret Sayers (TRN)
Published on: 2007-02-20
Released on: 2007-02-20
Original language: English
Number of items: 1
Dimensions: 8.27" h x .52" w x 5.55" l, .45 pounds
Binding: Paperback
208 pages

From Publishers Weekly
The premise of this fine, short novel is that Ambrose Biercethe American journalist and writer (The Devil's Dictionary who disappeared in Mexico in 1914, did indeed join revolutionary Pancho Villa's forces, as is generally believed. PW noted that creating the story of Bierce's end enables Fuentes to examine "the borders between men and women, dreams and reality, Mexico and the U.S."
Copyright 1986 Reed Business Information, Inc.

From Library Journal
Clues scattered through this brief but intense novel gradually reveal the identity of the title character, an aging American writer who disappeared in revolutionary Mexico in 1913. Fuentes has made clever fictional use of an actual literary mystery, but his more remarkable achievement here is the portrait of the writer as a father figure to an American governess and to a general in Pancho Villa's army, each of whom has been betrayed by a real father. The tempestuous intimacy between governess and general and the complex relationship each has with the old gringo reflect the links and contradictions between Mexican and American cultures. This is a novel to be savored; it deserves more than a single reading. L.M. Lewis, Social Science Dept., Eastern Kentucky Univ., Richmond
Copyright 1985 Reed Business Information, Inc.

Review

“A dazzling novel that possesses the weight and resonance of myth [and] the fierce magic of a remembered dream.” ―Michiko Kakutani, The New York Times

“A perfect little gemstone, faceted by a master craftsman.” ―Charles Larsen, Chicago Tribune Book World

“The fate of Bierce has intrigued Americans since 1914, when he vanished . . . Fuentes has spun an opalescent around the mystery.” ―Evan S. Connell, Los Angeles Times

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By W. Beavers
Excellent

16 of 17 people found the following review helpful.
Healing the frontiers of the heart and mind
By T. M. Teale
Judging by previous comments on The Old Gringo, many readers are perusing the novel for the content relating to the fate of American writer Ambrose Bierce. To read Fuentes' novel for that purpose is to miss the fine points of the novelist's craft. Or, perhaps, The Old Gringo has simply gotten better since it was first published in 1985. It seems to me that the main premise of The Old Gringo is that Mexico and the United States should get to know each other, become less of a mystery to each other. This premise has become more true over the past two decades--particularly as the immigration debate heats up. Near the end of the novel, the revolutionary fighter Inocencio Mansalvo, looks from "What a shame. They're right when they say this isn't a border. It's a scar." To understand that view, the reader has to have read the previous 185 pages.

As a reader, I feel I ought to offer a compelling reason for others to seriously pick up this book--something more substantial than simply to read how Fuentes fictionalizes Bierce, a real person with a well-documented life. What I find so wonderful here is that Fuentes manages to teach me about Mexico and the United States without preaching, without stopping the flow of the story. First of all, the key to how Fuentes constructed the plot is that he knew enough about American life--he spent much of his youth in Washington, D.C.--that he could see very clear reasons how an American journalist like Ambrose Bierce would purposefully go to Mexico in the 1910s. The conjunction of actual, historical events gave Fuentes the main structure: the Mexican revolution coming as Bierce was aging, feeling bitter about his broken family, regretting that he had written lies for a William Randolph Hearst newspaper. It's believable that Bierce desired to escape his own life but didn't want to commit suicide.

The author's masterstroke was to invent the main character, Harriet Winslow. Fuentes was confident enough as a writer that Miss Winslow is entirely believable. Harriet's interior monologue, the thoughts that come from her deep consciousness, are real enough--physical enough--to carry the responsibility of serving as the frame for the novel. Harriet is back in Washington, D.C. remembering the old gringo and General Tomás Arroyo, the "moon-faced" woman, and the other Mexican people she knew. Fuentes provides the music of the text: the careful detail, the balance between spoken dialogue and interior monologue, the Mexican characters' exact reasons for needing a revolution against the oppressive hacienda system. The Mexican characters are very clear about what they hoped for: freedom of movement in their own nation without fear of the wealthy land owners, freedom to choose whom they could love and marry--basic civil liberties. But there is something more. Fuentes makes clear that the human mind has very deep places: if the reader thinks that Americans and Mexican are all surface with no consciousness, read again.

The Old Gringo is also an existentialist novel, intensely philosophic, an argument for a profoundly nuanced politics: "And the frontier in here?" the North American woman had asked, tapping her forehead. "And the frontier in here?" General Arroyo had responded, touching his heart. "There's one frontier we only dare to cross at night," the old gringo said. "The frontier of our differences with others, of our battles with ourselves."

If we read enough about Mexico and American relations, perhaps we can find healing for the wound, for the scar that is the border. Read. Enjoy. Be intrigued.

14 of 16 people found the following review helpful.
I loved this novel.
By hdoolittle
I thoroughly enjoyed Fuentes' The Old Gringo. It constitutes everything a novel should be: love, death, war, sex, etc. It includes themes of brotherhood, colonialism, relations between the US and Mexico, freedom, love across national boundaries, and what it is to die. I found Fuentes' prose to be beautiful and diverse; an intersubjective consciousness flows through the characters, revealing as well that we are all only readers, and we will never know the real story. Beacuse of his style, Fuentes enriches the text, makes it stand out and vibrate with life. It's tactile. His characters are complex and story line great.

For anyone interested in Latin-American works, I would highly recommend this one. It takes the revolution and gives it the colors we would never see as outsiders.

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Sunday, January 24, 2016

** Free PDF Reading LyricsFrom Pantheon

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A vast anthology bringing together more than one thousand of the best American and English lyrics of the twentieth century, this is an extraordinary celebration of a unique art form.

Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim.

Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”).

Robert Gottlieb and Robert Kimball have created an indispensable reference work and history. The lyricists are presented chronologically, each introduced by a succinct biography and incisive commentary. Reading Lyrics is a magnificent gathering of words whose power to stir memories and evoke romance is akin to that of lyric poetry. Collected in one volume, it represents one of the twentieth century’s most enduring and cherished legacies.

Sales Rank: #245933 in Books
Published on: 2000-11-21
Released on: 2000-11-21
Original language: English
Number of items: 1
Dimensions: 9.55" h x 1.47" w x 7.00" l, 2.53 pounds
Binding: Hardcover
736 pages

From Library Journal
Gottlieb (editor, Reading Jazz) and Kimball (editor, The Complete Lyrics of Ira Gershwin) have assembled 1000 popular American and English song texts dating from 1900 to 1975 and arranged them chronologically by lyricist's birth date. Focusing solely on theater and film songs, the editors profile more than 100 songwriters, including Cole Porter, Oscar Hammerstein, Yip Harburg, and Stephen Sondheim. Each entry details their musical contributions and three or more lyrics with verse(s) and refrain. Country, rock, folk, and blues numbers go unmentioned, as they would not have fit in this single volume. "One-hit wonders" are also listed at the back along with an index of song titles. The inclusion of lesser-known songs by major figures such as Irving Berlin or by little-remembered writers such as Mann Holiner or Sam Coslow seems to pad the volume rather than enhance its usefulness. Unfortunately, the title, too, is misleading: Reading Lyrics is more of a compilation than an interpretative work. This book is recommended, however, as a sanctioned print alternative to various lyric web sites for libraries serving a clientele seeking popular song texts and information.DBarry Zaslow, Miami Univ. Libs., Oxford, OH
Copyright 2000 Reed Business Information, Inc.

From Booklist
Most people remember a song better than they remember a poem. During the 1900^-75 scope of this sterling anthology, remembering a song was remembering a poem. That span was the heyday of the classic American popular song, which re-expressed all the old emotions in language invigorated by the dialects of all the external and internal immigrants drawn to America's burgeoning industrial centers. The typical classic American popular song--any of the 1,000-plus examples editors Gottlieb and Kimball have chosen--is rife with those pnemonic aids par excellence, rhyme and wordplay. Accordingly, you could use the book for a party game, the object of which would be seeing who recalls the most songs and, beyond that, can sing them. With lyricists including all the superstars, from Cohan to Sondheim, and plenty whose songs' fame have outlived that of their names, such as Haven Gillespie ("Santa Claus Is Comin' to Town") and Edward Eliscu ("Without a Song"), the party could take all of a grand night for singing. Oh!--get a copy for the reference desk, too. Ray Olson
Copyright © American Library Association. All rights reserved

Review
“Indispensable, stellar new anthology. This eclectic book provides enough humor, romance and sophistication to make you forget that Seussical even existed.”
—Jason Zinoman, Time Out New York

“This music is an amazing art form; it’s a substantial cultural phenomenon.”
—Newsweek

“Reading Lyrics is both a groundbreaking social document and its own pleasure dome. Its seven hundred and six pages confirm the accomplishments of the greats, but they also provide surprises.”
—The New Yorker

“America was the laboratory that proved Plato’s contention that songs are ‘spells for souls for the creation of concord.’ If you read between the lines of many of the lyrics in the anthology, you hear an alarmed society calming its frazzled nerves.”
—The New Yorker

“[Reading Lyrics] defies literary categorization. It’s reference work. It’s a singalong book . . . It’s a shadow history of taste and mores over much of the past century. It’s a valentine to a now-vanished artistic craft. And it’s an act of fond provocation.”
—The Boston Globe

“Reading Lyrics demonstrates one of the may magic tricks that words can do: the way that letters and lines on a page can (with years of practice) learn how to carry a tune.”
—Elle

“With around 170 lyricists on offer, the book makes its share of worthwhile rediscoveries . . . That’s the fun of Reading Lyrics. Readers can hum along with songs they know, while songs they don’t will have them hurrying off to the nearest music megastore.”
—The New York Times Book Review

“Sparklingly entertaining, Reading Lyrics exalts the lyrical sublimity of such cunning wordsmiths as Porter, Gershwin, and Coward.”
—Vanity Fair

“Tuneless, but what joy! . . . For no sooner do the lyrics appear before one’s eyes than reading gives way to song.”
—Billboard Magazine

“This wondrous and magical concoction is highly recommended.”
—Wall Street Journal

“This is one of the finest collections of words there is. To quote P.G. Wodehouse. . . ‘And I wish someday I could find my way/To the land where the good songs go.’ That land is Reading Lyrics. ‘S wonderful.” —Newsday

Most helpful customer reviews

38 of 40 people found the following review helpful.
Great Compendium of Popular Song Lyrics
By Dan Sherman
This book pulls together something more than 1,000 sets of lyrics of the best known American popular songs from 1900 to 1975. It is a wide and well chosen selection that gives lots of coverage to well-known lyricists like Ira Gershwin, Lorenz Hart,Oscar Hammerstein, and Stephen Sondheim. It also provides lyrics for a lot of other well-known songs by less well-known lyricists. If you like American popular music, you will probably finding yourself lost in this book, looking and finding your particular favorite songs and going off to listening to some great recordings of the songs from which the lyrics are taken. The book is laid our well with clear print and with a good index.

4 of 4 people found the following review helpful.
Essential reference book
By Gerald Siegel
I got my copy from a used supplier as a remainder at a fine price. It is an essential compilation of great lyrics. Quite simply, if you like great music and the lyricists of the last century, how can you not seek this one out before it becomes hard to find.

19 of 19 people found the following review helpful.
Excellent to have around when you can't remember the words!
By 35-year old wallflower
I've conquered music reviews & the occasional movie one, but I had yet to try my hand at a book review. However, with this book, I just had to write about it & alert people to this great collection of some of the greatest words ever put to music in history. Some may wonder why certain songs from a certain lyricist are the only ones represented, but I imagine the lyrics that have best stood the test of time or are truly representative of the greatest of the person's repertoire are what's included. For a complete collection of lyrics, most likely a composer will have something of the sort published somewhere, but READING LYRICS is an excellent taster for those wanting to dive in.
Most music lovers of my generation like to listen to music where lyrics take second place to rhythm or melody, with the volume of both enough to render such good words useless. READING LYRICS looks at the first 3 quarters of the last century, perhaps the stretch of time when you could still hear what was being sung & eventually get the lyrics etched into your brain enough to repeat them at will. Naturally, those songs from the annals of musical theatre take up a fair share of the book, but that after all was its golden age until maybe the second half of the 1900s, when popular music truly became "popular" & theatre became more of a higher art. Both genres are represented on READING LYRICS (although this review is far from comprehensive what with the hundreds of lyricists discussed in here).
Even the most famous & worthy of household name status of songwriters get an inventory in READING LYRICS. True superstars of songwriting like Ira Gershwin, Irving Berlin & Cole Porter are represented in READING LYRICS, although I imagine finding which songs to use was quite the struggle with all of their extensive outputs. However, all three helped expand the vocabulary of popular songwriting away from simple rhymes like "moon" with "June".
Gershwin couldn't be accused of following such methods, for time-honored classics like "But Not For Me", "Embraceable You", "Love Is Here To Stay" & "Someone To Watch Over Me" managed to be intelligent yet accessible at the same time. And that's just Ira's work with his brother George! Even after George's death, Ira kept on working with other collaborators, creating classics like "The Saga Of Jenny" (with Kurt Weill) & "I Can't Get Started" (with Vernon Duke).
Berlin was certainly more of a "people's songwriter" with lyrics that were easy to sing & remember, but by no means simplistic. Out of the thousands of songs he penned (both music & lyrics), "Supper Time" is perhaps the one to truly call Berlin's best, with its heartwrenching tale of prejudice against African-Americans written at a time when such racism was still a fact of life. In fact, Ethel Waters, who popularized the song, claimed it represented the Black experience better than any other song she sang. He may have also wrote the patriotic "God Bless America" (quite the statement from a Russian-born immigrant), but I think he never played into the hands of any specific politics & for that Berlin should be commended.
However, maybe THE classiest lyricist of all was (a Hoosier no less) Cole Porter, who, like Berlin, wrote both music & lyrics, which was no easy feat in that time. Of course, Porter was known for his extensive mastery of the English language in his music, with more internal rhymes than you can shake a stick at, thus making his songs both a challenge to sing & still contemporary even today. A great deal of Porter's songs rode on acerbic wit (like Stephen Sondheim's music of today), with a few notable examples like "It's De-Lovely" (to sing all of it, verses & refrains, would take all day), "Let's Do It" (which had "Let's Fall In Love" added to it so radio could play it), "Miss Otis Regrets" & "My Heart Belongs To Daddy" (its masochistic lyric is still a scorcher even now). But at the same time, Porter could be heartfelt when he wanted to, as proven by "True Love", "You'd Be So Nice To Come Home To", "Just One Of Those Things" & even "Love For Sale" (its bouts with censorship are legendary). Cole Porter's run-ins with the censors would fill a book in itself, but let's just say that in this day & age of outright profanities being used, Porter's way with words still retains its power to shock & amuse.
That's not even the half of what READING LYRICS does to recount the greatest of American popular songwriting. But because of space restrictions, I just thought I'd point out some of my personal favorites. Nevertheless, READING LYRICS still contains a wide range of lyricists, from the absolutely famous (Oscar Hammerstein II, Stephen Sondheim & Noel Coward) to the semi-famous waiting to be rediscovered (Frank Loesser, Johnny Mercer & Hoagy Carmichael) to ones whose songs may be more famous than their authors (too many to mention).
Each chapter in READING LYRICS features a short blurb on the songwriter's life & times, and their life's work with the occasional fun fact. For example, Jack Yellen's song "Happy Days Are Here Again" was adopted as FDR's campaign theme despite Yellen himself being a Republican. Maybe he was still grateful for the attention & the fact that the song became one of the most popular of the Depression era. But considering Yellen's politics, who knows if songs about wild women like "Hard-Hearted Hannah" & "Louisiana Lou [The Vampin' Lady]" really were what he thought about women & are all that popular with feminists today?
Anyhow, READING LYRICS is a good refresher course for anyone wanting to learn about popular music's golden age or, even better, for someone wanting to explore songwriting themselves. If a second volume is in the works, I'll be sure to put in my order for it soon enough!

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Friday, January 22, 2016

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Michael Goldhaber, writing in Wired, said, "If there is nothing very special about your work, no matter how hard you apply yourself you won't get noticed and that increasingly means you won't get paid much either. In times past you could be obscure yet secure -- now that's much harder."

Again: the white collar job as now configured is doomed. Soon. ("Downsizing" in the nineties will look like small change.) So what's the trick? There's only one: distinction. Or as we call it, turning yourself into a brand . . . Brand You.

A brand is nothing more than a sign of distinction. Right? Nike. Starbucks. Martha Stewart. The point (again): that's not the way we've thought about white collar workers--ourselves--over the past century. The "bureaucrat" on the finance staff is de facto faceless, plugging away, passing papers.

But now, in our view, she is born again, transformed from bureaucrat to the new star. She works in a professional service firm and works on projects that she'll be able to brag about years from now.

I call her/him the New American Professional, CEO of Me Inc. (even if Me Inc. is currently on someone's payroll) and, of course, of Brand You.

Step #1 in the model was the organization . . .a department turned into PSF 1.0. Step #2 is the individual . . .reborn as Brand You.

In 50 essential points, Tom Peters shows how to be committed to your craft, choose the right projects, how to improve networking, why you need to think fun is cool, and why it's important to piss some people off. He will enable you to turn yourself into an important and distinctive commodity. In short, he will show you how to turn yourself into . . . Brand You.

See also the other 50List titles in the Reinventing Work series by Tom Peters -- The Project50 and The Professional Service Firm50 -- for additional information on how to make an impact in the professional world.

Sales Rank: #290277 in Books
Color: White
Brand: Knopf
Published on: 1999-09-21
Released on: 1999-09-21
Original language: English
Number of items: 1
Dimensions: 7.00" h x .80" w x 4.30" l, .57 pounds
Binding: Hardcover
224 pages

Features

Great product!

Amazon.com Review
If Dilbert and Tom Peters ever attended the same party, they'd probably find themselves in opposite corners. The cynical cartoon character would have a hard time in Peters's upbeat, high-energy world of "Cool-Beyond-Belief." The Brand You50 is Peters's manifesto for today's knowledge workers. It joins his Reinventing Work series, which includes The Projects50 and The Professional Service Firm50.

In The Brand You50, Peters sees a new kind of corporate citizen who believes that surviving means not blending in but standing out. He believes that "90+ percent of White Collar Jobs will be totally reinvented/reconceived in the next decade" and that job security means developing marketable skills, making yourself distinct and memorable, and developing your network ability. His list-filled prescriptions cover everything; for example, "You are Your Rolodex I: BRAND YOU IS A TEAM" (no. 22), "Consider your 'product line'" (no. 25), "Work on your Optimism" (no. 35), "Sell. SELL. SELL!!!" (no. 47). While the book is overwhelming at times--its hyperactive typography pretty much shouts at you--any baby boomer thinking about his or her career will find much to consider. --Harry C. Edwards

Review
Technology is changing almost everything. Management guru Tom Peters argues it's also going to change the entire landscape of work. In his set of self-help books for professionals, the Reinventing Work series, he declares that "90-plus percent of white-collar jobs will disappear."

Downsizing ain't over, but Peters claims he can help you through it.

The employment landscape is going to be full of "free agents," he says, and if these newly "freed" individuals want to succeed, they'll need a new approach to their jobs. One way is by approaching work as a set of projects. Find out what's most interesting about each project and thrive on that, Peters advises.

In his latest publishing project, Peters urges readers to forget about loyalty to a particular company and replace it with a self-motivated dedication to the work at hand.

The entire book series has the feel of something transcribed from one of Peters' motivational speeches; his use of bold letters, ellipses, exclamation points and oversize type is perhaps a better fit with the lecture circuit than the publishing world.

Knopf plans five books in the Reinventing Work series, but for now, there are three: The Brand You, The Project and The Professional Service Firm.

Each of the pocket-size hardbacks starts with a description of an unemployed, Dilbert-ized landscape, followed by 50 ways to sidestep such a fate. In The Brand You, the list of 50 ideas includes a chapter titled "'Inc.' Yourself." After a comment on the concept, Peters launches into The Nub, his plan for making the affirmations take flight. The idea is to visualize yourself as a company - with departments, goals, bottom lines, branding. The chapters close with a Thing to Do section. In this case, it's two things: adding an "Inc." to your name, and treating every to-do list like you're preparing for the next quarterly board meeting.

By turning everyday work into interesting and inspiring projects, Peters believes workers will become self-motivated, completed projects will become more innovative and companies will become less stagnant.

Peters constantly reassures readers that they are worthy of independence. Anyone can follow the path to success, he encourages, although he tempers his enthusiasm with comments like, "I'm not living in dreamland. I know not everyone can be a superstar."

The free-agent concept applies particularly well to the online industry, where companies must grow quickly to have more than a slim chance of succeeding. In a free-agent world, workers aren't disappointed when their company tanks, but instead move on to the next project. In fact, the rampant job-hopping in the Internet Economy has been one of the original drivers of the free-agent workforce. Establishing a reputation, networking and positioning one's easily digestible brand: That's perfect for the Net.

If you're looking for rose-colored lenses for your job, Peters has what you need. This self-help series is mostly about making work fun, which isn't a bad idea, after all.

- Laura Rich -- From The Industry Standard

From the Inside Flap
Michael Goldhaber, writing in "Wired, said, "If there is nothing very special about your work, no matter how hard you apply yourself you won't get noticed and that increasingly means you won't get paid much either. In times past you could be obscure yet secure -- now that's much harder."
Again: the white collar job as now configured is doomed. Soon. ("Downsizing" in the nineties will look like small change.) So what's the trick? There's only one: distinction. Or as we call it, turning yourself into a brand . . . Brand You.
A brand is nothing more than a sign of distinction. Right? Nike. Starbucks. Martha Stewart. The point (again): that's not the way we've thought about white collar workers--ourselves--over the past century. The "bureaucrat" on the finance staff is de facto faceless, plugging away, passing papers.
But now, in our view, she is born again, transformed from bureaucrat to the new star. She works in a professional service firm and works on projects that she'll be able to brag about years from now. Step #1 in the model was the organization . . .a department turned into PSF 1.0. Step #2 is the individual . . .reborn as Brand You.
In 50 essential points, Tom Peters shows how to be committed to your craft, choose the right projects, how to improve networking, why you need to think fun is cool, and why it's important to piss some people off. He will enable you to turn yourself into an important and distinctive commodity. In short, he will show you how to turn yourself into . . . Brand You.

"See also the other50List titles in the Reinventing Work series by Tom Peters -- "The Project50" and "The Professional Service Firm50" -- for additional information on how to make an impact in the professional world.

Most helpful customer reviews

148 of 158 people found the following review helpful.
My ears hurt!!!!!!
By Gene Bromberg
I remember an anecdote about a young writer who sent a manuscript to a famous author asking for criticism and advice (I forget who the famous author was. Faulkner?). The author graciously sent back a long, detailed reply which contained a nugget that I remember to this day. The author said, "You should be more judicious in your use of exclaimation points. A writer only gets to use three of them in his career." Meaning, of course, that if you overemphasize every other sentence, how to you get the reader to understand the importance of something that really needs the emphasis? If you have to use italics and caps and exclamation points to get your point across, you're choosing the wrong words.
Which brings us to Mr. Peters. If you're looking for some interesting and useful advice on how to market yourself and your career, this book is quite good. Peters does drive me up the wall a bit with his relentlessly energetic and optimistic tone, but he does give good advice. I don't think Tom takes into account how resistant some workplaces are to people who behave like he tells us to, and his irritating call to make everything you work on a "WOW" project makes me wonder if he knows what it's like to man the front-line trenches of corporate America. But again, what he writes is worth reading.
What I find fault with is the how Peters says it. He can't write a sentence without words in ALL CAPITALS and italics (which, alas, I can't show you in an Amazon review). And, of course, Peters loves exclamation points!!!! In fact the logo of his company is an exclamation point!!! He uses enough exclamation points that there is NO WAY to tell what is just ROUTINE INFORMATION and what is VERY, VERY IMPORTANT. See how INCREDIBLY IRRITATION this is??!!! Read "The Brand You 50" and you find all sorts of good info, but you'll have to hack through an ENTIRE BOOK that is written LIKE THIS!!!!!!!

19 of 19 people found the following review helpful.
Just read it
By A Customer
Ever since he first blew my mind with "in Search of Excellence", Tom Peters has been on my "must read" list. He combines the utterly brilliant with the utterly obvious, fusing the two into the most powerful, most compelling vision of the possibilities of business I have ever encountered. I want to live in Tom's world, a world where work has meaning, purpose, passion and joy. "The brand you 50", is the latest chapter in this ongoing quest. If you have read his previous books, you will find no surprises, if you haven't, then read this book drunk, because he is going to scare the hell out of you. (and -maybe- set you free). In the book, Mr. Peters gives a list of things that an individual can do to thrive in the new economy. This is the Tom Peters vision of the world boiled down to its most pragmatic form. The author's views on what it takes to succeed has changed radically since "In Search of Excellence", but his absolute love for the topic burns hotter than ever. The only thing he could have done better would have been to combine "The Brand You 50", "The Project 50", and the "Professional Service Firm 50" into one book, instead of making me make three (expensive) trips to the bookstore.

41 of 46 people found the following review helpful.
This is a dangerous book...
By David E. Rogers
...if you're serious about personal and professional growth. In his typically no-holds-barred style, Tom Peters scores with 50 (plus) strategies for breaking the shackles of faceless employee-dom and turning you into a rock 'em, sock 'em mini-firm --complete with personal "brand" and a passion for constant renewal.
...if you feel discouraged in today's business culture. With down-to-earth, "I can do that" tactical suggestions, Peters relentlessy lifts your hopes and revives the dreams long suppressed by "corporate." Like his "live" lectures, you'll feel like you just attended a revival meeting.
...if you're looking for more than your job offers. The 50 strategies get your juices flowing, help you diagnose your current position, and plan for the future. The chapters may be bite-sized, but they provide more than enough food for thought and reflection. Read it with savor.
...because it can change your life! This book played a key role helping me decide to quit my job and reach for what I really want to do. Read at your own risk!

See all 88 customer reviews...

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Wednesday, January 20, 2016

? PDF Ebook The Man Who Cast Two Shadows, by Carol O'Connell

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With prose that cuts like a knife, resonant suspense, and characters as inventive as they are compelling, O'Connell proves that she is a master of the art.

At the heart of The Man Who Cast Two Shadows is NYPD Sergeant Kathleen Mallory, a wild child whose intelligence is matched only by the ferocity with which she pursues her own vision of right and wrong. She now is faced with a case that strikes close to home - a young woman is found dead only a few blocks away, her skull and hands crushed, her neck snapped, and a label in her jacket which reads "Kathleen Mallory".

Nothing can prepare Sergeant Mallory for what she finds in her investigation - a cradle in a closet; a concerto filled with silences and creams; a cat that dances without warning; and three men, each with a great deal to hide and a great deal to lose . . .

Sales Rank: #6817474 in Books
Published on: 1998-04-20
Released on: 1998-04-20
Formats: Abridged, Audiobook
Original language: English
Dimensions: 7.00" h x 4.00" w x .50" l,
Binding: Audio Cassette

From Publishers Weekly
O'Connell's second novel (after Mallory's Oracle) brings back NYPD Sergeant Kathy Mallory, plunging this tough-minded yet soulful heroine into another convoluted case. When a woman killed in Central Park is mistakenly identified as Mallory, the former street urchin and computer whiz sets herself up as bait by moving into the apartment building that houses her three main suspects. Using a computer and the building's electronic bulletin board to psych out the killer, she stirs up more than she bargained for?including someone who wants her dead. Other elements in the intelligent plot include a crime of passion, a suspenseful cat-and-mouse game and a boy who may be telekinetic and whose stepmothers keep dying. The dialogue is crisp, the prose supple, but the overall tone is dour, sometimes, in fact, mournful. Not enough of the story is told from Mallory's point of view, however, and O'Connell tends to evoke her mysterious behavior through description rather than through action. As a result, Mallory?who with her bitter youth, street smarts and rough edges carries echoes of Andrew Vachss's Burke?remains an enigma, a major absence at the center of the plot. BOMC and QPB selection.
Copyright 1995 Reed Business Information, Inc.

From Library Journal
Few mysteries embody the intensity of O'Connell's second Kathy Mallory title. Mallory, a street urchin fostered by a now-dead New York cop and his wife, follows in her father's footsteps as a primo detective. Taken off suspension to cover the murder of a woman at first identified as Mallory herself, she pits her uncanny intelligence and formidable computer skills against a compulsive and evasive adversary. Moments of wry humor invade the author's incisive prose, tempering an admirable female protagonist sure to gather a following. Highly recommended.
Copyright 1995 Reed Business Information, Inc.

From Booklist
TITLR HO'Connell, Carol. After the unprecedented press hype, instant best-seller status, and critical raves garnered by O'Connell's first novel, Mallory's Oracle , it's hard to believe the budding author could produce, scarcely a year later, another book that's just as intense, powerful, and affecting. But it looks like she has. Tough, callous, unrepentant Kathleen Mallory, ragged street urchin turned computer-whiz cop, once again plays the heroine in a story that pits her against a clever (but not clever enough) murderer. Mallory takes a personal interest in the case when the evening news reports that one Kathleen Mallory has been murdered on New York's Upper West Side. Of course, it's not Mallory at all but a case of mistaken identity--the victim was wearing Mallory's blazer. The single-minded cop uses a combination of intuition, intrigue, and some not-quite-legal computer tricks to pursue the killer. But Mallory's old friend Charles Butler, the gentle giant genius, argues that Mallory should use more orthodox methods of simple logic and deductive reasoning, and the two inevitably clash. The plot is highly original and intensely gripping, especially since O'Connell reveals a few more tantalizing tidbits about Mallory's formative years, but it's the characters--Charles, Riker, Coffey, and Mallory herself--who make this story unique. Three cheers for O'Connell, who has now moved from neophyte writer to established literary superstar.

Most helpful customer reviews

20 of 20 people found the following review helpful.
This series just keeps getting better and better
By Margaux Paschke
First off let me say that if you're looking for a touchy feely maiden in distress kind of heroine - you won't find it here! When a young woman is found murdered and mistakenly identified as Mallory, our Mallory moves in and uses her expert computer skills to try and trip up three suspects who all live in the same building. Some creepy moments ensue until all is resolved at the end. The whole gang reappears and their characters are further developed to this reader's delight. Once again the author serves up a fascinating suspense that I hated to see end. Some reviewers seem to think that Mallory is this inhuman character that makes the story and author heartless and if you have one shred of decency, you won't like this book. Ummm, what version were they reading? Mallory is a little ruthless and heartless at times (she certainly maintains a "ends justify the means" mentality) but don't mistake that for having no emotion. Knowing her background of having to survive on the streets as a very young kid, the death of her foster parents who kept her somewhat grounded, and you begin to see the tight control she maintains over her emotions as a necessary function. Mallory is so intricate a character that she seems to be a real human being, albeit a flawed one, and not on of those cookie cutter females that pass as heroines.

0 of 0 people found the following review helpful.
Book 2 Mallory cool
By soaringnow
Book two not as good as Oracle the first book. But good enough for me to buy book three, ha. Mallory is a worthy read. Will finish what I started. Will let you know how good next one is

11 of 11 people found the following review helpful.
Good addition to the series...
By Contradiction
O'Connell knows how to write mysteries. I have found surprises and suspense galore in all of the Mallory books. But I have never understood the characterizations in these books. Everyone is basically an idiot around the amazingly beautiful, intense and threatening Kathleen Mallory whose mere stare can reduce most people to quivering jello. Only Mallory -- don't call her Kathleen if you value your life -- seems to know what's going on. Staying just inside the law, or at least not getting caught, Mallory is a very strange NY police officer with her own troubling ideas of right and wrong.

Once, just once, I would love to see a character in these books who doesn't completely wilt in Mallory's presence after meeting her. In fact, I have repeatedly resolved never to buy another Mallory book because of this quality. It's hard to get into a book when the core characters are so completely unlikeable. But, ultimately, I love mystery novels. And O'Connell knows how to churn out some deft plotting. So I return. Maybe that's why I like O'Connell's Judas Child so much. No Mallory. She's ruthless. We get it.

All in all, a solid addition to the series. If you liked the first one, Mallory's Oracle, you'll like this one. If you didn't like that one, you will definitely not like this one since Mallory is even more of a black hole in this one. Not too many happy endings in the Mallory series.

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Sunday, January 31, 2016

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Friday, January 22, 2016

PDF Ebook The Brand You 50 : Or : Fifty Ways to Transform Yourself from an 'Employee' into a Brand That Shouts Distinction, Commitment, and Passion!

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Wednesday, January 20, 2016

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