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When Norman Pearlstine—as editor in chief of Time Inc.—agreed to give prosecutor Patrick Fitzgerald a reporter’s notes of a conversation with a “confidential source,” he was vilified for betraying the freedom of the press. But in this hard-hitting inside story, Pearlstine shows that “Plamegate” was not the clear case it seemed to be—and that confidentiality has become a weapon in the White House’s war on the press, a war fought with the unwitting complicity of the press itself.

Watergate and the publication of the Pentagon Papers are the benchmark incidents of government malfeasance exposed by a fearless press. But as Pearlstine explains with great clarity and brio, the press’s hunger for a new Watergate has made reporters vulnerable to officials who use confidentiality to get their message out, even if it means leaking state secrets and breaking the law. Prosecutors appointed to investigate the government have investigated the press instead; news organizations such as The New York Times have defended the principle of confidentiality at all costs—implicitly putting themselves above the law. Meanwhile, the use of unnamed sources has become common in everything from celebrity weeklies to the so-called papers of record.

What is to be done? Pearlstine calls on Congress to pass a federal shield law protecting journalists from the needless intrusions of government; at the same time, he calls on the press to name its sources whenever possible. Off the Record is a powerful argument with the vividness and narrative drive of the best long-form journalism; it is sure to spark controversy among the people who run the government—and among the people who tell their stories.
Norman Pearlstine, editor in chief of Time Inc. from 1995 to 2005, was previously the managing editor of The Wall Street Journal; he trained as a lawyer before making his career as a journalist. He is now a senior adviser to the Carlyle Group. He lives in Manhattan. When Norman Pearlstine—as editor in chief of Time Inc.—agreed to give prosecutor Patrick Fitzgerald a reporter’s notes of a conversation with a “confidential source,” he was vilified for betraying the freedom of the press. But in this hard-hitting inside story, Pearlstine shows that “Plamegate” was not the clear case it seemed to be—and that confidentiality has become a weapon in the White House’s war on the press, a war fought with the unwitting complicity of the press itself.

Watergate and the publication of the Pentagon Papers are the benchmark incidents of government malfeasance exposed by a fearless press. But as Pearlstine explains with great clarity and brio, the press’s hunger for a new Watergate has made reporters vulnerable to officials who use confidentiality to get their message out, even if it means leaking state secrets and breaking the law. Prosecutors appointed to investigate the government have investigated the press instead; news organizations such as The New York Times have defended the principle of confidentiality at all costs—implicitly putting themselves above the law. Meanwhile, the use of unnamed sources has become common in everything from celebrity weeklies to the so-called papers of record.

Pearlstine calls on Congress to pass a federal shield law protecting journalists from the needless intrusions of government; at the same time, he calls on the press to name its sources whenever possible. Off the Record is a powerful argument with the vividness and narrative drive of the best long-form journalism; it is sure to spark controversy among the people who run the government—and among the people who tell their stories.
"Mr. Pearlstine’s central argument is compelling, particularly his contention that when a news outlet has fought a First Amendment case all the way to the Supreme Court and lost, continued resistance amounts to defying the entire legal system, a choice that should be reserved for truly extraordinary causes.  'No one is above the law and that includes publishers,' he writes."—William Powers, The New York Times “Back in the summer of 2005 it was no fun being Norman Pearlstine. As editor in chief of Time Inc., he had been battling Patrick J. Fitzgerald, the tenacious special prosecutor investigating the Valerie Wilson case . . . Mr. Pearlstine took the case all the way to the Supreme Court, which early that summer declined to review it. Having thus exhausted all legal remedies, he faced a stark choice: He could continue resisting—meaning jail time for Mr. Cooper and costly fines for Time Inc.—or wave the white flag. In a decision he described at the time as ‘the most difficult I have made in more than 36 years in the news business,’ Mr. Pearlstine gave in, turning over Mr. Cooper’s notes (against the reporter’s wishes) and other files Mr. Fitzgerald had requested. The media class was stunned . . . Off the Record is Mr. Pearlstine’s effort to defend his choice. This is no easy trick. Media bigs are not a very sympathetic class to begin with. And despite the professional and social price Mr. Pearlstine paid for the decision, by complying with the subpoenas it really did appear he had taken the easy way out, sparing himself and his company a lot of trouble and expense . . . Along the way he traces the evolution of Time Inc.’s legal strategy, which sounds boring but isn’t. His many years as a reporter and editor for The Wall Street Journal are evident in the clean, engaging way he tells such back-room tales as his decision to dump the renowned First Amendment lawyer Floyd Abrams (who, in addition to representing Time Inc. and Mr. Cooper, also represented Judith Miller, then a reporter for The Times, in the Wilson affair) . . . Pearlstine’s central argument is compelling, particularly his contention that when a news outlet has fought a First Amendment case all the way to the Supreme Court and lost, continued resistance amounts to defying the entire legal system, a choice that should be reserved for truly extraordinary causes. ‘No one is above the law and that includes publishers,’ he writes."—William Powers, The New York Times "‘I was born to be a lawyer,’ writes Norman Pearlstine in one of the autobiographical chapters to his fascinating book . . . Off the Record is a terrifically candid and genuinely fascinating book by a shrewd and vastly experiences journalist.”—Tim Rutten, Los Angeles Times “This is a brutally honest, tough, savvy, and absolutely riveting book. Norman Pearlstine gives us the behind-the-scenes narrative of the Valerie Plame case and uses it to reexamine the rules of engagement between reporters and sources. With his deep knowledge of journalism and the law, he is the perfect person to write such a book. The result is a gripping and surprisingly candid narrative as well as a provocative analysis of a topic critical to the future of journalism and democracy.”—Walter Issacson, president of the Aspen Institute and author of Einstein 
 
"Norman Pearlstine pulls no punches on either journalism or law in this fascinating book.  He tells us what really happened in the Valerie Plame-Scooter Libby imbroglio, and the

• Sales Rank: #1111859 in Books
• Published on: 2007-06-26
• Released on: 2007-06-26
• Original language: English
• Number of items: 1
• Dimensions: 8.25" h x 1.07" w x 5.50" l,
• Binding: Hardcover
• 304 pages

From Publishers Weekly
The author endured a firestorm of criticism from fellow journalists when, as editor-in-chief of Time Inc., he turned over Time reporter Matt Cooper's notes on confidential sources in the Valerie Plame scandal to special prosecutor Patrick Fitzgerald. In this defensive apologia, he explains his reasons for defying what he allows is a hoary journalistic tradition of going to jail to protect sources. Pearlstine, who holds a law degree, cites a high-minded conviction that journalists aren't above the law, but admits that the tipping point in his decision was his formulation of a hairsplitting legalistic distinction between confidential sources, who should be protected, and mere deep-background anonymous sources, who can be given up to the grand jury. Along the way, he discusses at length the critics who accused him of putting Time-Warner's profits above journalistic principle as well as New York Times reporter Judith Miller, who went to jail to protect her Plame sources (before finally testifying). He also raises some cogent points about journalists' abuses of anonymous sourcing conventions. Readers already persuaded of Pearlstine's pusillanimity may find his lawyerly self-justifications less than convincing.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* A generation after Watergate, "Plamegate" has reignited heated debate about the government, the press, and the use of anonymous sources. Pearlstine was editor in chief of Time Inc. when he made the decision to hand over a reporter's notes to the federal prosecutor investigating the leak of the identity of CIA agent Valerie Plame, allegedly to punish her husband for criticizing the Bush administration. In this absorbing book, Pearlstine addresses the criticism, sometimes vitriolic, of his decision to reveal a confidential source. Pearlstine argues that Plamegate was hardly comparable to Watergate or the Pentagon Papers, hailed as benchmarks of the struggle between a free—and fearless—press and a government bent on secrecy and skulduggery. He argues that the press has been so enamored of confidential sources since Watergate that it is in danger of seeing itself as above the law. He notes that most confidential sources are hardly worth protecting, having their own hidden agendas. Pearlstine advocates a balance: a federal shield law to protect journalists and more willingness on the part of reporters to disclose. Regardless of how readers feel about his actions, this is a vital look at press responsibility in monitoring the government and itself. Bush, Vanessa

Review
“This is a brutally honest, tough, savvy, and absolutely riveting book. Norman Pearlstine gives us the behind-the-scenes narrative of the Valerie Plame case and uses it to reexamine the rules of engagement between reporters and sources. With his deep knowledge of journalism and the law, he is the perfect person to write such a book. The result is a gripping and surprisingly candid narrative as well as a provocative analysis of a topic critical to the future of journalism and democracy.”—Walter Issacson, president of the Aspen Institute and author of Einstein 
 
" Norman Pearlstine pulls no punches on either journalism or law in this fascinating book.   He tells us what really happened in the Valerie Plame-Scooter Libby imbroglio, and the lessons for freedom of the press." —Anthony Lewis, longtime New York Times columnist and author of Gideon's Trumpet 

Most helpful customer reviews

3 of 3 people found the following review helpful.
How journalism handles anonymous sources, and what's been wrong with that
By S. J. Snyder
Norman Pearlstine was until 2005 editor-in-chief of Time, Inc., the entire stable of Time's magazines, from Time itself through Fortune, Sports Illustrated and many others on to People (which Pearlstine says often does the best job in handling sources) and more.

As editor-in-chief at that time, he had the ultimate call on how to handle special prosecutor Patrick Fitzgerald's subpoena of both Time writer Matt Cooper and Time, Inc., followed by Judge Thomas Hogan's civil contempt finding when Time, Inc. and Cooper were initially recalcitrant.

First, Pearlstine knows his editorial chops. Before moving to the Time stable, he was managing editor of the Wall Street Journal. And, he knows his legal issues, too, having obtained a law degree.

As such, he carefully nuanced his company's response to various steps in the legal process before the Supreme Court finally refused to hear the appeal from the appellate court level.

At that point, he decided his company and Cooper had to obey the subpoena, even if he didn't totally like it. Immediately, journalistic critics from inside the field descended like locusts, calling Pearlstine a sellout to the TimeWarner board of directors, shareholders, etc. That was in spite of the fact that, when countered what they would do in a similar situation themselves, most the critics either refused to respond or said they would have done what he did.

Pearlstine in large part faults reporters and journalistic entities, especially those inside the Beltway, for bringing this problem on themselves. While he doesn't hit it as hard as he could have, he picks up on the issue of journalists running with the Fourth Estate idea to consider themselves stars, and ultimate becoming a quasi-political part of the problem.

Beyond that, he notes many journalists are sloppy about granting confidentiality too freely and too quickly, not discussing carefully, and relatively early in the sourcing progress, what level of attributional confidentiality the source wants and the reporter is willing to give, and not distinguishing between confidential sources, and true, reporter subpoena-resisting anonymous sources. (Pearlstine found, independently of Karl Rove's lawyer saying he had never asked for anonymity, that Rove was indeed not an anonymous source, and that Matt Cooper was guilty of some of the errors laid out above.)

Short of a SCOTUS revisiting of Branzburg (which, given the current Court, could be disastrous), Pearlstine says the need for a federal shield law is paramount. He discusses various attempts that have recently been put through Congress, and the hostility of the Bush Administration to even a mild, loophole-filled version.

Beyond that, Pearlstine is refreshing for his challenge to his own, and my own, profession. He clearly states that a shield law should not be absolute, that reporter-source sourcing agreements are a contract of sorts, that the ultimate call on changing their terms belongs to sources and not reporters, and that many reporters, above all investigative reporters, need to be on a tighter editorial leash, citing former New York Times reporter Judith Miller as Exhibit No. 1.

In short, if you want a great look at how today's Beltway journalism operates, followed by a prescription for how it should operate, this book is a winner.

1 of 1 people found the following review helpful.
the minutia of modern politics and the law
By James Neville
This is an important book. Part memoir and part explanation, "Off the Record" documents the Karl Rove affair from the perspective of Norman Pearlstine, boss of Time Inc. at the time, who was vilified for turning over records to a government investigation and thus supposedly violating journalism values esteemed since Watergate. Except it wasn't so simple, as this book makes clear in an entertaining and engaging manner.

Pearlstine trained as both lawyer and journalist and had a powerful career, including managing editor of the Wall Street Journal, before his 10-year post with Time Inc.

At Time Inc. Pearlstine was responsible for major magazines including Time, People, Sports Illustrated, Entertainment Weekly, and Fortune. The Karl Rove affair occurred when someone's wife was "leaked" to be a CIA employee, and a government investigator was assigned to determine if laws had been broken. No espionage law was found to have been violated; but a government employee was indicted for false testimony in front of a grand jury.

The case was confusing and involved the minutia of modern politics and the law. Pearlstine reveals how inadequate were journalistic standards of the time for use of anonymous and confidential sources; also how widespread the use of deliberate "leaks". The appendix includes Pearlstine's new standards for editors and reporters for modern media including online as well as broadcast and print. In a brilliant and readable review, the author explains the differences in the romance of Watergate from the issues at play in Plamegate - including criminal vs. civil contempt and corporate vs. personal citations by a ruling court.

Until this book, I had no idea of the important connection between legal savvy and journalistic savvy. What seemed to be trivial minutia turned out to be important distinctions, and Pearlstine explains them well. In the aftermath of the Karl Rove affair, more and more journalists came to appreciate the difficulty of the decision Pearlstine faced, and to empathize if not agree with him.

I enjoyed this book because it is well written by a man with passion and intelligence. He has a good story to tell and good points to make. I have a new appreciation with which to follow modern political and legal debates being worked out in the public and not-so-public domains. I can't help but wonder what Pearlstine will be up to next: he handed Time Inc. over to his planned successor in 2005 before writing this book.

2 of 3 people found the following review helpful.
Failed to address an important topic
By Doran Blue
This is a dense book covering the topic of journalist sources in some detail. I was therefore disappointed that Pearlstine did not spend more time discussing the issue of the government using a willing press to further its agenda, thereby turning journalists into uncritical mouthpieces for the administration.

How convenient that the government hides behind confidential sources in these circumstances. And should newspapers support journalists who cozy up to powerful sources in this way?

The worse case of this has to be the reporting on WMD prior to the war with Iraq. The media failed to do its job, and lost alot of credibility as a result. Pearlstine alludes to this somewhat in his discussion of Judith Miller, but I believe he should have covered this topic more.

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! Ebook Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art, by Michael C. Fitzgerald

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A study of Picasso's status in the art community and his influence on the avant-garde market follows his early year search for a gallery and his monumental rise to fame, noting his popularity among dealers and his commercial strategies.

• Sales Rank: #1125159 in Books
• Published on: 1994-12
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 6.50" w x 1.25" l,
• Binding: Hardcover
• 313 pages

From Publishers Weekly
Although Pablo Picasso declared in 1918 that dealers were the enemy of artists, this revealing illustrated study documents how Picasso strived to win the support of dealers, critics, collectors and curators who could boost his reputation?and sales. Through his friendships with two impresarios, poet Jean Cocteau and longtime ballet patron Eugenia Errazuriz, Picasso attracted the patronage of aristocratic circles that welcomed his shift from cubism to neoclassical styles. Then, in 1918, he formed an alliance with two prominent dealers in France, Paul Rosenberg and Georges Wildenstein. His intense collaboration with Rosenberg, according to the author, stimulated Picasso's art, exposing him to Post-Impressionists. Drawing on Picasso's correspondence, FitzGerald, associate professor of fine art at Trinity College in Connecticut, carries the story of Picasso's lionization at the 1939-1940 Museum of Modern Art retrospective in Manhattan. He makes a compelling case that entrepreneurship is a defining task of the avant-garde artist.
Copyright 1995 Reed Business Information, Inc.

From Library Journal
The art marketplace has always been the domain of the dealer-private or auction house-and, for good or ill, it has increasingly become the sphere of influence of critics, collectors, and curators. In this engaging, well-written account, the author examines the role of the artist in the confluence of the aesthetic and the commercial during the rise of modernism in the late 19th and early 20th centuries. Drawing upon extensive unpublished correspondence between Picasso and those involved with the marketing of his work, Fitzgerald presents this artist as a model entrepreneur in his collaboration with the major French dealers of his time, Paul Rosenberg and Georges Wildenstein. Fitzgerald's observations and his clearly and intelligently drawn conclusions open new venues for the study of modernism and give us a new and different view of the creators and the purveyors of today's art.
Paula Frosch, Metropolitan Museum of Art Lib., New York
Copyright 1995 Reed Business Information, Inc.

From Booklist
An art historian with an M.B.A., Fitzgerald is intrigued with the financial aspects of the art world. Working from a cache of correspondence between Picasso and his dealers and various curators, collectors, and critics, Fitzgerald reveals how crucial the business angle was to the establishment of modern art in general and to Picasso's phenomenal international success in particular. Fitzgerald focuses on the years between the two world wars when Picasso worked closely with two dealers, Georges Wildenstein and Paul Rosenberg. Fitzgerald characterizes Picasso's relationship with Rosenberg, the more conspicuous of the two, as an "intense collaboration" and contends that it "stimulated" Picasso's art as much as it secured his reputation. Picasso was pragmatic when it came to money, even stating that his shift from the Blue to the Rose period reflected the "spiritual tranquility" of material comfort. Fitzgerald also examines, in uncommon detail, the roles Jean Cocteau, patron Eugenia Errazuriz, Andre{‚} Breton, and Alfred Barr played in elevating Picasso to heretofore unknown levels of artistic fame and profit. The truth is, modern art had to make it big in the marketplace to survive. Donna Seaman

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0 of 0 people found the following review helpful.
The art market
By Marianne Rosenberg
Brilliant and complete study of the start of the art market and of the relationship between Picasso and his dealer, Paul Rosenberg.

See all 1 customer reviews...

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Barnum Brown's (1873-1963) parents named him after the circus icon P.T. Barnum, hoping that he would do something extraordinary--and he did! As a paleontologist for the American Museum of Natural History, he discovered the first documented skeleton of the Tyrannosaurus Rex, as well as most of the other dinosaurs on display there today.

An appealing and fun picture book biography, with zany and stunning illustrations by Boris Kulikov, BARNUM'S BONES captures the spirit of this remarkable man.

Barnum's Bones is one The Washington Post's Best Kids Books of 2012.

• Sales Rank: #464796 in Books
• Brand: Farrar, Straus & Giroux
• Published on: 2012-05-22
• Released on: 2012-05-22
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x .40" w x 10.80" l, .95 pounds
• Binding: Hardcover
• 36 pages

Review

“...playful and imaginative…” ―BCCB

“T. rex lovers will gobble it up, and seekers of easy biographies will be hot on their heels.” ―School Library Journal, starred

“Tracey Fern ("Buffalo Music," "Pippo the Fool") turns a slice of a scientist's biography into an American adventure tale, describing how Brown and his rivals at other museums raced to find the best fossils and to discover new species.” ―New York Times

“…truly breathtaking. This will captivate the masses of kids whose jaws drop in the presence of hulking fossils.” ―Booklist, starred

“In this engaging picture-book biography, Tracey Fern and illustrator Boris Kulikov supply many distinctive details about Brown, including the spiffy wardrobe he favored and the dancing talents he would occasionally unleash.” ―The Washington Post

“…[an] informative, inspirational story of one man's curious, undeniable passion.” ―Horn Book

“Fern fills her text with all the salient facts but uses a breezy, humorous, awestruck voice that strikes just the right tone in telling the story of this fascinating, quirky scientist.” ―Kirkus, starred

About the Author

Tracey Fern is the author of two other picture books, Buffalo Music and Pippo the Fool, both Junior Library Guild selections. She lives with her family in West Newton, Massachusetts, where she's always on the lookout for unusual rocks.

Boris Kulikov has illustrated many other books for children, including Max's Words by Kate Banks. He lives with his family in Brooklyn, New York, where he has not yet discovered any dinosaur bones.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Fact Filled Fun Read
By Librarian Laura
I have to admit I had never heard of Barnum when I picked up this book, but I enjoyed the tale of a man who had a gift for sniffing out dinosaur bones.
Although biographies can often be dry reads, this book moves quickly with Barnum's finds and puts a personal perspective on the fossils that fill our museums. The illustrations convey the excitement Barnum and his colleagues must have felt when they found the bones.
This book is on the Texas Bluebonnet List, a list voted on by 3rd-6th graders across the state, and I'm eager to see if they like this tale. Hopefully, it will prompt them to follow their dreams wherever they may take them.

4 of 4 people found the following review helpful.
Great biography for kids
By anderjude
The illustrations are beautiful and the text is very readable. I bought this for my very verbal, 3 year old granddaughter who loves dinosaurs and can usually last through a 20 minute read. She hung in through the whole book but it was a bit date-heavy for a three year old. If I were to do it again I 'd wait until she was 5. I wish that Amazon could display at least one page of text for every book. The amount of text per page is such a good indicator of the appropriateness of a book.

0 of 0 people found the following review helpful.
Educational
By C. Curran
Even though I am an adult I found the story to be very interesting. What I liked most about the story is how it teaches children to follow their passion regrardless if it doesn't follow the crowd. For example the author states, "Barnum Brown was an unusual boy He had an unusual name, an unusual way of dressing, and a very unusual hobby-fossil hunting." But that didn't matter to Barnum that people thought he was different, he still did what he loved to do and dressed the way he wanted to dress. The story also teaches how Barnum followed his passion by reading as a child, then he was able to get into he profession he was most passionate about. Barnum just did what he loved to do.

I just thnk these are great lesson to teach, in addition to teaching, children a piece of history. Also, I thought the artist who drew the pictures did a great job. I would highy reccommend this book to an older child as there are alot of words.

See all 18 customer reviews...

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!! Free Ebook The Riemann Hypothesis: The Greatest Unsolved Problem in Mathematics, by Karl Sabbagh

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An engaging, informative, and wryly humorous exploration of one of the great conundrums of all time

In 1859 Bernhard Riemann, a shy German mathematician, wrote an eight-page article giving an answer to a problem that had long puzzled mathematicians. But he didn’t provide a proof. In fact, he said he couldn’t prove it but he thought that his answer was “very probably” true. From the publication of that paper to the present day, the world’s mathematicians have been fascinated, infuriated, and obsessed with proving the Riemann Hypothesis, and so great is the interest in its solution that in 2001 an American foundation put up prize money of $1 million for the first person to demonstrate that the hypothesis is correct.

The hypothesis refers to prime numbers, which are in some sense the atoms from which all other numbers are constructed, and seeks to explain where every single prime to infinity will occur. Riemann’s idea—if true—would illuminate how these numbers are distributed, and if false will throw pure mathematics into confusion.

Karl Sabbagh meets some of the world’s mathematicians who spend their lives thinking about the Riemann Hypothesis, focusing attention in particular on “Riemann’s zeros,” a series of points that are believed to lie in a straight line, though no one can prove it. Accessible and vivid, The Riemann Hypothesis is a brilliant explanation of numbers and a profound meditation on the ultimate meaning of mathematics.

• Sales Rank: #1626400 in Books
• Published on: 2003-04-30
• Original language: English
• Number of items: 1
• Dimensions: 1.15" h x 5.82" w x 8.48" l,
• Binding: Hardcover
• 304 pages

From Publishers Weekly
With Fermat's Last Theorem proved, the Riemann Hypothesis has become math's most glamorous unsolved problem, and has spawned a growing literature seeking to explain it to lay readers. Unfortunately, this curious genre is overshadowed by the fact that the hypothesis itself is incomprehensible to anyone without a Ph.D. Sabbagh, author of A Rum Affair, struggles manfully with this problem, and gives impressively lucid explanations of such preliminary subjects as prime numbers, logarithms, infinite series, algebraic equations and matrices. But even with all this background, the hypothesis remains such an opaque abstraction that, at one typically baffling juncture, the author throws up his hands and instructs readers to either "sign up for a few months of complex analysis and number theory, and then pick up the book again in a year or two" or else just "take it on trust." To help elucidate the material, Sabbagh includes many lengthy excerpts from interviews with mathematicians, who, he claims, "see truths with a clarity that is sometimes breathtaking," but these rambling, obscure commentaries ("what's going to probably happen for the real Riemann Hypothesis is there's going to be another blob and there's going to be a function that turns the blob into itself") are not necessarily very helpful. Sabbagh can be a gifted expositor of mathematics when he sticks to more tractable topics, but when it comes to the Riemann Hypothesis, he offers readers veneration instead of understanding. B&w illustrations and graphs.
Copyright 2003 Reed Business Information, Inc.

From Booklist
Bernhard Riemann would make any list of the greatest mathematicians ever. In 1859, he proposed a formula to count prime numbers that has defied all attempts to prove it true.This new book tackles the Riemann hypothesis. Sabbagh introduces contemporary mathematicians who are working on the problem, one of whom claims, to professional skepticism, to be on the verge of vindicating the hypothesis. Another is working away in search of a single counterexample that would refute it. Such pursuits, which often consume mathematicians' entire lives, may seem incomprehensible or even pointless to the innumerate--but that's a prejudice brilliantly dispelled through Sabbagh's interviews, which are interwoven with his not overly numerical tour of the hypothesis. The drive and competitiveness of mathematicians clearly emerge from Sabbagh's narrative.

Gilbert Taylor
Copyright © American Library Association. All rights reserved

About the Author
Karl Sabbagh is the author of six books, most recently A Rum Affair (FSG, 2000). He lives near Stratford-upon-Avon in England.

Most helpful customer reviews

18 of 19 people found the following review helpful.
Ready for prime time
By Gary C. Marfin
I think potential readers of this intriguing book need to bear in mind the following: (1) you do not need to understand Riemann's hypothesis to enjoy this book and (2) Mr. Sabbagh does a very fine job of outlining Riemann's hypothesis in layman's terms. Riemann's hypothesis is not easily grasped; what Sabbagh wants to do is to enhance your understanding of it. There is no pretense here that the hypothesis in all its complexity is being conveyed. In fact, near the book's end, he concedes that "you know almost nothing [about R's hypothesis] compared to what there is to know. The hypothesis itself is an outcome of Riemann's zeta function which is the sum of the series 1 + 1/2^s +1/3^s...1/n^s, which means 1 + 1/2^a+ib + 1/3^a+ib (where i is an imaginary number). All sorts of values are possible, but the values of interest center on the Riemann zeta function when it becomes zero. These zeroes, as its turns out, fall on what is known as the "critical strip" and their graph is linked to the fluctation of the primes, which are themselves the building blocks for all the other numbers. The hypothesis is that all the "significant" zeroes line on the critical strip. The proof has become the Mount Everest of mathematics, but it remains unscaled. Many mathematicians, who perhaps found the hypothesis disarmingly approachable, have died before reaching the summit.
Sabbagh does want you to understand the hypothesis, but he is also trying to delve into the community of mathematicians generally -- what they are like as people -- in an effort to make them more accessible as well. Inevitably, in this area, Sabbagh often reads like an anthropologist documenting the ritualistic "abnormalities" of some primitive Amazonian sub-culture. What I found surprising is not that Sabbagh finds that the thought processes of mathematicians rarely intersect with that of non-mathematicians; rather what I found striking were the similarities with the "rest of us." They can be collaborative yet guarded, brave yet insecure, intuitive but distrustful of intuition. Several he finds are lousy at simple computations (but brilliant on abstractions). They are a colorful lot, but they are not high IQ aliens from another world. The portrait of Louis de Branges is especially fascinating and forms a strong sub-plot within Sabbagh's text.
I don't plow through many books like this, but I do recommend The Riemann Hypothesis. Like Sarah Flannery's "In Code" (which has an excellent chapter on prime numbers), The Riemann Hypothesis is suited for, and ought to be attractive to a wide audience.

16 of 37 people found the following review helpful.
Approachable, but Lost my Trust
By Mike Blaszczak
As a math hobbyist, I've been very eager to learn more about the Riemann Hypothesis. I ordered this book a couple weks ago, and fell ill this week -- so I had some time to spend reading.
I didn't get very far before I found a rather glaring error. On page eighteen, the author explains one method for showing that there's no largest prime number. He asserts that:
(2 * 3 * 5 * 7 * 11 * 13 * 17 + 1) / 7
is equal to
2 * 3 * 5 * 7 * 11 * 13 * 17 + (1/7)
which is not correct. The left-hand term actually evaluates to
2 * 3 * 5 * 11 * 13 * 17 + (1/7).
Maybe I'll revise my review after I read more; perhaps the book really does deserve my trust. But after an early blunder like this in a simple topic, maybe I won't read any further.
Less astute readers might not have caught this and later become confused. Maybe, in the deeper topics, I won't be able to proof the text and become confused or disillusioned by other errors.

7 of 8 people found the following review helpful.
Seekers of the truth
By Donald B. Siano
I have an undergraduate degree in mathematics from a long time ago, but haven't done a whole lot with it. Nevertheless, I gained something of an appreciation for the subject and am always interested when something important enough happens that it gets into the popular press. So naturally enough, I have been aware of the number one unsolved problem of mathematics, the Riemann hypothesis, and have followed the sporadic claims of its resolution over the last few decades.

Mr. Sabbagh's popular treatment of the problem in this book was a delight for me to read. He explains the hypothesis very clearly in a way that really doesn't even require any specialized knowledge of any arcane area of mathematics. Though great, this is not the primary virtue of the book. Rather it is his effort to reach out to the dozen or so mathematicians who are actively working on the problem who might have a hope of finally, after about a century and a half, of proving it. The reader is thus led to some appreciation of the world of the professional mathematician, with all of its human hopes and jealousies, striving to achieve a legacy that will outlive themselves. Sabbagh interviews them, some of them several times, attends their seminars, and listens for the inside dope that might show that someone somewhere is onto something.

The book is engaging, and I found it impossible to put down. It has lots of anecdotes, asides, and curiosities along the way to liven up the story. It is brutally honest in its portrayals of the principle characters. The writing style is lively, and the math is easy to follow. And it tells a story of man at his best--striving for progress, precision and truth. Quite the opposite of so many charlatans of the academy today, who seem to revel in ambiguity, imprecision, and political correctness.

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~~ Ebook Download Middle Earth: Poems, by Henri Cole

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The fullest culmination to date of an original voice and “a central poet of his generation” (Harold Bloom)

Time was plunging forward,
like dolphins scissoring open water or like me,
following Jenny’s flippers down to see the coral reef,
where the color of sand, sea and sky merged,
and it was as if that was all God wanted:
not a wife, a house or a position,
but a self, like a needle, pushing in a vein.
—from “Olympia”

In his fifth collection of verse, Henri Cole’s melodious lines are written in an open style that is both erotic and visionary. Few poets so thrillingly portray the physical world, or man’s creaturely self, or the cycling strain of desire and self-reproach. Few poets so movingly evoke the human quest of “a man alone,” trying “to say something true that has body, / because it is proof of his existence.” Middle Earth is a revelatory collection, the finest work yet from an author of poems that are “marvels—unbuttoned, riveting, dramatic—burned into being” (Tina Barr, Boston Review).

• Sales Rank: #788819 in Books
• Published on: 2003-04-01
• Original language: English
• Number of items: 1
• Dimensions: 8.62" h x .54" w x 5.82" l, .49 pounds
• Binding: Hardcover
• 80 pages

From Publishers Weekly
Making good on his biography's pointed reference to his Japanese birthplace, Cole spent 2001-2 living in Kyoto on a fellowship from the US-Japan Friendship Commission, an experience that tinges this careful book of formal verse with neo-Orientalism. The patterns and tensions of desire and love are figured here as a series of intimate encounters with animals-a koi "defining itself, like a large white/ flower, by separation from me"-and with a feminine other embodied in Japanese cultural reference: "I tied a paper mask onto my face/ my lips almost inside its small red mouth." Cole, whose last book was 1998's acclaimed The Visible Man, follows circuitous mythic paths into barely remembered childhood years spent in Japan, in search of an Ur-moment that will explain or mitigate the death of the poet's father. In poems like "Olympia," "Medusa" and "Self-Portrait as the Red Princess," restrained lines build tightly to unforeseen lyric bursts, in which desire, guilt, and longing bind child and adult, or "open[] the soft meat of our throats." But too often here that feverish, ecstatic moment is deadened by a discursive comment on how to read a poem or why to write one, as in the prefatory remark where self-portrait as body-"almost naked in the heat/ trying to support a little universe/ of blackening pinks"-slides into a glib mission statement: "as a man alone fills a void with words,/ not to be consoling or point to what is good,/ but to say something true that has body,/ because it is proof of his existence." Yet this fifth collection, taking Cole from Knopf to FSG, should reach both established fans and new readers.
Copyright 2003 Reed Business Information, Inc.

From Booklist
This is a book about loneliness and consolation. Cole now sees a "young gray head in the mirror," and the poems of his fifth collection report the familiar circumstances of midlife. The decrepitude and death of parents predominate in the book's first section, solitary exchanges with himself and the nonhuman world occur in the second, and personal rituals of self-renewal preoccupy the third. Cole is homosexual, and to ignore the fact while perusing the book is to risk missing the special poignancy of "Black Camellia [After Petrarch]," with its admission of using solitary pleasures (gardening, cooking, drinking tea) to "flee from my secret love / and from my mind's worm." As he repeatedly admits, implicitly and forthrightly, however, Cole wants "love / to trample through my arms again," though even when he is engaged in his restorative rituals, as "At the Grave of Elizabeth Bishop," he is tempted to merge with the world, "detaching from the human I, Henri." In the collection closer, "Blur," he seems about to encounter love again, but he discovers, "I don't have the time to invest in what / I purport to desire." This poet speaks for a preponderance, perhaps, of his American generation, delicately but with unflinching honesty. Ray Olson
Copyright © American Library Association. All rights reserved

Review

“Middle Earth is Henri Cole's epiphany, his Whitmanesque sunrise. The modulation of these poems is extraordinary: they have a continuous undersong. 'It must give pleasure,' Wallace Stevens said. So oxymoronic is pleasure-pain, in Henri Cole, that we need to modify Stevens. But for now, poems like 'Icarus Breathing,' 'Original Face,' and 'Olympia' are the poems of our climate. Henri Cole has become a master poet, with few peers . . . A central poet of his generation.” ―Harold Bloom

“These are the poems of a conjurer, ceremonial and hypnotic . . . This collection marks the birth of Cole, a writer in his late 40s, as a poet for a wider audience. He displays his sense of humor and takes an unguilty pleasure in his visions.” ―Dana Goodyear, Los Angeles Times

“Cole is fated to be a deeply stylish poet, whatever technical tools he picks up or sets down . . . Readers will find in Cole's latest book, Middle Earth, a lyric reconsecration.” ―Maureen N. McLane, The New York Times Book Review

“In his fifth collection, Cole, who has won an award from the National Endowment for the Arts, examines the dichotomies between life and death, animal and human, and the lover and the beloved. Many of the poems, including 'My Tea Ceremony' and 'Self-Portrait at the Red Princess,' show a marked Japanese influence; others record a grown son's grief over the death of his father. In 'Radiant Ivory,' the poet attempts to catalog that loss: 'I Iocked / myself in my room, bored and animal-like. / The travel clock, the Johnnie Walker bottle, / the parrot tulips-everything possessed his face.' Cole also reminisces about his childhood with his father. In 'Powdered Milk,' he captures a garden memory where 'big ordinary goldfish / chewed through the pond; / and the speech of bees encircled us, / filling a void' . . . Cole writes with clarity and an emotive resonance. These poems succeed as the best poems do: they transport the reader to other worlds, no less beautiful or complicated than our own. Highly recommended.” ―Library Journal

“This is a book about loneliness and consolation. Cole now sees a 'young gray head in the mirror,' and the poems of his fifth collection report the familiar circumstances of midlife. The decrepitude and death of parents predominate in the book's first section, solitary exchanges with himself and the nonhuman world occur in the second, and personal rituals of self-renewal preoccupy the third . . . This poet [writes with] delicately but with unflinching honesty.” ―Booklist

“Making good on his biography's pointed reference to his Japanese birthplace, Cole spent 2001-2 living in Kyoto on a fellowship from the US-Japan Friendship Commission, an experience that tinges this careful book of formal verse with neo-Orientalism. The patterns and tensions of desire and love are figured here as a series of intimate encounters with animals-a koi 'defining itself, like a large white / flower, by separation from me"-and with a feminine other embodied in Japanese cultural reference: 'I tied a paper mask onto my face / my lips almost inside its small red mouth.' Cole, whose last book was 1998's acclaimed The Visible Man, follows circuitous mythic paths into barely remembered childhood years spent in Japan, in search of an Ur-moment that will explain or mitigate the death of the poet's father. In poems like 'Olympia,' 'Medusa,' and 'Self-Portrait as the Red Princess,' restrained lines build tightly to unforeseen lyric bursts, in which desire, guilt, and longing bind child and adult, or 'open the soft meat of our throats' . . . this fifth collection, taking Cole from Knopf to FSG, should reach both established fans and new readers.” ―Publishers Weekly

Most helpful customer reviews

0 of 0 people found the following review helpful.
Middle earth revisited!
By John Devney
These poems serve as an incite into the tremendous talent Mr. Cole possesses with his ability to plumb the depths of human emotions.

3 of 6 people found the following review helpful.
Middle Earth
By Estate Diva
I thought the poetry in Middle Earth was very fine, the work was direct and straightforward without being plain which I loved. It was not pretentious. It was not redundant. It was often surprisingly humorous (to me at least) and always both insightful and honest.

11 of 20 people found the following review helpful.
Dishonest and Repetitive
By A Customer
I enjoyed Cole's last book but dislike this one. Though Cole aims for a certain kind of truth, the self-hating in this book becomes a mere self-indulgence in poem after poem. Cole tries to elicit the reader's sympathy under the pretense of writing nakedly; instead, Cole simply has settled into a repetitive style. Cole tries to walk "on an edge," to fuse his metaphors into "one crystalline rock," but his self-indulgent, myopic posturing leaves one cold, "like ice in a champagne bucket."

See all 8 customer reviews...

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@ Free PDF The Male Body: A New Look at Men in Public and Private, by Susan Bordo

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A fresh, unconventional look at the male body and contemporary notions of masculinity.

The male nude is everywhere now, from mainstream movies to magazine covers. What do we see when men take off their clothes, in public and in private? Is the male body truly exposed? In this candid cultural analysis, Susan Bordo speaks to men and women alike, scrutinizing the images and experiences of everyday life.

Drawing on personal anecdotes and insights from movies, novels, advertisements, news stories, and academic work, she inspects the assumptions that influence our perspectives on date rape, harassment, homosexuality, and pornography. She also considers recent changes in perceptions of masculinity, including a look at ad campaigns displaying the male body, the booming male beauty industry, and androgynous body ideals. Playboy, Marlon Brando, Viagra, Calvin Klein, The Full Monty, Lady Chatterley's Lover, Michael Jordan, and Philip Roth are all subjects of discussion. But whether she is examining Clarence Thomas, John Travolta, or Humbert Humbert, the butch phallus or her own grade-school experiences, Bordo rejects rigid characterizations. In exchange, she gives us a frank, tender view of her own father's body, a refreshing look at the penis in all its incarnations, and, overall, a clear and candid vision of men as flesh-and-blood human beings.

• Sales Rank: #913259 in Books
• Published on: 1999-05
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 6.50" w x 1.00" l,
• Binding: Hardcover
• 358 pages

Amazon.com Review
Shock waves riveted the Mattel, Inc., boardroom in 1961 when female executives suggested that Barbie's boy-toy, Ken--in keeping with Barbie's own physiognomy--ought to be a little more anatomically correct. No one was suggesting 1.25-inch-to-1-inch-scale plastic genitalia, mind you, just a modest groin bulge. But male execs at the toy company were scandalized; the suggested modifications did not make Ken more "authentic" in their eyes--they made him pornographic.

My, how things have changed. In The Male Body, Susan Bordo (who snagged a Pulitzer nomination for 1993's Unbearable Weight) offers a frank, sprightly, and, yes, educational look at the male nude as an index to attitudes about sexuality in the broth of media and pop culture in which, like it or not, we all stew. While the Greeks were unafraid to celebrate masculine beauty, men have been strangely sexless throughout most of Western history--until Hollywood rediscovered the male body when Marlon Brando first shed his T-shirt in A Streetcar Named Desire. It's only been in the '90s, however, that the male image has gone so far as to reclaim its penis. From de facto censorship to near idolatry, has ever an organ made such a journey in one brief decade? But it's not the penis alone that makes a man a man; perhaps, Bordo concludes, it's time for us to rethink our metaphors of manhood. --Patrizia DiLucchio

From Publishers Weekly
Equipped with wit and savvy, Bordo sets out to map the ambivalent attitudes that exist in the American cultural imagination toward male bodies and, in particular, to ward the penis and its "symbolic double," the phallus. Ranging from such topics as "Viagran science" to discussions of Long Dong Silver on the Senate floor, masculinity in the movies to Plato's Symposium, Nabokov to gay aesthetics, Bordo (Twilight Zones) deftly uses academic theories without straying into abstraction. Beginning and ending with memories of her father, her focus on the male body never wavers. Part One concerns the penis: size does matter, but it is "always a collaboration with the imagination, and therefore with culture." Bordo's discussion establishes a provocative context for her subsequent examination of the complex legacy of Marlon Brando's representations of masculinity. She convincingly explains how the "lean, fit body that virtually everyone, gay and straight, now aspires to" has resulted from the commercial triumph of the gay aesthetic first introduced to the mainstream by Calvin Klein. Bordo's theme is that men and women are not species alien to one another: "We're all earthlings, desperate for love, demolished by rejection." There is anger here, but it is directed at a culture "that has us all behaving like sexual robots." Part memoir, part elegy, this feminist guided tour of the male body concludes with real hope for improved relations between the sexes.
Copyright 1999 Reed Business Information, Inc.

From Library Journal
Bordo (humanities, Univ. of Kentucky) was nominated for the Pulitzer Prize for her earlier Unbearable Weight: Feminism, Western Culture, and the Body (LJ 8/93). Her new book is a further exploration of the interdisciplinary field of "body studies" she has developed. Premising her work on earlier writings, Bordo provides a frank personal/cultural analysis of the male anatomy. She outlines contemporary cultural attitudes toward the male body, especially the penis and the symbolic phallus. Through personal insight and incidences, she scrutinizes issues surrounding the penis, the male image, and the male animal. Starting and finishing with recollections of life with her father, Bordo never lets her focus waver. She rejects male characterizations and gives a candid portrayal of men as human beings, addressing men and women alike. A valuable selection for gender studies collections.AMichael A. Lutes, Univ. of Notre Dame Libs., IN
Copyright 1999 Reed Business Information, Inc.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By scandilicious
best male character well written...

32 of 39 people found the following review helpful.
The Male Body
By T.A
About me: 21 year old male, university student. (sciences/pre med)

I picked up this book some time ago while searching for books on a completely unrelated topic. It's become one of my absolute favorites. I've let at least 5 of my friends borrow it. (Or should I say I pushed it on them.)

Obviously, I'm not as serious a reviewer as some seem to be, so bear with me.

I caught this book a little late, a few years after it was originally published, but feel her comments are still dead on. I thought it was written very professionally, yet casual at the same time. I did not feel like I was being condescended upon, it felt like something "we" were discussing over a coffee.

She starts off with a candid retrospective of sorts on her father, then changes direction entirely with the opening sentence in the following chapter: "Becky Stone was the first of my friends to actually see one."

Other topics include an analysis on media images, women's bodies, and of course, men's. A few of my favorite passages in the book include: the whole section on "Public Images", as well as "Gentleman or Beast? The Double Bind of Masculinity", "The Sexual Harasser Is a Bully, not a Sex Fiend" and "Beautiful Girls, From Both Sides Now."

Remarkably insightful, with theories and analysis that are hard to argue, her comments hit home and make you think whether you agree or not. I suspect even the most chauvinistic reader would have a hard time "debating" or "disproving" some of her thoughts and theories behind media images and the like, in my opinion. Sometimes I may not have wanted to "hear" some of things she had written but couldn't think of any retaliation.

At certain times in the book, it felt as if she was poking around in my head, most of her thoughts about the male body and men in general congruent with my thoughts about myself!

An exciting topic by itself, I highly recommend this book for anyone curious about the male body. You will finish this book smiling, perhaps even with a change in the way you look at yourself, or the culture around you. (I constantly find myself looking deeper into what is given and shown to us than I did previously.) There will undoubtedly be times during reading where you will stop, needing to discuss what you've read with your friends! At least I did. :)

I don't think there are any bad parts to this book, but some might find certain parts uninteresting. That's a given! To me, that doesn't qualify as bad. I think everyone who decides to buy this book will be talking after they put it down, regardless of how much you loved it. 5 stars!

12 of 14 people found the following review helpful.
Critical and compassionate.
By Bakari Chavanu
This book is the male version of Jean Kilbourne's "Can't Buy My Love." Both look at media representions of gender and how they perpetuate stereotypical myths about males, females, and homosexuals. They also show how advertising and other image makers use the body to exploit consumer desires and insecurities about their own body. Thus, in Bordo's words, what we see in the twentieth century "is the recognition that when we look at bodies (including our own in the mirror), we don't just see biological nature at work, but values and ideals, differences and similarities that *culture* has 'written,' so to speak, on those bodies."
What is most compelling about Bordo's work is that she extends her analysis beyond the media and extends it to literature, history, and various institutions that influence our ideas about the male body. She shows overall how myths about the male use sexist images that have been used against women for years. She does this using very lucid, insightful, and humorous writing.

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> Download Wonder Women: Sex, Power, and the Quest for Perfection, by Debora L. Spar

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Fifty years after the Equal Pay Act, why are women still living in a man's world?

Debora L. Spar never thought of herself as a feminist. Raised after the tumult of the 1960s, she presumed the gender war was over. As one of the youngest female professors to be tenured at Harvard Business School and a mother of three, she swore to young women that they could have it all. "We thought we could just glide into the new era of equality, with babies, board seats, and husbands in tow," she writes. "We were wrong."

Now she is the president of Barnard College, arguably the most important all-women's college in the United States. And in Wonder Women: Sex, Power, and the Quest for Perfection―a fresh, wise, original book― she asks why, a half century after the publication of Betty Friedan's The Feminine Mystique, do women still feel stuck.

In this groundbreaking and compulsively readable book, Spar explores how American women's lives have―and have not―changed over the past fifty years. Armed with reams of new research, she details how women struggled for power and instead got stuck in an endless quest for perfection. The challenges confronting women are more complex than ever, and they are challenges that come inherently and inevitably from being female. Spar is acutely aware that it's time to change course.

Both deeply personal and statistically rich, Wonder Women is Spar's story and the story of our culture. It is cultural history at its best, and a road map for the future.

• Sales Rank: #583920 in Books
• Brand: Brand: Sarah Crichton Books
• Published on: 2013-09-17
• Released on: 2013-09-17
• Original language: English
• Number of items: 1
• Dimensions: 9.24" h x 1.32" w x 6.44" l, 1.50 pounds
• Binding: Hardcover
• 320 pages

Features

• Used Book in Good Condition

From Booklist
Spar, the president of Barnard College, delves into the eternal topic of women “having it all” by blending her own personal story within an overview of the past four decades. Some anecdotes will seem a bit over-the-top (tales of pumping breast milk in airport bathrooms while dashing off to a corporate meeting have become almost a cliché), but Spar’s artful juxtaposition of society’s conflicting promises and assertions rings through loud and clear. As she shifts from the reasoned research of academics to the grocery checkout lines with their masses of impossible celebrity weight-loss triumphs while providing the facts and figures of gender politics from the workplace to the dreaded department-store changing room, Spar’s acerbic wit would do Dorothy Parker proud. Her own struggles with anorexia and fertility bring the topic down to earth, ensuring that Wonder Women is equally valuable as a reference source for college-bound daughters and as a lively read for their mothers to dissect in book clubs. --Colleen Mondor

Review

“Barnard College president Spar (The Baby Business) skillfully addresses the state of feminism and suggests that, despite historic gains in education, the workforce, and equal rights, American women suffer under ‘an excruciating set of mutually exclusive expectations' resulting, paradoxically, from the proliferation of options that feminism made possible. Drawing on her experiences as well as extensive research, Spar lucidly traces how the movement's ‘expansive and revolutionary' political goals have evolved into a set of ‘vast and towering expectations' that trouble women at every stage of their lives. Wisely forgoing hostility or blame, Spar finds women struggling, if anything, with the fantasy of ‘having it all.' ‘We're doing this to ourselves,' she writes, addressing, among other topics: the explosion of toddler princesses; eating disorders and hyperachievement among adolescents; the hookup habits of young adults; the ‘adoration of pregnancy'; competitive mothering; and the lucrative wedding, diet, and plastic surgery industries. Her solutions call for sanity and simplicity: to kill ‘the myths of female perfection' and recommit to the goals of early feminism, abandoning the ‘individualized quest' in favor of organizational and collective change. Tactfully navigating heated debates and effectively contextualizing historical trends and contemporary problems, Spar's book will be welcomed by readers who envision a world ‘driven by women's skills and interests and passions as much as by men's.'” ―Publisher's Weekly

“Spar uses her experiences of the feminist revolution of the 1960s as a scaffold for evaluating the situation of young women today . . . Spar addresses many issues facing working women--e.g., maintaining a fashionable appearance, sexual identity and aging in a world of shifting mores. For younger women who have accepted their entitlement to full equality with men, the conflicting demands of the roles expected of them, and their own ‘quest for perfection,' can be devastating. A wise, worthy companion to Sheryl Sandberg's Lean In.” ―Kirkus Reviews

“Debora L. Spar tackles--and dispels--the myth of perfection with intelligence and humor. Wonder Women is a terrific read.” ―Sheryl Sandberg, COO of Facebook and author of the bestselling Lean In

“Debora L. Spar has written the right book at the right time. We need to make all women's lives less stressful and more rewarding. This brave, well-written book points the way. Spar reveals her most intimate history, yet stands back to see her whole generation--and mine--in perspective. Wonder Women will make many women feel deeply understood. And many men. It's a warm, humorous, and lusty book, and I think many readers will be grateful for it. I certainly am.” ―Erica Jong, author of Fear of Flying

“Debora L. Spar has written a wonderful and wise meditation on women that draws on her own life experience and her deep intelligence as a scholar. She is a lively companion on an essential subject.” ―Fareed Zakaria, author of The Post-American World

“Debora L. Spar has done the impossible: written a fresh, thoughtful, and engaging book on the role of women in today's society. In telling her own story she tells us where we've come from and where we must go next. A must-read for every woman on the move in life.” ―Tina Brown, founder and editor in chief of the Newsweek Daily Beast Company

“Wonder Women is the book I'd give my daughter as a guide to navigating the challenges of being a woman in twenty-first-century America. Debora L. Spar's is a wise, calm, eloquent voice; she offers essential caution against the idea that anybody can live a life without trade-offs and imperfections, but she does this without ever losing hold of the righteous passion of the feminist movement.” ―Nicholas Lemann, author of Redemption

“Wonder Women is a refreshing and engaging reevaluation of the challenges facing women and feminism in contemporary America. With wit and historical insight, Debora L. Spar takes us through the female life cycle, exploding myths about ‘having it all' through personal stories, social science studies, and critiques of popular culture. A compelling read, this book should be required for young women, their parents, and their future employers.” ―Estelle B. Freedman, author of No Turning Back

About the Author
Debora L. Spar is the president of Barnard College, a women's undergraduate college affiliated with Columbia University. She received her doctorate in government from Harvard University and was the Spangler Family Professor of Business Administration at Harvard Business School. Spar is the author of numerous books, including Ruling the Waves: Cycles of Invention, Chaos, and Wealth from the Compass to the Internet and The Baby Business: How Money, Science, and Politics Drive the Commerce of Conception.

Most helpful customer reviews

22 of 23 people found the following review helpful.
I think I would have liked it better if I hadn't been reading Lean In at the same time
By Amazon Customer
I was very excited about this book, read the pre-reviews, heard the interview on npr, placed a hold before it was officially available at the library so I could borrow it first. I am more new to the idea of being a feminist, so I decided to do some reading up on current books with feminist undertones. In general, the book was worth the read - it was very well-articulated and I think Spar takes a lot of nuanced behaviors and patterns and lays it out in a very coherent manner. That being said, I don't really think any of her information is new or innovative - it's just presented better with footnotes.

The main problem and reason I gave this book a 3-star rating, though, was because I read it with Lean In that, together, really emphasizes a very linear message to women: "become powerful and successful like me." It's a bit elitist. I tend to read multiple books at a time, and so I read Wonder Women along with Lean in (Sheryl Sandberg) and Bossypants (Tina Fey). While I was perusing these books, there were many parts where I honestly could not tell the difference between Lean In and Wonder Women, and both authors would reference one another in their book. The juxtaposition just made it so obvious that these women have a similar type of upbringing, education, opportunity, and perspective...even the same type of politically correct, disclaimer-giving academic essay style of writing. All very careful with little neutral jokes that don't offend but show they can be funny and relatable, advising the rest of the girls like them in the world how to succeed and become the CEOs of the company, partners in the firms, or surgeons of the medical field. Overall, it kind of felt like they were part of a private girl's club, telling other girls how to be like them. And like another review mentioned, it brushed off anyone else that didn't fit this highly educated audience with a disclaimer in the beginning: "if you're poor, then...you have other problems and I can't speak to that." And out there somewhere, Tina Fey was being hilarious about her life.

I feel like feminism is, at least partly, finding your own personal happiness and success without the prejudices of society deciding for you. The book kind of barely, maybe in a lone phrase, touched on that, but really, the advice was more of a brute force, reach the tippity top so you can change all the rules.

Wonder Women was an interesting read, but I definitely felt a bit ostracized in the end. And as I stated in the title, I think I would've liked it better had I not read it with Lean In. Then it would seem more like Spar's unique view of feminism, not what her and her private school friends think you should do.

51 of 61 people found the following review helpful.
Not what we had in mind
By Emily M Kline
I am a feminist of the old school, old enough to be the author's mother, and it has been a while since I read a book on the topic so I was interested to see how the generations were faring ....I was not pleased.
There are some good points but they seem lost in the shuffle. What I mostly heard was a woman trying very hard to convince us, and maybe herself, that her perceptions of the world and her experiences were typical and her choices valid. It really didn't sound much different from "is this all there is," in the seventies, just cast in a different set of scenery. So, she wears white after labor day and doesn't obsess over yellow wax buildup? She still seems to look around her at what others are doing and what the media tell her, and does that. So much for independent choice.
The author lives, first of all, in rather rarified air. Believe it or not most women and men do not make it to the top of their professions (there is not room at the top for everyone to be at the top, for one thing) and most of them don't have professions at all. This is the 1% speaking. Hard to get excited about women lawyers making a few hundred thousand less than their male counterparts when you know a huge percent of women...and men...are living on minimum wage or not much more and have no hope of rising to the top of anything. Moreover, believe it or not, some people don't equate a fulfilling life with money and fame.
The author seems to have a very morbid fear of aging, a conviction that all women want to...no, MUST bear children to prove their value, and hanging out in a profession that puts her mostly in the company of twenty year olds may be what has her obsessing over shoes and fashion and waxing her legs, like the bimbos we former-day feminists were so driven not to emulate.
So when she finally writes a few decent pages about making careful choices and being realistic and not setting oneself up to overextend, it seems like too little too late. Does she herself dare to march to a different drummer, or compose her own music to march to? Or would she be looking around anxiously to make sure others still thought she was dressed right and "with it?"

29 of 36 people found the following review helpful.
Trenchant, useful, hopeful
By Allegra Jordan
This book is invaluable in helping smart women think through the question, "What am I committed to becoming?" Dr. Spar provides incredible research, warm insight, and non-judgmental compassion for women who need a better compass to move forward - at least better than the one we absorb from society (often without questioning why we're doing what we're doing). The book shares humorous, poignant moments from Dr. Spar's own experiences and struggles, moving from research to reality. It's a breath of fresh air for people suffocating under the stress of taking on too much by default. Her voice is a much needed one in the discussion about "what does it mean to flourish?" A group of women and I have decided to read it and use it to start a dialogue on the topics Dr. Spar raises over the next year in our own city.

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