Sunday, February 28, 2016

# PDF Ebook Gertrude Bell: Queen of the Desert, Shaper of Nations, by Georgina Howell

PDF Ebook Gertrude Bell: Queen of the Desert, Shaper of Nations, by Georgina Howell

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Gertrude Bell: Queen of the Desert, Shaper of Nations, by Georgina Howell

Gertrude Bell: Queen of the Desert, Shaper of Nations, by Georgina Howell



Gertrude Bell: Queen of the Desert, Shaper of Nations, by Georgina Howell

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Gertrude Bell: Queen of the Desert, Shaper of Nations, by Georgina Howell

A marvelous tale of an adventurous life of great historical import

She has been called the female Lawrence of Arabia, which, while not inaccurate, fails to give Gertrude Bell her due. She was at one time the most powerful woman in the British Empire: a nation builder, the driving force behind the creation of modern-day Iraq. Born in 1868 into a world of privilege, Bell turned her back on Victorian society, choosing to read history at Oxford and going on to become an archaeologist, spy, Arabist, linguist, author (of Persian Pictures, The Desert and the Sown, and many other collections), poet, photographer, and legendary mountaineer (she took off her skirt and climbed the Alps in her underclothes).

She traveled the globe several times, but her passion was the desert, where she traveled with only her guns and her servants. Her vast knowledge of the region made her indispensable to the Cairo Intelligence Office of the British government during World War I. She advised the Viceroy of India; then, as an army major, she traveled to the front lines in Mesopotamia. There, she supported the creation of an autonomous Arab nation for Iraq, promoting and manipulating the election of King Faisal to the throne and helping to draw the borders of the fledgling state. Gertrude Bell, vividly told and impeccably researched by Georgina Howell, is a richly compelling portrait of a woman who transcended the restrictions of her class and times, and in so doing, created a remarkable and enduring legacy.

  • Sales Rank: #61296 in Books
  • Brand: Howell, Georgina
  • Published on: 2008-04-29
  • Released on: 2008-04-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.22" h x .95" w x 5.50" l, .99 pounds
  • Binding: Paperback
  • 512 pages

From Publishers Weekly
Starred Review. In this hefty, thoroughly enjoyable biography of Gertrude Bell (1868–1926), English journalist Howell describes her subject as not only "the most famous British traveler of her day, male or female" but as a "poet, scholar, historian, mountaineer, photographer, archaeologist, gardener, cartographer, linguist and distinguished servant of the state." As Howell observes, "Gertrude always had to have a project," and she manages to bring those multitudinous projects, studies and adventures to life on the page. "I decided," Howell writes, "to use many more of her own words than would appear in a conventional biography": a felicitous decision when the subject's letters, diaries and publications are as seamlessly incorporated in Howell's engaging text as they are. Bell's role in the creation of Iraq and the placement of Faisal upon the throne, is fully detailed, both to honor her power and to haunt us today. But the strength and delight of Howell's superb biography is in the fullness with which Bell's character is drawn. Having clearly fallen in love with her subject (though not blind to her warts), Howell leaves no stone unturned—family history, school days, Bell's clothes, sometimes her meals, her friendships, her servants, her thousands of miles traveled, her fluency in languages (Persian, Turkish, Arabic) and, yes, her romances. 16 pages of b&w illus. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* The breadth and depth of Gertrude Bell's accomplishments are extraordinary. Born to British industrial wealth and civic prominence during the Victorian era, she possessed boundless self-confidence, courage, and vitality. The first woman to earn top honors in history at Oxford, Bell was fluent in six languages, and became an intrepid traveler and celebrated mountaineer. Tragically unlucky in love, she romanced the world instead. Discovering her spiritual home in the Middle East, Bell transformed herself into a cartographer, archaeologist, writer, and photographer as she undertook perilous journeys to fabled desert outposts, commanding the respect of powerful Bedouin sheikhs. During World War I, Bell became the expert on Mesopotamia for British military intelligence, and a more crucial force in the forming of modern Iraq than that of her friend, T. E. Lawrence. From Cairo to Basra to Baghdad, Bell, against fierce adversity, devoted herself to justice. Howell writes with all the verve, historical veracity, and acumen her intoxicating subject demands--her spectacular biography leaves the reader lost in admiration and steeped in sorrow. It seems that all the profound knowledge about the culture of the desert Bell placed herself in jeopardy to gather was promptly forgotten. Donna Seaman
Copyright © American Library Association. All rights reserved

Review
"The strength and delight of Howell's superb biography is in the fullness with which Bell's character is drawn." ---Publishers Weekly Starred Review

Most helpful customer reviews

108 of 110 people found the following review helpful.
Fascinating, Solidly Researched Biography
By Judith Wilson
Gertrude Bell is someone I've come across many times -- in everything from scholarly to not-so-scholarly history books to the writings of Vita Sackville-West -- but until I picked up Georgina Howell's richly detailed and expertly written book, the woman I had glimpsed over the years merely suggested a wealthy Victorian woman (which Bell was) known more for her eccentricity than actual wit (not remotely the case).

Intellectually brilliant (fluent in 6 languages, including Arabic and Persian, and was the first woman to take a "first" at Oxford in Modern History), supremely courageous, wise and very human, I have been delighted and honored to at last sit down with Gertrude Bell and over the course of 300+ pages, make her acquaintance. In Howell's capable hands, Bell comes quickly and fully to life, holding my attention and demanding my admiration.

A somewhat unexpected bonus have been the extraordinary (and harrowing) tales of Bell's journeys across the Bedouin deserts in the years before the first world war. I've come away from these accounts (with their accompanying photographs, courtesy of Bell, who in addition to her other gifts was an accomplished photographer) with a more profound understanding of the middle-eastern world that we encounter today.

I recommend this book without reservation to anyone with an interest in middle-eastern history, Victorian women, early 20th century achievements in mountain climbing, Victorian history -- and more. It's all there. It's a great book, about an extraordinary life. And it should be required reading for anyone who imagines himself or herself to be knowledgeable about the middle-east, or who wants to know more. Unlike so many "mid-east experts" Bell truly was an expert, with knowledge born of a great passion for that world, served by a magnificient wisdom and intelligence.

0 of 0 people found the following review helpful.
This book was excellent, almost on par with Dr
By alan j. greczynski
This book was excellent, almost on par with Dr. John Mack's "A Prince of Our Disorder." Gertrude Bell was an amazing woman, mountaineer, desert explorer, red cross worker, spy and also having a strong hand in the creation of the state of Iraq. A contemporary of Winston Churchill and T.E. Lawrence, a fellow desert traveler, Bell was a "glass ceiling breaker" for Victorian-Edwardian women. Howell's book, like Mack's follows her entire life, not just the "Lawrence of Arabia" episode. Fluent in Arabic, French and German, her multilingual talents gave her tremendous range. Her forte was in the forming of the Iraq government. Commended by British politician A.T. Wilson at the Paris Peace Conference that "not one of the experts on Arabia, except for Miss Bell had any knowledge of Iraq." With the creation of the infamous Sykes-Picot Treaty, which divided the Mideast into British and French spheres of influence, Bell ran afoul of Sir Mark Sykes. Sykes the co-producer of the treaty who referred to her as a "man-woman," a true "Victorian" view of her. Gertrude Bell was a woman far ahead of her time, explorer, adventurer, spy and diplomat, and Howell's book brings to life the story of this amazing woman.

72 of 80 people found the following review helpful.
Timely Ttreatment of Perennially Fascinating Person
By Molly Baker
Current events in star crossed Iraq have brought out a renewed interest in Gertrude Bell (GLB). Much of it seems political, concerned with pointing fingers at "causes" for the current situation as arising out of the World War One aftermath. As is typical of today's shallow, axe-grinding treatment of history, most of what I see being described as Miss Bell's role at that time is overly generalized, if not downright misleading. Many absorbing biographies on GLB have been published. This one, esp. in the "Government By Gertrude" chapter," does a very nice job of showing the devil in the details of how King Faisal, his small staff, and English advisors pulled off something (i.e., guiding Iraq from a leadership mish mash to becoming an independent state) that moderns are still in a quandry as to how it may be done ... again. Keeping the cradle of civilization peaceful and prosperous, in spite of pressures from war lords and religious gangsters fighting over hegemony, and other nations wanting to plunder its resources, may always be a problem, and that is visible in this presentation as you see financial depression and ill health cutting drastically short the time Faisal, and Gertrude (herself the last of the British advisors to care that the Iraqi's got a fair deal out of the breakup of the Ottoman Empire) have to stabilize the milieu resulting from the 1919 WW I Peace Treaty settlements. Also, a vivid description of GLB's climbing adventures is given in this book so that what seems unbelievable for its time becomes undeniably substantiated. In spite of there being great volumes of data available as source material for Gretrude Bell stories, there is still much that has not been explicated, and much that will always remain mysterious from the time when she was a "spy" associated with the Arab Bureau. New pictures and references to some contemporary accounts not widely revealed make this a worthwhile acquisition for a devotee of the study of Gertrude and the remarkable people of the late Victorian, Edwardian, and World War I periods in English history. It may not be long before what's published on Gertrude will catch up with what's been done for her Arab Bureau cohort, T. E. Lawrence. I do have a big question, however, about a footnote at the bottom of page 373 that indicates a source as "Ronald Bodley, a descendant of Gertrude's ..." Hmmm. The word "descendant" usually implies relationship denoting a blood offspring. Gertrude was supposedly a "spinster" and without issue. Should the term "relative" be more aptly used in this case, or does the author have something more compelling to reveal?! Finally, I wish book editors would be more encouraging of authors to give some details, in epilogues for example, about the adventures they encountered while doing research for their subject; about all we have is what we see brought out on C-Cpan Book TV.

See all 173 customer reviews...

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Saturday, February 27, 2016

* Free PDF Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring

Free PDF Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring

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Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring

Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring



Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring

Free PDF Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring

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Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade, by Justin Spring

Drawn from the secret, never-before-seen diaries, journals, and sexual records of the novelist, poet, and university professor Samuel M. Steward, Secret Historian is a sensational reconstruction of one of the more extraordinary hidden lives of the twentieth century. An intimate friend of Gertrude Stein, Alice B. Toklas, and Thornton Wilder, Steward maintained a secret sex life from childhood on, and documented these experiences in brilliantly vivid (and often very funny) detail.

After leaving the world of academe to become Phil Sparrow, a tattoo artist on Chicago's notorious South State Street, Steward worked closely with Alfred Kinsey on his landmark sex research. During the early 1960s, Steward changed his name and identity once again, this time to write exceptionally literate, upbeat pro-homosexual pornography under the name of Phil Andros.

Until today he has been known only as Phil Sparrow―but an extraordinary archive of his papers, lost since his death in 1993, has provided Justin Spring with the material for an exceptionally compassionate and brilliantly illuminating life-and-times biography. More than merely the story of one remarkable man, Secret Historian is a moving portrait of homosexual life long before Stonewall and gay liberation.
Secret Historian is a 2010 National Book Award Finalist for Nonfiction.

  • Sales Rank: #371456 in Books
  • Published on: 2011-07-19
  • Released on: 2011-07-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.30" h x 1.36" w x 5.53" l, 1.02 pounds
  • Binding: Paperback
  • 512 pages
Features
  • historical, history, gay

From Publishers Weekly
Life in the closet proves boisterous indeed in this biography of an iconic figure of the pre-Stonewall gay demimonde. Steward (1909–1993) was an English professor, a novelist who wrote both well-received literary fiction and gay porn, a confidant of Gertrude Stein and Thornton Wilder, a furtive but exuberant erotic adventurer whose taste for sailors, rough trade, and violent sadomasochism endeared him to sex researcher Alfred Kinsey; later in life, he became Phil Sparrow, official tattoo artist of the Oakland, Calif., Hell's Angels. Spring (Paul Cadmus) fleshes out this colorful story by quoting copiously from his subject's highly literate journals and sex diaries—his Stud File contained entries on trysts with everyone from Rudolph Valentino to Rock Hudson—which afford an unabashed account of Steward's erotic picaresque and the yearnings that drove it. (His swerve from academia into tattooing, with its mix of physical pain and proximity to nubile male flesh, was essentially a fetish turned into a business.) Spring's sympathetic and entertaining story of a life registers the limitations imposed on homosexuals by a repressive society, but also celebrates the creativity and daring with which Steward tested them. Photos. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review

“Somewhere in the United States, there may be an attic containing the written remnants of a previously unchronicled 20th-century life that was even more astonishing than the one the writer Justin Spring discovered in San Francisco a few years ago. But even the most skeptical reader of his new book, Secret Historian, will have to admit that the bar is now set high. Samuel Steward, the subject of this absorbing act of biographical excavation, had many identities, including several that the subtitle of the book omits . . . Be assured that it's all for real, and that Spring, even when neck-deep in sensational material, is not a sensationalist. As a biographer, he's humble but firm--he lets Steward's vivid, energetic prose do much of the talking but keeps his own hand on the tiller and never gets giddy, even when Steward seems to be carousing his way through the entire Modern Library . . . The probity and expansive vision of Spring's work is a reminder that a great, outspread terrain of gay history remains to be mapped . . . One suspects there are many more stories of that time worth telling, and too few treasure-packed attics.” ―Mark Harris, The New York Times Book Review

“Can a secret sex diary furnish an artistic legacy as meaningful as Emily Dickinson's sewn-up bundles of poems, or the piles of paintings Theo van Gogh inherited after his brother's premature demise? Samuel Steward may never have imagined it, but his erotic history raises the question. A talented writer who early attracted the attention of Gertrude Stein and Thornton Wilder, he found his career blocked by a determination (so different from hers and his) to write candidly about his homosexuality . . . Steward was an obsessive record keeper, and his journals and his ‘Stud File' of thousands of encounters allow [Justin Spring] to create a remarkably full portrait of a man whose life was what Edmund White's might have been had White been born three decades earlier . . . [This] extensive documentation--and the miraculous rescue of that documentation, recounted in the book's preface--left his biographer material to reconstruct an emblematic homosexual life.” ―Benjamin Moser, Harper's

“Justin Spring's jaw-dropping Secret Historian reads like a novel probing a lifelong rebel's courage, creativity and ultimate sadness . . . Spring has reconstituted Steward, as Phil Andros might say, in flesh and blood and all sorts of bodily fluids.” ―David D'Arcy, San Francisco Chronicle

“This is a rich and exuberant biography of a man who deserves to be better known” ―The Economist

“A fascinating biography . . . [Steward] tackled life with awe-inspiring abandon” ―Details

“Life in the closet proves boisterous indeed in this biography of an iconic figure of the pre-Stonewall gay demimonde . . . Spring's sympathetic and entertaining story of a life registers the limitations imposed on homosexuals by a repressive society, but also celebrates the creativity and daring with which Steward tested them.” ―Publishers Weekly

“[A] provocative biography . . . Generous excerpts from Steward's journals and unpublished memoirs fortify an already comprehensive examination of a life lived with unabashed independence and homoerotic expression during the sexual rebellion of the pre-Stonewall era . . . A vivid, candid portrait.” ―Kirkus Reviews

“Justin Spring documents the extraordinary life of one of Kinsey's crucial gay witnesses, and reading Secret Historian is like reading Kinsey dramatized. A cultivated, rather shy professor of English literature, Sam Steward dropped out in midlife to become an eminent tattooist and writer of S&M porn. As the story of a sex-obsessed recovering alcoholic later addicted to barbiturates and to masochistic thrills, this could easily have become a portrait of a failure. Instead, through Steward's copious records, we have a brave, fly-on-the-wall account of American homosexual subculture and persecution.” ―Martin Stannard, author of Evelyn Waugh and Muriel Spark: The Biography

“A true page-turner--and a memorable act of historical reclamation. Sammy Steward is all but unknown except by a handful of historians, but Justin Spring's lively biography--which is full of important new information about pre-Stonewall gay life--should put Sammy on the map, which is where he decidedly belongs.” ―Martin Duberman, author of Cures: A Gay Man's Odyssey

“Secret Historian is a startlingly, unforgettably vivid glimpse into a life--and a world--that few of us can imagine.” ―Terry Teachout, author of Pops: A Life of Louis Armstrong

“Samuel Steward, secret sexual historian, is a secret no longer. From an evangelical Ohio boardinghouse to the gardens of the Villa Borghese, from the lobby of the City Opera to the South Side YMCA, Steward led--and recorded--an improbably revealing, representative life. Bedding Oscar Wilde's Bosie, taking tea with Stein and Toklas, and confessing to (and performing for!) Dr. Kinsey, he seemed determined to leave no corner of twentieth-century American queer culture unexplored and undocumented. Justin Spring has rescued his story from a San Francisco attic and set it before twenty-first-century readers with unflagging patience, authority, and humanity--Secret Historian is a major achievement.” ―Langdon Hammer, author of Hart Crane and Allen Tate

“Justin Spring has painstakingly and compassionately unearthed the labyrinthine world of a brilliant, multifaceted, and troubled creator. A classically educated and highly talented renegade intellectual, Steward's trajectory was impacted at every turn by his sexual compulsions. This bittersweet story, with its hair-raising and obsessively recorded details, is astonishing. Steward's humor, empathy, and refusal to bow to the repressive status quo are a moving testimonial to honesty, courage, and integrity. His story should resonate with anyone engaged in the ongoing struggle for personal freedom of identity.” ―Ed Hardy

“This is a rare and important book. Secret Historian is a genuinely captivating combination of clear writing, a clean conscience, and more dirty stories than I ever imagined one life could hold.” ―Debby Applegate, author of The Most Famous Man in America: The Biography of Henry Ward Beecher

About the Author

Justin Spring is a writer specializing in twentieth-century American art and culture, and the author of many monographs, catalogs, museum publications, and books, including Fairfield Porter: A Life in Art and Paul Cadmus: The Male Nude.

Most helpful customer reviews

58 of 61 people found the following review helpful.
What Secret Historan means to me
By David
Truth is indeed stranger (and a helluva lot more fun) than fiction! Had the life of this incredible man not been so thoroughly researched (a decade in the making) by the author, Justin Spring, and so meticulously documented by the subject himself, one would scarcely believe such a life could have existed.

Secret Historian, The Life and Times of Samuel Steward, intrigued and touched me on so many levels. Firstly, it's a real page-turner. I didn't want to put it down, as I could hardly wait to find out what Sam was going to get himself into next. And trust me, Sam never let me down!

Secondly, as a devotee of gay history, not since Donald Vining's detailed diary has a gay man's day to day life been documented in such vivid detail. Through Sam Steward's scandalous Stud File, his letters, his journal and other writings, Justin Spring's fascinating book shatters the myth that the pre-Stonewall gay life was all gloom and sexless doom.

This is not to say that Sam, being an isolator who eschewed emotional attachments with other men (and who battled alcohol and drug addictions), didn't have his share of loneliness and depression, especially in his later years when he felt he was no longer sexually viable. Indeed, with the iconoclastic life he designed for himself, a later life of addiction, isolation and sadness seemed inevitable. Fortunately, Sam's delightful sense of humor, very much in evidence in this book, sustained him through most of his darkest hours.

And therein lies the primary reason this book moved me so much. Except for Sam's fascination with S/M sex, I found such a great number of parallels between his life and my own, his thought processes and life choices, that the final chapters in this book served as a wake-up call; a realization that unless I made some serious lifestyle and career changes, that my own golden years would likely be filled with solitude and detachment as Sam's had.

My only regret is that, after being introduced to Sam Steward in this moving and entertaining biography, I was never able to meet the man in person. But thanks to the author's obvious affection for his subject, I feel as though I have.

I've never written a book review in my 50 years, And it's not often that a book can not only hold one's interest through two readings, but also serve as a catalyst to change one's life. But Secret Historian has done just that.

And Dear Justin Spring: I had to make sure that you knew.

40 of 42 people found the following review helpful.
Rescued from oblivion
By Jim Coughenour
I knew I was going to enjoy this biography from its first page. Spring writes, "I first came across Steward's name in the gay pulp fiction archive and database at the John Hay Special Collections Library at Brown University..." The gay pulp fiction archive?! Immediately readers know they're in for a ride.

Samuel Steward (aka Donald Bishop, Thomas Cave, John McAndrews, Phil Sparrow, Ward Stames, Phil Andros) was a poet, novelist, Catholic English professor, tattoo artist, gay pornographer, friend of Gertrude Stein and Alice Tolkas, and a key contributor to Alfred Kinsey's sex research. Justin Spring has rescued this astonishing character from oblivion, giving him the break he never got in what Steward described as "my happily wasted life."

This biography is definitely not for the gentle reader. Steward's prodigious sexual escapades from the 30s through the 80s made my few remaining hairs stand on end. Sailors, thugs, underage hustlers, Rudolph Valentino, Thorton Wilder, students, policemen, ex-cons, priests and one Hells Angel, scripted orgies, brutal S/M sessions: all were documented in his meticulous "Stud File." Almost despite himself, quiet little Steward was a defiant, transgressive artist to his core, surviving repression, literary rejection, AIDS, alcoholism and depression with a staggering sense of aplomb. One favorite example (that will only mean something to gay readers of a certain age): in his late 50s, Steward's favorite paid partner was "one very talented and extraordinarily good-looking hustler who later took the porn name of Johnny Hardin... Between late 1966 and 1970 Steward had sex with him 155 times." Now there is a fun fact to know and tell.

17 of 18 people found the following review helpful.
A Professor of Sex
By Geoffrey Harrison
Samuel Steward (aka Phil Sparrow, Phil Andros) lived (1909-1993) an interesting life. A boyhood that, if not necessarily unhappy, was not an easy one. He obtains a doctorate in English literature and then a series of untenured teaching jobs, mostly in Chicago and at Catholic institutions, for which, temperamentally, he was not well suited. Sam was homosexual and the years of his adulthood were, well, let us say, unpropitious for gays in America. On the other hand Steward never found it difficult, until he reached a certain age, to find sexual partners. He diligently compiled a card file detailing all the thousands of his sexual experiences (from Rudolf Valentino on), which Alfred Kinsey considered to be of enormous scientific interest and significance. (Steward was one of Kinsey's main homosexual sources for his study of male sexuality.) Sam loved Europe, especially France, and visited the country as often as his limited resources allowed. Hankering for a literary career, he boldly introduced himself to Gertrude Stein and Alice Toklas, who become life-long friends. (Steward published late in life the letters they wrote him, under the title "Dear Sammy.") He met Gide and Cocteau and became Thorton Wilder's lover, apparently Wilder's longest lasting relationship. Then Steward becomes interested in tattooing (he always was attracted to sailors) and opened a tattoo parlor in Chicago while he was still teaching at De Paul University. There was some inconcinnity between Steward's two professions and eventually, when his external employment was discovered by university authorities, Steward was terminated, although he informed his students (he was quite a popular teacher) that he had quit. Life becoming less endurable in Chicago, Steward moved to Oakland, CA, opened a tattoo shop there and soon became the favorite artist of the local branch of the Hell's Angels. His literary career only took off when he began publishing gay pornography, of a higher literary standard than is usual, under the nom de plume of Phil Andros. Steward never made much money at it (porn publishers didn't then pay well), but Sam found the labor fulfilling. Late in life, his health declined and he still lived in a very rough neighborhood. Thankfully, a few friends were there to take care of him until the end.
"Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade" by Justin Spring, is a reasonably well written and lively book. (With a subject like Steward, how could it not be?) I'm not fond of the "sexual renegade" bit; I suppose it's there for hype. But otherwise, this is a book I would strongly recommend both because Steward is interesting and because the book sheds much light on what it was like to be homosexual in America before Stonewall.

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Human Chain: Poems, by Seamus Heaney

A Boston Globe Best Poetry Book of 2011
Winner of the 2011 Griffin Poetry Prize
Winner of the 2011 Poetry Now Award

Seamus Heaney's new collection elicits continuities and solidarities, between husband and wife, child and parent, then and now, inside an intently remembered present―the stepping stones of the day, the weight and heft of what is passed from hand to hand, lifted and lowered. Human Chain also broaches larger questions of transmission, of lifelines to the inherited past. There are newly minted versions of anonymous early Irish lyrics, poems that stand at the crossroads of oral and written, and other "hermit songs" that weigh equally in their balance the craft of scribe and the poet's early calling as scholar. A remarkable sequence entitled "Route 101" plots the descent into the underworld in the Aeneid against single moments in the arc of a life, from a 1950s childhood to the birth of a first grandchild. Other poems display a Virgilian pietas for the dead―friends, neighbors, family―that is yet wholly and movingly vernacular.

Human Chain also includes a poetic "herbal" adapted from the Breton poet Guillevic―lyrics as delicate as ferns, which puzzle briefly over the world of things and landscapes that exclude human speech, while affirming the interconnectedness of phenomena, as of a self-sufficiency in which we too are included

  • Sales Rank: #180643 in Books
  • Published on: 2011-08-30
  • Released on: 2011-08-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.15" h x .32" w x 6.08" l, .29 pounds
  • Binding: Paperback
  • 96 pages

From Publishers Weekly
Nostalgia and memory, numinous visions and the earthy music of compound adjectives together control the short poems and sequences of the Irish Nobel laureate's 14th collection of verse, a work of familiar strengths and unparalleled charm. Old teachers, schoolmates, farmhands, and even the employees of an œEelworks  arrive transfigured through Heaney's command of sound: a schoolmate whose family worked in the eel trade œwould ease his lapped wrist// From the flap-mouthed cuff/ Of a jerkin rank with eel oil,// The abounding reek of it/ Among our summer desks.  The title poem applies Heaney's gift for physical mimesis to an image from the day's news: œbags of meal passed hand to hand... by the aid workers  remind the poet of the grain-sacks he swung and dragged in his own youth. Other pages remember, and praise, libraries and classrooms--from grade school, from Harvard, and from medieval Irish monasteries, with their œriddle-solving anchorites.  For all the variety of Heaney's framed glimpses, though, the standout poems grow from occasions neither trivial nor topical: Heaney in 2006 had a minor stroke, and the discreet analogies and glimpsed moments in poems such as œChanson d'Aventure  (about a ride in an ambulance) and œIn the Attic  ( œAs I age and blank on names ) bring his characteristic warmth and subtlety to mortality, rehabilitation, recent trauma, and old age.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Nobel laureate Heaney is an earthy and mythic poet who channels the music and suffering of Ireland and, beyond that, the spiral of cultivation and destruction that sustains and endangers humankind. These are loamy, time-saturated poems, at once humble and exalted, taproots reaching into the underworld, flowers opening to the sun. Heaney writes of summer frolicking, hay baling, the death of a child, a hunger striker, berries, eels, and coal. Fluent in the classics, Heaney offers a redolent variation on the Aeneid titled “Route 110,” in which the world of paved roads and motor vehicles is revealed to be but a thin veneer. “Bread and pencils,” Heaney chants, holding fast to the nurturing, sensuous realm; to stones and plants and old books; to the way poems and stories link a boy to the “glittering reeling chain” that is human history. Just as heavy sacks of grain handed from aid worker to aid worker chart the ceaseless river of disasters and need, of succor and connection. Heaney puts faith in the actual, be it the wind, a kite, or an extended hand. --Donna Seaman

Review

“In his Nobel lecture, Seamus Heaney commended the achievement of Yeats, whose ‘work does what the necessary poetry does, which is to touch the base of our sympathetic nature while taking in at the same time the unsympathetic reality of the world to which that nature is constantly exposed.' It is a fair comment of what he himself has done.” ―Frank Kermode

“Nobel laureate Heaney is an earthy and mythic poet who channels the music and suffering of Ireland and, beyond that, the spiral of cultivation and destruction that sustains and endangers humankind. These are loamy, time-saturated poems, at once humble and exalted, taproots reaching into the underworld, flowers opening to the sun … Heaney puts faith in the actual, be it the wind, a kite, or an extended hand.” ―Donna Seaman, Booklist

“In these poems Mr. Heaney casts vigorously about through moments in his life, from childhood through restless middle age. The poems read less like nostalgia than the signs of a still-vital poet feeling along the walls of his own cranium, his own complicated history … [Heaney's] authority, in Human Chain, is undiminished.” ―Dwight Garner, The New York Times

“Heaney still writes with the passion, freshness and vigor of a young man … The book is a joy on every level.” ―Troy Jollimore, The Washington Post

“Heaney has achieved a hard-won clarity of vision. Here, he renders memories with crystalline precision as he distills and contemplates the accumulations of a life. The poems' luminous clarity, so free of excess and easy emotion, ought to prove once and for all that Heaney is no sentimentalist . . . These poems refuse outright consolation and offer, instead, a fleeting sense of connection between living and dead--the human chain of the book's title.” ―Heather Clark, Harvard Review

“This newest collection of poems by Seamus Heaney contains multiple poems that will certainly be included in any final selected poems; that alone makes the book worth reading. Poems such as ‘The Baler' exhibit all the essential voicing and lean nuanced diction we associate with Heaney's middle period onward. Other poems continue the Heaney of palpable sonic texturing that we first experienced in poems like ‘Death of a Naturalist' and ‘Churning Day.' One striking poem in this book is ‘Route 110,' which moves like elegy through memory and grief, with Virgil's Aeneid intermittently breaking in and hovering like a specter, a caution, a paradigm of the epic question of each human life. It is a remarkable poem that never feels didactic or ‘learned' . . . This is a beautiful collection that demonstrates Heaney's continued poetic vitality.” ―Fred Dings, World Literature in Review

Most helpful customer reviews

24 of 26 people found the following review helpful.
Subtle, straightforward, powerful
By Meg Sumner
I'm not even going to think about calling this a review of Seamus Heaney's latest collection of poems, Human Chain.. It would be incredibly presumptuous on my part to even suggest that I'm going to "evaluate" his work (of course, normally I'm always presumptuous in terms of reviewing!). Instead, I'm going to just relay a few points that I love about this amazing poet, and why you should read him if you haven't already.

For one thing, his writing style is so straightforward and concise. It's not fluffy or ostentatious or full of bizarre allusions that make you feel ignorant for not understanding. Instead, he writes like a reader, with spare words that draw crisp pictures. Yet his poetry does have layers...you can find multiple meanings if you ponder what he says, so they still have depth and are certainly not simplistic at all. In fact, in many ways his simplicity is deceiving.

For example, I recently re-read "Digging", a poem he wrote in 1968 about a man admiring his father's and grandfather's strength as they turned over turf and worked the land in Ireland. He concludes the poem with something along the lines (I'm paraphrasing) that 'I'll have to do the work with my pen'. What initially is a pleasant enough little story (hard work, family, nature) suddenly had a deeper meaning and then, "digging" into it, one could see he was commenting on the struggles of Northern Ireland and showing the violence that was sometimes used to create change in the Republic. He never got pushy or overtly political but you could clearly see that he was sending another message.

So, in reading Human Chain, I was again dazzled by his subtlety. In one poem, "Miracle", he leads the reader into another direction of thought as he reconsiders the Biblical event of Christ healing a lame man:

Not the one who takes up his bed and walks

But the ones who have known him all along

And carry him in-

Their shoulders numb, the ache and stoop deeplocked

In their backs, the stretcher handles

Slippery with sweat. And no let-up

Until he's strapped on tight, made tiltable

And raised to the tiled roof, then lowered for healing.

Be mindful of them as they stand and wait

For the burn of the paid-out ropes to cool,

Their slight lightheadedness and incredulity

To pass, those ones who had known him all along.

Here, he's stepped back from a significant event to expand on its effects to those out of the spotlight, observers on the periphery who are also altered, although less obviously. In "Slack", he writes about the repetitive and mundane nature of storing coal for the fire, and shows what the symbolic heat means for the home:

A sullen pile

But soft to the shovel, accommodating

As the clattering coal was not.

In days when life prepared for rainy days

It lay there, slumped and waiting,

To dampen down and lengthen out...

And those words-

"Bank the fire"-

Every bit as solid as

The cindery skull

Formed when its tarry

Coral cooled.

Here he illustrates the fragile balance of life and death as dependent on the existence of the humble coal; and foreshadows what happens when the coal runs out. In that case, the cold shells of the fire appear as "skulls". So is he talking about just a home fire or the flame of one's heart?

Finally, the most poignant of all is "The Butts", where the narrator describes searching through a wardrobe of old suits. He describes how they "swung heavily like waterweed disturbed" as he checks the pockets and finds them full of old cigarette butts, "nothing but chaff cocoons, a paperiness not known again until the last days came". Colors, sounds, even odors are a part of the poem as he leaves you to wonder why he's looking through the clothing. Hinting, but never direct, one senses that Heaney is describing the search for a proper burial suit. For a father?

Throughout the collection, varying dedications for the poems give the sense that Heaney wants to go on record with his past and make the connections that are implied with the title, Human Chain. When I first looked at the cover, I thought it was of trees branches, maybe birch, threading out to tiny tips. Then I was alerted to a possibly different meaning when I saw a microscopic picture of the human circulatory system-the blood channels that look so similar to branches. In either case, Heaney has shown, again, an amazing grasp of the connections and complexity of the human condition.

(Rec'd from publisher for review: however, receipt does not influence contents of review)

10 of 11 people found the following review helpful.
Or it will, once. And for all.
By Owl
The title poem, "The Human Chain," begins with .."bags of meal passed hand to hand in close-up by the aid workers, and soldiers firing over the mob." It concludes, catching our heart-strings with gratitude and sorrow,

"That quick unburdening, backbreak's truest payback,
A letting go which will not come again.
Or it will, once. And for all."

These 25 poems, mostly lyrics, draw on incidents in the long arc of Seamus Heaney's life and the trajectory of his reading: Norse, Greek, Irish. Like much of the poetry that has made Heaney, scholar, bard, and senachie, the power comes not from the incidents observed (although Eelworks leaps off the page), but the meanings embedded in them, water diamonds across the wide bay.

Listen:

"As I age and blank on names
As my uncertainty on stairs
Is more and more the lightheadedness

Of a cabin boy's first time on the rigging,
As the memorable bottoms out
Into the irretrievable

It's not that I can't imagine still
That still untoward rupture and world-tilt
As a wind freshened and the anchor weighted."

Outward bound, Heaney's word-hoard is brighter and greater than ever Beowulf won, and his humanity a part of the human chain, l'dor v'dor. An enormous value at the Amazon price, this is a book to buy if one can at all, for oneself: to read aloud, to catch the changing colours, to cherish. And to give to those at dawn, nooning, and twilight.

I found nothing to critize: a beautifully designed book, such as Columcille might hold with pleasure, and place in the book bags on his shelf.

12 of 14 people found the following review helpful.
Taking Stock
By Kevin L. Nenstiel
If you know Seamus Heaney, this collection, with its gentle surface concealing tense depths, will probably not surprise you. I mean that in the best possible way. Heaney's approach to observation, noting ekphrastic detail that reveals a core of loss and grief, serves him so well because it tells his story while touching our spirits. We treasure existence, as Heaney, because it ends. Consider these lines from "A Herbal":

Between heather and marigold,
Between sphagnum and buttercup,
Between dandelion and broom,
Between forget-me-not and honeysuckle,

As between clear blue and cloud,
Between haystack and sunset sky,
Between oak tree and slated roof,

I had my existence. I was there.
Me in place and the place in me.

This is a man coming to terms. Notice the past tense. Throughout the book, there's a sense of wistfulness, of realization that what now exists cannot be forever, and that all life's good gifts must end. Poems like "Uncoupled," "Canopy," and "Route 110" bespeak a man looking backward across the span of years.

But he's not merely melancholy. There's also an innate maturity. "The Conway Stewart," about a fountain pen, feels like a deliberate reference to "Digging," the first poem in his first collection (and now the first poem in Opened Ground: Selected Poems, 1966-1996). That one had the false bravado of Heaney holding a pen "snug as a gun." This new poem feels like recognition that such swaggering machismo doesn't date well; now a pen is a pen, and a poet's connection to the world.

And we even get a sense of Heaney looking forward. Verses like "A Miracle" and "Wraiths" feel like a man taking stock of life, not because he sees it ending, but because he still has work to do while he's here. And the closing poem, "A Kite For Aibhín," features a kite cut loose and setting off for the heavens--a metaphor for the poet if I've ever seen one.

Heaney has remained at the top of the poetry game for so long because his introspective honesty, stated well but not prettified, speaks to a universal need. This collection forms the next fork in his artistic path. Established Heaney fans, new readers, and people who just love poetry will find much to like between these covers.

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Friday, February 26, 2016

! Free PDF Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told

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Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told

Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told



Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told

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Doctor Faustus: The Life of the German Composer Adrian Leverkuhn As Told

The new translation, by the masterly John E. Woods, of one of Thomas Mann's most famous and important novels: his modern reworking of the Faust legend, in which twentieth-century Germany sells its soul to the devil.

Mann's protagonist, Adrian Leverkühn, is one of the most significant characters in the literature of our era, for it is in him that Mann centers the tragedy of Germany's seduction by evil. This modern Faust is a great artist: Leverkühn is a musical genius who trades body and soul in a Mephistophelian bargain for twenty-four years of triumph as the world's greatest composer. He is isolated, brilliant, a radical experimenter who both plays and thinks at the very edges of artistic possibility. The story of his life becomes an apocalyptic narrative of his country's moral collapse as it surges into the catastrophe of World War II. No simple symbolic figure, Leverkühn is himself, almost paradoxically, a morally driven man in the vortex of an entire culture's self-destruction.

Through the wonderful--and terrible--story of Leverkühn's life and death, Mann not only gave us his most profound writing on the very nature and heart of all art--how it is created and how it impinges on every aspect of our experience: artistic, religious, political, sexual, psychological--but also forced his countrymen (the novel was first published fifty years ago, in 1947) to come face-to-face with how they had fallen prey to all that was most lethal in their heritage.

  • Sales Rank: #873455 in Books
  • Published on: 1997-11-25
  • Released on: 1997-11-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.50" w x 1.75" l,
  • Binding: Hardcover
  • 534 pages

From Kirkus Reviews
The modest Thomas Mann boom, begun with the recent publication (by New Directions) of his early stories, continues with this fine new English translation of the author's last great novel, first published in 1948. A work written in old age and suffused with Mann's moral despair over his country's complacent embrace of Nazism, Doctor Faustus unrelentingly details the rise and fall of Adrian Leverkhn, a gifted musician (modeled, as Mann admitted, on modernist innovator Arnold Schoenberg) who effectively sells his soul to the devil for a generation of renown as the greatest living composer. Woods's vigorous translation works brilliantly on two counts: It catches both the logic and the music of Mann's intricate mandarin sentences (if one reads closely, the rewards are great); and it gives the novel's narrator (``Adrian's intimate from his hometown'') a truly distinctive voice, making him more of an involved character than a rhetorical device. Mann's most Dostoevskyan novel should, in this splendid new version, speak more powerfully than ever to contemporary readers. -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.

Review
...Doctor Faustus, newly Englished by John E. Woods, is welcome. It reduces to a minimum imprecisions of the earlier renderings. It preserves the Gothic Faustus aura while conveying it in persuasive English. -- The Los Angeles Times Sunday Book Review, Frederic Morton

Language Notes
Text: English (translation)
Original Language: German

Most helpful customer reviews

8 of 8 people found the following review helpful.
Will give ebooks a bad name
By Amazon Customer
Bad formatting beyond belief. Random typefaces, colors, broken and missing text. Should not be offered for sale.

0 of 0 people found the following review helpful.
Mann's ambitious retelling of the Faust legend
By Louis L. Cornell
Thomas Mann poured his considerable knowledge of music into this biography of fictional German composer Adrian Leverkuhn, whose musical career spans the first thirty years of the 20th century. The result is one of literature's most ambitious attempts to portray the art of music in words. At the same time, this is a self-portrait of the narrator. Writing from the perspective of 1944, like Mann himself he is a representative of an older, humanistic Germany, who looks on appalled as the Red Army marches ever closer to the German border. Hating the Nazi regime, he struggles with the fact of the national catastrophe that looms ever closer. The result is perhaps Mann's most complex novel, ironies within ironies, all contained in the story of an artist who makes a pact with the Devil (or does he? or does he imagine that he did?) in order to achieve transcendence in his art. The language is thick, the narrative moves slowly, sometimes at a snail's pace, but the complexity of the story offers rich rewards. Not for the faint of heart.

6 of 6 people found the following review helpful.
One Star
By Amazon Customer
Incredibly bad formatting.

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Friday, February 19, 2016

! PDF Download What a Plant Knows: A Field Guide to the Senses, by Daniel Chamovitz

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What a Plant Knows: A Field Guide to the Senses, by Daniel Chamovitz

"Enough absorbing science to concede that plants continue to inspire and amaze us." ―The Wall Street Journal

How does a Venus flytrap know when to snap shut? Can it feel an insect's tiny, spindly legs? And how do cherry blossoms know when to bloom? Can they remember the weather?
For centuries we have marveled at plant diversity and form―from Charles Darwin's early fascination with stems to Seymour Krelborn's distorted doting in Little Shop of Horrors. But now, in What a Plant Knows, the renowned biologist Daniel Chamovitz presents an intriguing and scrupulous look at how plants themselves experience the world―from the colors they see to the schedules they keep. Highlighting the latest research in genetics and more, he takes us into the inner lives of plants and draws parallels with the human senses to reveal that we have much more in common with sunflowers and oak trees than we may realize. Chamovitz shows how plants know up from down, how they know when a neighbor has been infested by a group of hungry beetles, and whether they appreciate the Led Zeppelin you've been playing for them or if they're more partial to the melodic riffs of Bach. Covering touch, sound, smell, sight, and even memory, Chamovitz encourages us to consider whether plants might even be aware.
A rare inside look at what life is really like for the grass we walk on, the flowers we sniff, and the trees we climb, What a Plant Knows offers us a greater understanding of botany and science and our place in nature.

  • Sales Rank: #16078 in Books
  • Published on: 2013-04-30
  • Released on: 2013-04-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.27" h x .56" w x 5.43" l, .35 pounds
  • Binding: Paperback
  • 192 pages

Review

“Of the dozens of books I read in 2012, several stand out. But there's one I keep coming back to, thumbing through it, letting people know about it. It's Daniel Chamovitz's What A Plant Knows: A Field Guide to the Senses . . . It's incredibly interesting material, presented in an entertaining and fun way -- in about only 140 pages. What A Plant Knows is a nice fit on my shelf of gardening books -- and that's where it will stay. Although I've recommended the book to several people, I've ungraciously not let them borrow my copy. I fear I won't get it back.” ―Chicago Tribune

“The reader...will find enough absorbing science to concede that plants continue to inspire and amaze us. It's time, as Joni Mitchell sang at Woodstock, 'to get ourselves back to the garden' and take a closer look at plants.” ―The Wall Street Journal

“This elegantly written account of plant biology will change the way you see your garden...Chamovitz lets us see plants in a new light, one which reveals their true wonder.” ―The Guardian

“Thick with eccentric plant experiments and astonishing plant science.” ―Sunday Times (UK)

“Plants may be brainless, eyeless and devoid of senses as we know them, but they have a rudimentary 'awareness', says biologist Daniel Chamovitz. In this beautiful reframing of the botanical, he reveals the extent and kind of that awareness through a bumper crop of research.” ―Nature

“For everyone who has wondered at Mimosa, the suddenly snapping Venus flytrap or the way a sunflower's head unerringly turns to follow the sun, Daniel Chamovitz has written the perfect book.” ―American Scientist

“[A] fascinating inside look at what a plant's life is like, and a new lens on our own place in nature.” ―Maria Popova, Brain Pickings

“Verdict: Plant-astic.” ―Herald Sun (Australia)

“This well-researched book makes the compelling argument that plants "know" a lot more than most people give them credit for . . . Chamovitz eloquently elucidates that scientific evidence that proves it in easy-to-understand terms.” ―The American Gardener

“Chamovitz's book is pop science at its best, full of vivid examples of barely imaginable ways of living” ―BBC Wildlife

“In a lively and delightful discourse that aligns botany with human biology, [Chamovitz] articulates his findings, about plants and the senses in accessible, often whimsical observations that make complex science not only comprehensible but fun to ponder.” ―Booklist

“[A] handy guide to our own senses as well as those of plants.” ―Audubon

“An intriguing and scientific--but easy to read--look at how plants experience life.” ―Gardens Illustrated

“[Chamovitz] gently hints that we should have a greater appreciation of plants' complexity and perceptiveness . . . If plants can see, smell, feel, know where they are, and remember, then perhaps they do possess some kind of intelligence. Maybe that is worth reflecting on the next time you casually stroll past a plant.” ―Chelsie Eller, Science

“Like us, a plant that aspires to win the rat race must exploit its environment. Even a daffodil can detect when you're standing in its light, and a rhododendron knows when you're savaging its neighbor with the pruning shears. With deftness and clarity, Daniel Chamovitz introduces plants' equivalent of our senses, plus floral forms of memory and orientation. When you realize how much plants know, you may think twice before you bite them.” ―Hannah Holmes, author of Quirk and Suburban Safari

“Just as his groundbreaking research uncovered connections between the plant- and animal kingdoms, Daniel Chamovitz's insights in What a Plant Knows transcend the world of plants. This entertaining and educational book is filled with wondrous examples that underscore how the legacy of shared genomes enables plants and animals to respond to their environments. You'll see plants in a new light after reading What a Plant Knows.” ―Gloria M. Coruzzi, Carroll and Milton Petrie Professor, Center for Genomics and Systems Biology, New York University

“If you've ever marveled at how and why plants make the choices they do, What a Plant Knows holds your answer. Chamovitz is a master at translating the science of botany into the language of the layman.” ―Michael Malice, author, subject of Ego & Hubris, and succulent enthusiast

“Chamovitz walks the Homo sapiens reader right into the shoes--or I should say roots--of the plant world. After reading this book you will never again walk innocently past a plant or reach insensitively for a leaf. You will marvel and be haunted by a plant's sensory attributes and the shared genes between the plant and animals kingdoms.” ―Elisabeth Tova Bailey, author of The Sound of a Wild Snail Eating

“What a Plant Knows is lively, eloquent, scientifically accurate, and easy to read. I commend this engaging text to all who wonder about life on earth and seek a compelling introduction to the lives of plants as revealed through centuries of careful scientific experimentation.” ―Professor Stephen D. Hopper, Director, Royal Botanic Gardens, Kew

“A fascinating book that explores accessibly the evidence that plants share more properties with animals than most people appreciate. It may come as a relief to vegetarians to learn that plants do not feel pain or suffer, in the human sense, when harvested. Nevertheless, after reading What a Plant Knows, we wanted to apologize to our daffodils for the times when our shadows have shielded them from the Sun.” ―John and Mary Gribbin, authors of The Flower Hunters

“By comparing human senses to the abilities of plants to adapt to their surroundings, the author provides a fascinating and logical explanation of how plants survive despite the inability to move from one site to another. Backed by new research on plant biology, this is an intriguing look at a plant's consciousness.” ―Kirkus

About the Author

Daniel Chamovitz, Ph.D., is the director of the Manna Center for Plant Biosciences at Tel Aviv University. He has served as a visiting scientist at Yale University and at the Fred Hutchinson Cancer Research Center, and has lectured at universities around the world. His research has appeared in leading scientific journals. Chamovitz lives with his wife and three children in Hod HaSharon, Israel.

Most helpful customer reviews

82 of 91 people found the following review helpful.
Interesting topic, informative, scientific, but sometimes hard to understand
By J. M. Lawniczak
Nonscientists with an interest in plants, such as gardening enthusiasts, should read this book. It appears to be very scientifically based, indeed the noted popular science magazine, Scientific American, is the publisher. The theme is how plants sense and respond to their environment. The book thus explores how plants "feel" light and respond to it. Also discussed is plants' reaction to touch, as well as other stimuli. The book can be understood by the nonscientist, though there are parts that became a little too technical for me. In addition, the organization is a bit off and sometimes chapters seem to end in what I thought should have been the middle of a discussion, leaving me waiting, in vain, for more.

This book works very well in the Kindle version. There are footnotes, but tapping takes the reader back and forth. A real plus on a tablet connected to the Internet is that several of the footnotes have direct links to You Tube videos that actually show a short video picture of the described event. What book can do that? For example, there is a picture of the American dodder weed plant growing into a tomato plant to feed on it. The video of the Venus fly trap closing in on a fly and then on a frog is also very worthwhile. On the other hand, some of the links have hyphens in them, probably as they were in the book form, and this means that the links don't work and you have to go to a website and type in the link directly.

All in all a very interesting book, with some minor flaws that led me to give it four instead of five stars.

44 of 48 people found the following review helpful.
The Beautifully Sophisticated Sensory Life of Plants
By Smith's Rock
What a Plant Knows is a rare and beautiful piece of science journalism. Author Daniel Chamovitz's writing threads a needle with an aperture so fine that it is only rarely successfully accomplished: in elegantly simple language that is accompanied by a gentle sense of humor and deep integrity, he guides the reader to a new door of knowledge in a fashion that guarantees one will step through it. And once he/she steps through it, the reader's appreciation of what a plant can sense and remember (yes, remember, in a very specific sense) will be irrevocably altered.

This is not a dry and dusty tome. Though the phrase "I read it in a single sitting" more commonly applies to fictional thrillers (e.g. The DaVinci Code), it's applicable occasionally in science writing, and it's applicable to What a Plant Knows. Chamovitz, is a natural born teacher. When the reader wants to know "How the heck does a plant know which way is up, and which way is down?", Chamovitz refuses to plop the final answer out in one paragraph, instead, teasing the reader along the actual historical pathway that elucidates what we now know. And in so doing, he brings the full beauty of any given aspect of plant biology into focus, but ALSO brings to light the beauty and power of science that is well done; science done by people with a careful but insatiable need to know; science done by people whose need to be accurate exceeds their desire to prove their own theory right.

Chamovitz has the startling belief that the unvarnished truth is more fascinating than hyperbole, and hence What a Plant Knows is completely absent the hype and goofiness of The Secret Lives of Plants. You won't, after reading this book, find yourself crooning your favorite songs to your tomato plants (plants, Chamovitz convincingly demonstrates, really are deaf). But despite the fact that Chamovitz eschews sensationalism, what he says about the sensory life of plants, and what a plant can "know" and "remember" (the author very carefully defines what he means by those terms) is indeed both fascinating and sensational.

The book is just plain fun. Besides getting to learn terrific words like statoliths (essential for a plant to know which way is up, which is down), Chamovitz ups the relevancy factor multiple notches by linking the knowledge he presents to the reader with real life applications. He, for example, lets us know just how it is that flower growers get boat loads of chrysanthemums to bloom just in time for Mother's Day. Growers of Northern California's inhalable cash crop use this knowledge in what they call their "light dep" (light deprivation) season.

Plants, front and center, are the rock stars of this fascinating book. But also in starring roles are the folks that quietly, carefully, and with determination, track down the truth about the way our world works: scientists. They look good in this book. And so does science. Chamovitz's gentle, firm, funny, exploration of what tricks that plants have up their sheaves is full of integrity and passion. Treat yourself to it.

33 of 36 people found the following review helpful.
You'll find yourself looking at your plants differently
By David Lee Heyman
As I was reading this book I couldn't help thinking back to my days in high school reading Lives of a Cell: Notes of a Biology Watcher. Both books are written with real science explained in a way that anyone can relate to and understand. In What a Plant Knows: A Field Guide to the Senses, Daniel. Chamovitz goes over the basic senses we relate to as humans (sight, touch, taste, smell, etc) and shows us how plants use similar functions in different ways. He explains why plants grow towards the light. We learn how plants understand they have been turned upside down and ensure that their roots continue to grow downward while their stalk grows upward. Daniel Chamovitz explains these phenomenon using examples and language that anyone from a high school student to a grandparent can easily understand. This book will become a classic for high school biology classes. It could be the handbook for many biology teachers that want to teach their students through reenactments of early botanical experiments. I highly recommend this book and anxiously await future books from the author.

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Thursday, February 18, 2016

! Free PDF The New Testament: The King James Version (Everyman's Library), by Everyman's Library

Free PDF The New Testament: The King James Version (Everyman's Library), by Everyman's Library

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The New Testament: The King James Version (Everyman's Library), by Everyman's Library

The New Testament: The King James Version (Everyman's Library), by Everyman's Library



The New Testament: The King James Version (Everyman's Library), by Everyman's Library

Free PDF The New Testament: The King James Version (Everyman's Library), by Everyman's Library

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The New Testament: The King James Version (Everyman's Library), by Everyman's Library

John Drury's clear, marvelously erudite, and richly detailed introduction to the Everyman's Library edition of The New Testament reminds us why the King James Version, first published in 1611, has been the favorite of English readers for centuries. Despite a plethora of new translations in the second half of the twentieth century, the King James Version retains its power and appeal because "it has the intrinsic value of a classic and is an enduring masterpiece."

Drury outlines the fascinating history of this magisterial translation, marveling at the "patient generosity" with which the translators sifted through and distilled a century of previous scholarship. He points out that their work has endured not only because of the astonishing care they took to reflect faithfully the syntax of the original Hebrew and Greek–which enabled them to dispense with the densely entangled prose style that characterized English writing at the time–but also because of their concern to writers from Milton to Coleridge to George Eliot. From the doctrinal richness of the letters of St. Paul to those four masterpieces of storytelling, the Gospels, The New Testament has served as a source of inspiration for centuries.

To quote George Steiner on the centrality of the Bible: "What you have in hand is not a book. It is the book. That, of course, is what 'Bible' means. It is the book which, not only in Western humanity, defines the concept of a text. All our other books, however different in matter or method, relate, be it indirectly, to this book of books…All other books are inhabited by the murmur of that distant source."

(Book Jacket Status: Jacketed)
 

  • Sales Rank: #541443 in Books
  • Color: Other
  • Brand: Brand: Everyman's Library
  • Published on: 1999-03-02
  • Released on: 1999-03-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.10" h x 1.30" w x 5.20" l, 1.24 pounds
  • Binding: Hardcover
  • 512 pages
Features
  • Used Book in Good Condition

From the Inside Flap
John Drury's clear, marvelously erudite, and richly detailed introduction to the Everyman's Library edition of the New Testament reminds us why the King James Version, first published in 1611, has been the favorite of English readers for centuries. Despite a plethora of new translations in the second half of the twentieth century, the King James Version retains its power and appeal because "it has the intrinsic value of a classic and is an enduring masterpiece."
Drury outlines the fascinating history of this magisterial translation, marveling at the "patient generosity" with which the translators sifted through and distilled a century of previous scholarship. He points out that their work has endured not only because of the astonishing care they took to reflect faithfully the syntax of the original Hebrew and Greek--which enabled them to dispense with the densely entangled prose style that characterized English writing at the time--but also because of their concern to writers from Milton to Coleridge to George Eliot. From the doctrinal richness of the letters of St. Paul to those four masterpieces of storytelling, the Gospels, the New Testament has served as a source of inspiration for centuries. To quote George Steiner on the centrality of the Bible: "What you have in hand is not a book. It is the book. That, of course, is what 'Bible' means. It is the book which, not only in Western humanity, defines the concept of a text. All our other books, however different in matter or method, relate, be it indirectly, to this book of books . . . All other books are inhabited by the murmur of that distant source."

From the Back Cover
This edition of the Old Testament in the King James Version, George Steiner reminds us of the literary grandeur, uniqueness, and centrality of the Bible.

About the Author
Gwyn Jones and Thomas Jones were, respectively, Professor of English at Aberystwyth and Cardiff and Professor of Welsh at Aberystwyth. They are the authors of numerous works of scholarship in Welsh and in English.

Most helpful customer reviews

25 of 27 people found the following review helpful.
A somewhat disappointing edition due to font size
By Robert Moore
Because Amazon can sometimes link items in odd ways, let me make it clear that I'm reviewing the Everyman Library edition of The King James Version of The New Testament. I ordered this from Amazon sight unseen based on how happy I have been with every other Everyman edition I've ever bought. Let me make it clear: I love the Everyman Library. Whenever I order a classic work, I always check to see if there is an Everyman edition. Slight aside: there was an earlier Everyman Library that was launched in 1906. This were cheap hardback copies of important works. The size roughly correlates to what we would today call mass market size, though perhaps very slightly larger. These are generally poorly bound books, not very attractive, but frequently valuable because they are often the only readily available editions of certain titles, even if they are out of print. For instance, I recently purchased a very lovely used Everyman edition of Samuel Butler's EREWHON and EREWHON REVISITED. But this older edition lacks the sturdy binding, the acid free cream-colored paper, and appealingly large font of the new Everyman Library, which was restarted in 1991. Basically, if I can get a book in the Everyman edition I will (with certain exceptions -- there are a couple of editions I prefer in the Library of America, such as the large Dashiell Hammett volumes, which if think are nicer than the large Everyman Hammett volumes).

Which explains why I ordered the Everyman edition of the KJV NT. It does have the beautiful paper and the wonderful cloth exterior, but the font is simply not very large. The font is far smaller than what you get with most Everyman editions. Let me give an example. My Everyman PRIDE AND PREJUDICE has substantially larger print. As a result, a relatively short book ends up running to 368 pages, not counting front matter. The KJV NT, which is a much, much longer text, runs to only 421 pages, excluding front matter. I recently decided to reread Trollope's Barsetshire series, and given how beat up and yellowed my old Penguin copies were, I decided to upgrade to the Everyman. DR. THORNE probably has close to the total words found in the NT. But it has the large, lovely font that PRIDE AND PREJUDICE has and as a result runs to a luxuriant 633 pages, again excluding front matter.

My pet peeve with virtually all editions of the Bible, whether containing both halves together or separating them into the OT or the NT as Everyman does, is the size of the font. I often in my daily commute see people reading editions of the Bible that ought to be banned by law. Yes, they are handy-sized and quite tiny, but so is the font. I honestly don't think God wants us to ruin our eyesight by reading the Bible. I got this edition of the KJV with the hopes that it would be both a handy size and that it would have a nice, large font. Unfortunately it did not. It is, however, otherwise very lovely. I'll keep it as a back up copy.

For the record, my favorite reading copy of the KJV remains one of the Cambridge editions. The ISBN number, in case you want to look up this precise edition, is 052116334X. It possesses a very large, easy-to-read font in an otherwise perfectly beautiful Bible. It is, in fact, so beautiful that I had hoped to lessen its use by having another KJV.

10 of 13 people found the following review helpful.
a great Christian work
By A Customer
Some would say that the AV1611 is the Only True Word of God. I don't agree with that position, but I do think the KJV Bible is an amazing accomplishment, gathering some of the great minds of 16th century Britain and creating a literary masterpiece that gives great glory to God. If you read other translations for the information, still read this one for its beauty.

6 of 12 people found the following review helpful.
Majestic!
By A Customer
The most majestic version of the Holy Bible's New Testament in existence. The Authorized Version of 1611, a.k.a., the King James Version.

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