Showing posts with label nonfiction. Show all posts
Showing posts with label nonfiction. Show all posts

The Ugly Duckling Goes to Work: Wisdom for the Workplace from the Classic Tales of Hans Christian Andersen Review

The Ugly Duckling Goes to Work: Wisdom for the Workplace from the Classic Tales of Hans Christian Andersen
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I loved this book! This is not your ordinary business book. It is truly an original idea. Mette Norgaard uses the classic tales of H. C. Andersen, to deliver a deep message. This is a book that makes you think, reflect on yourself in your private and professional life. As I read it, I often felt as if the author was talking to me directly and it raised important questions in my mind.
I was actually surprise to realise that I had never read some of the H.C. Andersen tales before, at least not the full version. It was really enjoyable to read them. The historical information before each tale was also very interesting.
I strongly recommend it for anybody doing some soul searching at the moment.

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Apollodorus: The Library, Vol. 2: Book 3.10-16 / Epitome (Loeb Classical Library, No. 122) Review

Apollodorus: The Library, Vol. 2: Book 3.10-16 / Epitome (Loeb Classical Library, No. 122)
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Frazer was one of the great scholars of mythology and his translations and research has laid the foundations in the field of classical mythology. His addition to the Loeb Library is an excellent word for word translation supplemented with references to related tales from other lands. A great reference for both the classicist and the folklorist.

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Dragon Sea: A True Tale of Treasure, Archeology, and Greed off the Coast of Vietnam Review

Dragon Sea: A True Tale of Treasure, Archeology, and Greed off the Coast of Vietnam
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Vietnam has spent almost all its past under control of China, or under threat of such control. There was a brief "golden age" of eighty years in the fifteenth century when it ruled itself, and its art, including making and glazing ceramics, broke free from the traditions of its big northern neighbor. The years of independence descended into chaos when a civil war began, and the art of the period was largely lost, even the ceramics that were dispersed in trade and then were lost. The artistic production of the age of independence was gone, not enough of it remaining to be systematically collected or understood. One trove of ceramics, however, had lain undisturbed on board the wreck of the _Hoi An_ which had gone down off the coast of Vietnam five hundred years ago. The rediscovery of the hoard, and how it was released to the markets of the world, is the story in _Dragon Sea: A True Tale of Treasure, Archeology, and Greed Off the Coast of Vietnam_ (Harcourt) by Frank Pope. Pope was an immediate observer of much of what is described here; he was the archeological manager for the expedition, the most expensive underwater archeological excavation ever, involving scores of divers, archeologists, seamen, draftsmen, and support personnel like cooks. There is the suspense of working within dangerous depths here, but most of the book's well-narrated drama comes from the conflicting dual motives of the expedition.
The two main characters of the book neatly illustrate the dual motives. Ong Soo Hin is a Malaysian businessman. He might be described as a "smash and grab" salvager, with success in bringing up artistic treasures. He was no archeologist, but realized that there was some worth in keeping an academic arm to his researches; archeologists documenting his finds could well increase the value of them because of giving them credible context and history. He teamed up with Mensun Bound, an academic who was the director of the Maritime Archeology unit at Oxford University (the author is one of his protégés). This was a risk for Bound, since it was unseemly for a professor to break ranks with academia and join in a commercial venture. The difficulties in Bound's position are clear. He would provide an only chance that the contents of the wreck could yield historical information rather than just profit, and if he did not do so, then the wreck would be sacrificed to mere profiteers. The _Hoi An_ was already a target for unsystematic dredging by fishermen who were not only pulling up finds but damaging many by the way they were doing so. There was no way such a difficult excavation could be funded just by, say, Oxford University, and Bound felt he was making the best of what could have been an archeological disaster otherwise. Throughout the excavation, partners Bound and Ong repeatedly bothered one another in ways both rational and puerile, and the duel is fascinating to watch. It takes place in the middle of the most advanced technology for such salvage, and Pope's description of technical aspects of diving, and of the dangers connected to it, is excellent.
It isn't surprising that with competing motivations that interfered with each other, the dive should not be a success. The problem was not that there was limited treasure; over a quarter of a million items were successfully brought up. Indeed, part of the problem may have been that because Vietnamese ceramics from this period are rare, there are few knowledgeable collectors of it and the _Hoi An_ finds represented a huge glut in a small market. That the losses were in the millions meant that the proposed academic reports were delayed, perhaps forever, and also there was an ugly academic squabble about the dating of the finds. All that money and effort went for little real gain, and so to read Pope's book is to be reminded of the frequent futility of human planning and endeavor. Pope ends with the reminder that there are countless other valuable wrecks out there and with the hope that somehow we will find a way to appreciate both their financial and their historic value, but this fascinating and pessimistic book itself gives little hope.


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T. S. Eliot (Lives & Legacies (Oxford)) Review

T. S. Eliot (Lives and Legacies (Oxford))
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For an installment in an Oxford University Press series called "Lives and Legacies", T. S. ELIOT contains surprisingly little about Eliot's life and it discusses his legacy even less. What it is is an intelligent and scholarly, yet readable, overview of Eliot's writings, principally his poetry. If, like me, you already are a fan of Eliot's poetry, I recommend the book. If you are not a fan, I doubt this book will turn you into one or otherwise do much for you.
To me, reading the book was most notable for encouraging the reader to look at Eliot's poetry as a body of work, as one extended poem. Over the years I have read many of Eliot's poems multiple times, but - in part, no doubt, because they are so complex and fecund - I have tended to think of the poems, or even discrete parts or stanzas, in isolation. Raine attempts to present Eliot's work as "one significant, consistent and developing personality." Towards that end, he identifies and explicates two overarching themes in particular: the failure to live fully (either as illustrated in the poems or ruefully recognized by many of the voices of the poems), and "classicism", an aesthetic stance that is skeptical of theatrical, exaggerated emotion (i.e., anti-Romantic). Raine also registered a point with me in describing Eliot's poetry as "impersonal", in the sense that in order to appreciate it a reader need know little or nothing about the biographical background of its author (unlike, for example, Sylvia Plath).
Raine makes his way through Eliot's oeuvre more or less chronologically, though his rather brief discussion of "Prufrock" is postponed until the middle of the book. He devotes one chapter each to "The Waste Land" and "Four Quartets", and then individual chapters to Eliot's dramas and to his literary criticism. For me, the first two chapters were the most rewarding, in part because they include insightful discussion of several of the lesser known (and, thus, less written about) poems - for example, "Animula", "Gerontion", and "Marina".
Raine's book is NOT a "reader's guide". He does not attempt, thankfully, to explicate each and every line of each and every poem. He confines himself to the thematic points he wishes to make, and he avoids the drudgery and stuffiness of an Oxford don (though he long taught there). Nonetheless, in discussing sources, models, and influences, he obviously draws on impressive Eliot scholarship. By and large, his writing is spare and taut, somewhat poetic and much less verbose than the typical texts of poetry criticism/exposition. (Still, there are quite a few 50-cent words, such as "oneiric" and "euphistically".)
At the end of this relatively brief book there is a lengthy (30-page) Appendix in which Raine discusses the charge, delivered by many critics, that T.S. Eliot was anti-Semitic. Here the tone of the book changes and Raine engages in rather prosaic academic polemics. I don't follow all of Raine's arguments in defense of Eliot, but then neither do I follow many of the accusers' arguments. For the general reader, it perhaps suffices to report that in Raine Eliot has an intelligent and reasoned defender, and before anyone (based on reading Anthony Julius, George Steiner, Louis Menand, etc.) mentally pigeonholes Eliot as an anti-Semite, in fairness they should read Raine's Appendix.
I bought the so-called "hardcover" edition. It is rather cheap and tacky, surprisingly so for a publication by such an august publishing house. The cover is some sort of pressed cardboard (I don't know the precise term) with a glossy finish on which the cover photo and text are directly emblazoned - i.e., there is no dust jacket. The edges of the pages are almost coterminous with the edges of the cover, and the paper itself is ordinary. The book is "bound" - more accurately, glued - indifferently, so that the first few pages of my copy have been given permanent waves in close to the gathering. These rather mediocre production features probably influence my four-star assessment.

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The Concord Quartet: Alcott, Emerson, Hawthorne, Thoreau and the Friendship That Freed the American Mind Review

The Concord Quartet: Alcott, Emerson, Hawthorne, Thoreau and the Friendship That Freed the American Mind
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This book is a nice overview of the lives of four key authors who spent most of their time in Concord, Massachusetts: Bronson Alcott, Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne. These men helped craft and define the course of true American literature through their essays, poetry, short stories, novels, nonfiction, conversations, lectures, and above all, journaling. Though no new material is presented here, Mr. Schreiner does a good job of tracing the four threads, merging them, and synthesizing basic facts with the subjects' own words. Along the way, the reader learns much about the town of Concord itself. Recommended reading for anyone who is looking for a casual yet fairly accurate introduction to the transcendentalists and to the Concord of the 1800s.

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On the Town in New York: The Landmark History of Eating, Drinking, and Entertainments from the American Revolution to the Food Revolution Review

On the Town in New York: The Landmark History of Eating, Drinking, and Entertainments from the American Revolution to the Food Revolution
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Michael and Ariane Batterby have given us, in ON THE TOWN IN NEW YORK, a fairly comprehensive look at New Yorkers doing what they do best: eating and partying. I appreciate the earlier reviewer's complaint about historical inaccuracies--he's right, they are BIG errors. However, as a serious investigation into what New Yorkers put in their stomachs, I was pleasantly enlightened. Turtle Soup?! Turtle Soup?! What the...?
I loved the reprints of the menus of hoidy-toidy restaurants. It really gives you a sense of extravagance bordering on gluttony that went on in 19th Century NYC. And then there are the vivid chapters of New Yorkers at play: The Stork Club, The El Morocco, etc. The all-night bashes of the 20th Century, as well as extravagant somber dinners of the 19th Century are wonderfully described. (Note: The number of eateries that were brought down by organized crime seemed a little inflated. I know it ruined many a joint, but all the joints presented in the book? I had a hard time swallowing that. Pun intended.)
As a History, no, I would not base a dissertation on it. As a thorouhghly enjoyable look back at a world now long gone and what the people ate and did in it, I wish to pay my compliments to the chefs. Delicioso!

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Walden and Other Writings (Modern Library of the World's Best Books) Review

Walden and Other Writings (Modern Library of the World's Best Books)
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Thoreau masterfully analyzes his in its purest form, he does away his all superfluous details. He forces the read to question his own existence. He forces the reader to imagine life without technology, commotion and anything unnecessary. Besides his analysis in Walden, he takes a stand for the maverick, for the individual, for the non-conformist. Lastly his social commentary especially about slavery shows how wrong our coutry had been.

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Elizabeth Bishop: Poems, Prose and Letters (Library of America) Review

Elizabeth Bishop: Poems, Prose and Letters (Library of America)
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This carefully edited book collects much of Bishop's poetry and prose--fiction, memoir, reportage, reviews--between two covers for the first time, and that is all for the good.
The best introduction to Bishop's work, however, is still "The Complete Poems, 1927 - 1979," supplemented by the best pieces in "The Collected Prose" (1984), edited by Robert Giroux, who is also co-editor of the present Library of America book and editor of "One Art" (1994), the mammoth selection of Bishop's letters. The earlier editions of her poems and prose were published in an era when editors still respected Bishop's excellent judgment about which of her poems and prose pieces should appear in print. Bishop was her own best editor, and I don't think the publication of so many of her abortive poems serves her particularly well.
My main criticism of this book has to do with the "Letters" section. As with the Library of America edition of Flannery O'Connor's writing, this selection offers letters not available in "One Art" (or in O'Connor's case, "The Habit of Being"); but the Library of America edition does not supersede "One Art" because it offers fewer letters in total. Both O'Connor and Bishop were epistolary geniuses on the level of Keats and Hopkins and we deserve editions of their letters that aspire to comprehensiveness. There is a new edition of Bishop's correspondence with Lowell on the way, but what about her letters to Marianne Moore, May Swenson, and other friends with whom she had significant correspondences?
I suppose ardent readers of Bishop's letters are supposed to photocopy the letters published in this Library of America edition and stick them in "One Art" in order to have all of the in-print Bishop letters (which are a fraction of the letters she actually wrote) in one place. I am happy to do this, but aren't Library of America editions supposed to collect ALL of a writer's most important work in one or more volumes? I would rather have Bishop's poems and non-epistolary prose in one Library of America volume, and a more complete edition of her letters in another, even if the letters book were longer in coming. The Library of America edition of Hart Crane, another epistolary genius, is comprised mostly of letters, in part (I suspect) because the editor had a new edition of Crane's letters to select from. (In fact the same person edited both Crane books).
Giroux refers to his "files of Elizabeth's vast correspondence" (p. 944). When will these files become available to the rest of us in the form of a "Collected Letters of Elizabeth Bishop," which would no doubt be a multi-volume work, or even an expanded edition of "One Art"? The latter book, as far as I can tell, is not mentioned at all in this Library of America edition--why not? Has Giroux decided to "disappear" his own wonderful edition of Bishop's letters?
I suspect this Library of America edition of Bishop was rushed to press in order to capitalize on all the recent attention paid to Alice Quinn's selection of Bishop's unpublished poems, and the attention that is about to be paid to the forthcoming Bishop/Lowell correspondence. Why not wait a few more years until the shape of the Bishop canon is a bit clearer to publish an apparently definitive volume such as the present Library of America book? Quinn is currently editing Bishop's notebooks and journals, which promise to be fascinating, but which this Library of America book does not excerpt at all.
Bishop herself was a voracious reader of other writer's letters and journals, and she even taught a course in epistolary writing at Harvard in the early 1970s. I wish editors and publishers would take a cue from Bishop's own interest in letter-writing and publish more of her letters. As anyone who has read "One Art" or the letters published in this Library of America edition knows, Bishop's letters are the ultimate pleasure reading. A bigger edition of her letters would probably not supplant the latest Dan Brown book on the best-seller lists, but there is a larger market for it than one might suppose.


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Henry David Thoreau : A Week on the Concord and Merrimack Rivers / Walden; Or, Life in the Woods / The Maine Woods / Cape Cod (Library of America) Review

Henry David Thoreau : A Week on the Concord and Merrimack Rivers / Walden; Or, Life in the Woods / The Maine Woods / Cape Cod (Library of America)
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Four of Thoreau's best works come to life in their full and unabridged versions. Thoreau portrays a land of immense natural beauty, and his keen observations focus on subjects as diverse as native plants and animals to his musings on the peculiar people he meets. Thoreau's revelations on conservation show us he was a century ahead of his time, aware of a landscape and nation which was already irreversibly changing. Yet his simple life at Walden pond shows us that we are perhaps most content with ouselves when we are the most alone and unencumbered. Contains a brief chronology of Thoreau's life which presents us with many previously unknown facts. Each work in this collection has been available before, but the Library of the America's has researched and investigated the most accurate materials and corrected errors contained in previous publishings.

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The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge Review

The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge
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It is hard for me to be objective about this book. First off, I am a great admirer of David McCullough's histories. Second, I have published two novels which are set in New York during the mid-19th Century. But what probably makes it hardest for me to be objective is that I have walked over that bridge for my own personal pleasure so many times over the decades that I consider it an old friend. It's my bridge.
Having said all that, I can say that Mr. McCullough has written a history that is not only about a bridge and its builders, which are fascinating subjects in their own right, but it is also about what New Yorkers were thinking back then. This was still a horizontal world; the era of early skyscrapers was a few decades away. Because of this and the rapid growth in population after the Civil War, Manhattan was mostrously choked by block after block of four- and five-story tenements, warehouses and factories. The need for a reliable means to get to the vast open spaces of Brooklyn was urgent. Ironically, however, it wasn't the horizontal--the length of the bridge--which stunned the witnesses to the construction. Instead they marvelled at the height of the towers and the height of the roadway over the East River.
Not as ironic, however, were the people who didn't marvel at the bridge's beauty and the strength of its construction. They were too busy licking their lips, wringing their hands and wondering how much of the bridge's budget would make its way into their wallets. The elements of corruption, then as now, always lurked near a great public work in New York. McCullough covers this tainted side just as carefully as he reports on the glory of the growth of the bridge. Heroes (the Roeblings) and villains (Tweed & Co.) abound, while New York's most beautiful and efficient structure comes to life.
I've been as honest as possible. I recommend this book highly to anyone with an interest in engineering, New York history, or just a good story with great characters.
Rocco Dormarunno
Instructor, College of New Rochelle

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The River Lock: One Boy's Life Along the Mohawk Review

The River Lock: One Boy's Life Along the Mohawk
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Stephen Haven's memoir, The River Lock, is an introspective telling of the trials, tribulations and warm hearted escapades of an adolescent coming of age in upstate New York. Stephen's father is a respected rector at a local parish; Stephen's youthful indiscretions often conflict with this pious background and a somewhat laissez faire upbringing. There are a number of amusing childish pranks. There is also an element of danger as Stephen tends to wander between two distinct circles of friends and comes in contact with elements of alcohol, drugs and violence. There are many forks in the road.
This is a story about childhood and about growing up. It is a story about the choices that we make and the forces that shape our lives and remain with us. It is a fond reminiscence to which most can relate. Stephen Haven writes with a sense of humor and a sense of place that make this a novel that will stay with you. Highly recommended!


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Pulled between the disparate spheres of home life with a minister father he loves and respects, and the world of sex, drugs, and violence of his closest boyhood friends, author Stephen Haven relates his journey of self-discovery in this poignant memoir. After a fourteen-year absence from his home in Amsterdam, New York, Haven returns in the week before Easter, 2003, to the town that molded his character. A true bildungsroman, The River Lock traces the forging of Haven's identity from the clash of his youthful home life and the streets of his native mill town. Through memories of adolescence, Haven reveals how a growing understanding of art, culture, friendship, spirituality, family, and class melded to create a man able to live fully in two distinct worlds.

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Katherine Anne Porter: The Life of an Artist (Willie Morris Books in Memoir and Biography) Review

Katherine Anne Porter: The Life of an Artist (Willie Morris Books in Memoir and Biography)
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I can't believe no one else has reviewed this book yet, but perhaps it reveals something about the way Katherine Anne Porter has been devalued in modern US literary society, all the odder since I can remember a time when she was the toast of the literary world, even when her novel SHIP OF FOOLS had been dismissed people still said, but her short stories and short novels are of the highest quality.
Darlene Harbour Unrue had her work cut out for her, but she had an incomparable advantage, she knew Porter slightly and so was able to make out what sort of person she basically was, so hard to discern from the long view. She was very beautiful in an odd sort of way, with prematurely white hair, great velvety eyes that looked purple in the right light, and a low speaking voice like Cleopatra's that made a lot of man (and Carson McCullers) fall in love with her the minute she parted her lips. Even Goering had a thing for her, if Porter is to be believed.
"If Porter is to be believed"--aye, there's the crunch, isn't it? She was nearly as famous for her lies as Anais Nin, and scholars and journalists early on believed very little she told them. Unrue reveals much about rhe five marriages Porter wanted to downplay, but more importantly she helps us understand just why some subjects were painful for her to revisit, so we come to empathize with a woman whose first marriage was nine years of real physical abuse, broken bones and hatred, a life that might well have driven her insane. Instead she picked herself up, shook herself off, and went completely independent. I have rarely read the life of a person so little connected with others, besides her acolytes like Eudora Welty. She seems to have played up her great beauty and her liberty, and she played games of use with each of her publishers, signing contracts she couldn't fulfill, running out on them despite her promises, and yet whining like all authors about their meanness.
She lied about her age, and her 4th husband didn't know he was a full 25 years younger than she was. In 1953 or 1954, she outdid herself by having a sexual affair with a man of 28 when she was 63. She could have given tips to Cher and, with her constantly propinquity, she probably did. I didn't know the extent of Porter's Hollywood connections, how she spent a year at Paramount trying to re-write MADAME SANS-GENE for Betty Hutton! Wish that baby got made! All in all, THE LIFE OF AN ARTIST is one of the very finest biographies I've recently read. Unrue backs off from making the highest claims for Porter's importance as a fiction writer, but in the interstices of her discretion a hunger for her work grows among us. She makes us want to read Porter anew, through the refracting surfaces of her insight.

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From the moment Katherine Anne Porter arrived on the American literary scene in 1922, the public was intrigued with her life. Yet she herself revealed only scant facts of her background and often gave conflicting accounts. She maintained, though, that a germ of her own experience lay at the core of everything she wrote.
In Katherine Anne Porter: The Life of an Artist, Darlene Harbour Unrue finds that Porter's deceptions were a screen for deep personal turmoil. With unprecedented access to archival and personal papers, Unrue brings much new information to light. Porter's maternal grandmother was institutionalized; Porter had more marriages than she acknowledged; she lost babies to miscarriage, abortion, and stillbirth, and she grieved over her failed motherhood. Ever present were her fears of exile and insanity.
Despite these constant fears, Porter (1890-1980) lived an extraordinary life that vaulted her from poverty and obscurity to wealth and the fame of being a best-selling author. She experienced or observed many of the major events of the twentieth century. So often on the move, she lived in Greenwich Village during its heyday as a hotbed of radical politics and experimental art, in Mexico during the cultural revolution of the 1920s, in Europe during the rise of Nazism, and in America during the Cold War. Thirteen years old when she first rode in an automobile and saw an airplane, she was invited in her last decade to observe and write about the launching of the final Apollo space ship. Asked to summarize her own life, Porter was fond of quoting Madame Du Barry: "My life has been incredible. I don't believe a word of it!"
Darlene Harbour Unrue is a professor of English at the University of Nevada in Las Vegas. She has written several books on Katherine Anne Porter, including Understanding Katherine Anne Porter and Truth and Vision in Katherine Anne Porter's Fiction.

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Walden : An Annotated Edition Review

Walden : An Annotated Edition
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Walter Harding was one of the greatest Thoreau scholars. His annotations include explanations of puns I hadn't understood, sources of quotes and references in the text, and information about Thoreau's time. I also learned that one of my favorite places in Concord was referred to by Thoreau as Fairyland Pond.
The book also includes a map of the area in Thoreau's time, reproductions of HDT's manuscript pages, drawings and excerpts from his journal, and his map of Walden Pond with water depths he determined.
I wouldn't say the book is perfect--there are still a few obscure references without notes, and some notes for points that are obvious--but it's as close as anyone is likely to come.
Be sure to also read Harding's The Days of Henry Thoreau, a great biography.

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Mythology: The Illustrated Anthology of World Myth and Storytelling Review

Mythology: The Illustrated Anthology of World Myth and Storytelling
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This massive coffee-table style book gives a good overview of some of the major mythologies in the world. Overall, it has both good and bad points, with the good generally outweighing the bad.
The good points include the wide range of mythological stories that are related. While Greek mythology - certainly the most well-known and influential in Western culture - gets more space than any other culture (over one hundred pages), there is plenty of space dedicated to the whole world of mythology: Egyptian, Babylonian, Norse, Chinese, Indian and Japanese amongst them. A wide range of illustrations and photos help tell the stories.
Although wide-ranging, I think there are some noticeable gaps, both within specific sections (for example, no story of Eros and Psyche in the Greek myths) and significant types of myths that are neglected. It would have been interesting to see a little about the Arthurian legends, which are a big part of British mythology. The other thing that is missing is any sort of comparisons. While many cultures had creation and flood stories, there is little direct commentary on the similarities or differences. It would have also been interesting to see some discussion on parallels between myths and the stories of the Bible.
Of course, this book is big enough as it is, and editing decisions needed to be made. While this book suffers from the flaw of incompleteness, it does not have flawed writing, which makes it a good book although (literally) not a light read.

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Myths are the timeless expression of the imagination born out of the need to make sense of the universe. Moving across the centuries, they resonate with our deepest feelings about the fragility and grandeur of existence. Mythology is a comprehensive, richly illustrated survey of the mythic imagination in all its forms around the world, from the odysseys, quests and battles of ancient Greece and Rome to the living beliefs of indigenous cultures in the Americas, Africa and Oceania. Looking at each major myth-making culture in turn, this book retells some of the most significant and captivating stories in a lively, contemporary style. Generously illustrated with more than 700 color photographs, Mythology brings you the vibrant stories that echo time and again in our lives.

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Titanic: Triumph and Tragedy Review

Titanic: Triumph and Tragedy
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I must say this is the most comprehensive book on the Titanic I have yet seen. Every facet of the liner's history from its origins to the wreck exploration is covered. Each chapter includes pictures of everything connected to the ship. Anyone with any interest in Titanic at all should have a copy.
I did think the authors could have done better with their chapter on the sinking itself though. As it is they wrote little text and tell the story through picture captions! It is as if a book on the Kennedy assassination covered details of the flight to Dallas and then said little about the shooting itself. I also feel the authors were a bit too soft on Lord of the Californian.

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First published in 1986, revised and expanded in1995, this book has been called "thedefinitive history" of the Titanic.
Continuing interest in the ill-fated vessel has been heightened in recent years by the dramatic events including the discovery of the wreck, new speculation on the Californian's failure to rescue the Titanic, and the recovery of artifacts from the disaster site. All are chronicled in a new chapter which, with a section of completely up-to-date color photographs, makes this edition a must.

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Actual Innocence: Five Days to Execution, and Other Dispatches From the Wrongly Convicted Review

Actual Innocence: Five Days to Execution, and Other Dispatches From the Wrongly Convicted
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Everyone with a heart, brain, soul and/or conscience must read this book.
This book tells the stories of many men who were convicted unjustly. While I expected to learn of the stories of the men who were proven "actually innocent" by DNA, I didn't expect to find that in doing so it exposed many other injustices as well.
What I found was that while DNA was the catalyst, and the ultimate proof that set these men free - it did far more than that. It was because of the DNA evidence that the courts were forced to see that there are far more flaws the justice system than any of us would like to admit.
I found myself alternately fascinated and appalled throughout this book.
What truly amazed me was that "actual innocence" is not the be all and end all in the courts as it should be. I was floored that even though a person could be proven "actually innocent" via DNA, there were still hoops that lawyers had to leap through to obtain justice.
I would urge everyone who reads this book to take note to the suggestions peppered throughout and take action to make the changes necessary (whether it be on the state or federal level) to make sure that the guilty are punished, not the innocent.
For anyone who thinks that this book is for "bleeding-heart liberals", remember this - for every person unjustly imprisoned, and God forbid, sentenced to death - there is the very real probability that the real perpetrator is still out there.
I would urge EVERYONE to buy this book and learn from it.
I would really like to give this book a rating much higher that five (5) stars, as I believe it should serve as an educational experience for all of us.
Don't remain anonymous - buy this book, learn from it and act.

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Walden: A Fully Annotated Edition Review

Walden: A Fully Annotated Edition
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WALDEN has rarely been out-of-print since its first publication in 1854. Copies come in all sizes, shapes and price ranges. Today's Thoreauvians have three ANNOTATED versions of WALDEN to choose from. Each one provides same-page explanatory notes that help the reader interpret the sometimes esoteric references in Henry David Thoreau's original text. The three books are "The Annotated Walden" (edited by Philip Van Doren Stern, 1970), "Walden: An Annotated Edition" (edited by Walter Harding, 1995), and "Walden: A Fully Annotated Edition" (edited by Jeffrey S. Cramer, 2004). Each one has at least one map of Concord and/or Walden Pond. Each one has its strengths and weaknesses. Each one has appeal for a devoted audience.
"Walden: A Fully Annotated Edition" by Jeffrey S. Cramer was released in August 2004, coinciding with the 150th anniversary of the original publication date. Cramer is the curator of collections for The Thoreau Institute and therefore has access to some of the best primary and secondary source material available -- including Walter Harding's notes. In addition to the text of WALDEN, this volume includes a few "extras": an introduction to Thoreau's life but only as it applies to his cabin stay and WALDEN writing; a bibliography; notes on the text; and a detailed index. The explanatory notes -- the essence of an annotated edition -- are quite extensive. They are set off from the WALDEN text with page-within-a-page graphic detailing and are easy to read. Cramer did not merely merge Van Doren Stern's and Harding's previous notes with those from David Gorman Rohman's dissertation. His analysis at times echoes that of Harding, but when it does, Cramer often goes one step further with a definition or citation. He has thoughtfully used a "Notes on the Text" appendix to outline HDT's wording differences in the various drafts of the work. Thus his annotations are not bogged down by minor editorial alterations that the casual reader may not care about. Unlike Harding, Cramer refrains from expressing personal opinions and lets the research speak for itself. An added bonus is a reproduction of Edward Emerson's map of Walden Pond which shows the location of Thoreau's bean-field as Waldo's son remembered it. The only cumbersome quality in this publication is the placement of WALDEN chapter titles at the bottom of the pages instead of the top. This otherwise stellar volume is beautifully presented with a cover photo of the cabin reproduction as it currently stands in Walden Pond State Recreation Area. A classy edition by all accounts.
Lining up the three versions side by side is an interesting experiment, best conducted on a rainy summer day when no other work has appeal. Let's use two well-known and oft-debated passages for an initial sample interpretive comparison.
"I long ago lost a hound, a bay horse, and a turtle-dove, and am still on their trail." ("Economy") Do those three animals stand for actual individuals in Thoreau's life? Or does this passage simply refer to Life's losses? Philip Van Doren Stern devotes a page-length note to this paragraph. He mentions a few of the major interpretations and refers readers to the bibliography for more. His conclusion is: "Since there is no clear explanation, each reader will have to supply his own." Walter Harding offers three pages in a special appendix that covers all the major theories. At the end, he too suggests that "each reader is free to interpret them as he wishes." Jeffrey Cramer's paragraph cites two similiar excerpts found in other Thoreau pieces, and his explanation states that "no analysis has been generally accepted as valid." So the three men agree: we have to decide for ourselves what we think of the story.
"There was an artist in the city of Kouroo who was disposed to strive after perfection." ("Conclusion")Is the parable that follows that opening sentence based on some of the Eastern texts that Thoreau was fond of reading at the time? Or is it a thinly-disguised depiction of his own struggle to perfect the final WALDEN manuscript? Philip Van Doren Stern simply says that "no one has been able to find a source for the legend" and agrees with Arthur Christy that it is an allegory about Thoreau's own life. Walter Harding offers several possible origins of the legend but eventually cites and agrees with Christy's allegory statement. Jeffrey Cramer devotes just a two-sentence annotation, concluding with "It is generally agreed that the following fable is by Thoreau." In this instance, Cramer has the benefit of time over his colleagues. Most Thoreauvians have come to the same realization during the past decade after much gnashing of teeth.
Explanatory differences are more pronounced at other various junctures in the text. Each man obviously was intrigued by certain references more than others. I can say that overall, I found Jeffrey Cramer's annotations to be the most helpful of the three. Maybe someday someone will have the courage to tell all the makers of posters, bumper stickers, and t-shirts that "Time is but the stream I go a-fishing in" is NOT about fishing at all.
Every school and public library should own at least one of these annotated editions. Academic libraries will want at least two of the three versions. If you want a book that has a lot more HDT than just WALDEN, find a used copy of the Philip Van Doren Stern book. If you want to hear from expert Walter Harding, choose his. Individuals who want the most comprehensive interpretation should go with the newest volume by Jeffrey Cramer. It's a worthy addition to the Thoreau legacy.

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Thoreau's literary classic, an elegantly written record of his experiment in simple living, has engaged readers and thinkers for a century and a half. This edition of Walden is the first to set forth an authoritative text with generous annotations. Thoreau scholar Jeffrey S. Cramer has meticulously corrected errors and omissions from previous editions of Walden and here provides illuminating notes on the biographical, historical, and geographical contexts of Thoreau's life.Cramer's newly edited text is based on the original 1854 edition of Walden, with emendations taken from Thoreau's draft manuscripts, his own markings on the page proofs, and notes in his personal copy of the book. In the editor's notes to the volume, Cramer quotes from sources Thoreau actually read, showing how he used, interpreted, and altered these sources. Cramer also glosses Walden with references to Thoreau's essays, journals, and correspondence. With the wealth of material in this edition, readers will find an unprecedented opportunity to immerse themselves in the unique and fascinating world of Thoreau.Anyone who has read and loved Walden will want to own and treasure this gift edition. Those wishing to read Walden for the first time will not find a better guide than Jeffrey S. Cramer.

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