Thursday, July 31, 2014

# Download Ebook The Hours: A Novel, by Michael Cunningham

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The Hours: A Novel, by Michael Cunningham

A daring, deeply affecting third novel by the author of A Home at the End of the World and Flesh and Blood.

In The Hours, Michael Cunningham, widely praised as one of the most gifted writers of his generation, draws inventively on the life and work of Virginia Woolf to tell the story of a group of contemporary characters struggling with the conflicting claims of love and inheritance, hope and despair. The narrative of Woolf's last days before her suicide early in World War II counterpoints the fictional stories of Samuel, a famous poet whose life has been shadowed by his talented and troubled mother, and his lifelong friend Clarissa, who strives to forge a balanced and rewarding life in spite of the demands of friends, lovers, and family.

Passionate, profound, and deeply moving, this is Cunningham's most remarkable achievement to date.  The Hours is the winner of the 1999 Pulitzer Prize for Fiction.

  • Sales Rank: #207983 in Books
  • Brand: Farrar, Straus and Giroux
  • Published on: 1998-11-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.58" h x .98" w x 5.80" l,
  • Binding: Hardcover
  • 230 pages
Features
  • Great product!

Amazon.com Review
The Hours is both an homage to Virginia Woolf and very much its own creature. Even as Michael Cunningham brings his literary idol back to life, he intertwines her story with those of two more contemporary women. One gray suburban London morning in 1923, Woolf awakens from a dream that will soon lead to Mrs. Dalloway. In the present, on a beautiful June day in Greenwich Village, 52-year-old Clarissa Vaughan is planning a party for her oldest love, a poet dying of AIDS. And in Los Angeles in 1949, Laura Brown, pregnant and unsettled, does her best to prepare for her husband's birthday, but can't seem to stop reading Woolf. These women's lives are linked both by the 1925 novel and by the few precious moments of possibility each keeps returning to. Clarissa is to eventually realize: There's just this for consolation: an hour here or there when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined.... Still, we cherish the city, the morning; we hope, more than anything, for more. As Cunningham moves between the three women, his transitions are seamless. One early chapter ends with Woolf picking up her pen and composing her first sentence, "Mrs. Dalloway said she would buy the flowers herself." The next begins with Laura rejoicing over that line and the fictional universe she is about to enter. Clarissa's day, on the other hand, is a mirror of Mrs. Dalloway's--with, however, an appropriate degree of modern beveling as Cunningham updates and elaborates his source of inspiration. Clarissa knows that her desire to give her friend the perfect party may seem trivial to many. Yet it seems better to her than shutting down in the face of disaster and despair. Like its literary inspiration, The Hours is a hymn to consciousness and the beauties and losses it perceives. It is also a reminder that, as Cunningham again and again makes us realize, art belongs to far more than just "the world of objects." --Kerry Fried

From Publishers Weekly
At first blush, the structural and thematic conceits of this novel--three interwoven novellas in varying degrees connected to Virginia Woolf--seem like the stuff of a graduate student's pipe dream: a great idea in the dorm room that betrays a lack of originality. But as soon as one dips into Cunningham's prologue, in which Woolf's suicide is rendered with a precise yet harrowing matter-of-factness ("She hurries from the house, wearing a coat too heavy for the weather. It is 1941. She has left a note for Leonard, and another for Vanessa."), the reader becomes completely entranced. This book more than fulfills the promise of Cunningham's 1990 debut, A Home at the End of the World, while showing that sweep does not necessarily require the sprawl of his second book, Flesh and Blood. In alternating chapters, the three stories unfold: "Mrs. Woolf," about Virginia's own struggle to find an opening for Mrs. Dalloway in 1923; "Mrs. Brown," about one Laura Brown's efforts to escape, somehow, an airless marriage in California in 1949 while, coincidentally, reading Mrs. Dalloway; and "Mrs. Dalloway," which is set in 1990s Greenwich Village and concerns Clarissa Vaughan's preparations for a party for her gay--and dying--friend, Richard, who has nicknamed her Mrs. Dalloway. Cunningham's insightful use of the historical record concerning Woolf in her household outside London in the 1920s is matched by his audacious imagining of her inner lifeand his equally impressive plunges into the lives of Laura and Clarissa. The book would have been altogether absorbing had it been linked only thematically. However, Cunningham cleverly manages to pull the stories even more intimately togther in the closing pages. Along the way, rich and beautifully nuanced scenes follow one upon the other: Virginia, tired and weak, irked by the early arrival of headstrong sister Vanessa, her three children and the dead bird they bury in the backyard; Laura's afternoon escape to an L.A. hotel to read for a few hours; Clarissa's anguished witnessing of her friend's suicidal jump down an airshaft, rendered with unforgettable detail. The overall effect of this book is twofold. First, it makes a reader hunger to know all about Woolf, again; readers may be spooked at times, as Woolf's spirit emerges in unexpected ways, but hers is an abiding presence, more about living than dying. Second, and this is the gargantuan accomplishment of this small book, it makes a reader believe in the possibility and depth of a communality based on great literature, literature that has shown people how to live and what to ask of life. (Nov.) FYI: The Hours was a working title that Woolf for a time gave to Mrs. Dalloway.
Copyright 1998 Reed Business Information, Inc.

From Library Journal
Clarissa Dalloway certainly is a popular lady nowadays, with a recent movie and now a new book based on her life. She is, of course, the heroine of Virginia Woolf's 1925 novel about a day in the life of a proper but uninspired wife and the tragic event that changes her. In this new work by Cunningham (Flesh and Blood, LJ 4/15/95), that day's events are reflected and reinterpreted in the interwoven stories of three women: Laura, a reluctant mother and housewife of the 1940s; Clarissa, an editor in the 1990s and caretaker of her best friend, an AIDS patient; and Woolf herself, on the verge of writing the aforementioned novel. Certain themes flow from story to story: paths not taken, the need for independence, meditations on mortality. Woolf fans will enjoy identifying these scenes in a different context, but it's only at the end that the author engages more than just devoted followers with a surprisingly touching coda that stresses the common bonds the characters share. Given Woolf's popularity, this is a book all libraries should consider, with an exhortation to visit Mrs. Dalloway as well.AMarc A. Kloszewski, Indiana Free Lib., PA
Copyright 1998 Reed Business Information, Inc.

Most helpful customer reviews

131 of 137 people found the following review helpful.
It Takes Your Breath Away
By glenn323
You'll either love this novel so much you'll read passages over and over, or you'll give up after a couple of chapters. I think the reason so many people have problems with "The Hours" is that they don't enjoy reading a novel with such a dark mood. Some people aren't entertained by reading about such tragic loneliness. Cunningham deals with characters who who are depressed to the point of despair even when they are surrounded by people who love them unconditionally. It's probably hard for most people who are reasonably happy to grasp that kind of pain. The author's beautiful and sometimes poetic writing is an amazing work of art; the novel deserved all the praise it received. The way the story parallels Virginia Woolf's masterpiece "Mrs. Dalloway" is inspired. The book truly takes the reader into the world in which Virginia Woolf lived her brilliant and tortured life, and the transitions from Woolf's era to those of Laura Brown and Clarissa Vaughn were beautifully done. The best way to read this book is on a rainy day, classical music in the background and a pot of tea on the stove. If only other novels could compare...

73 of 75 people found the following review helpful.
Worth All the Time You Spend With It
By A Customer
In 1925, Virginia Woolf published her masterful novel, "Mrs. Dalloway". Set during a single day in the life of Clarissa Dalloway, Woolf brilliantly used techniques which became hallmarks of the modern novel--interior monologue, first person narrative and a stunning, albeit unrelentingly difficult, stream-of-consciousness rendering--to produce one of the masterpieces of twentieth century English literature. Nearly seventy-five years later, Michael Cunningham has used many of these same techniques to write "The Hours", a fitting homage to Woolf and a novel which deservedly won both the PEN/Faulkner Award and the Pulitzer Prize.
"The Hours" tells the story of a bright June day in the lives of three different women living in three different times and places. The first story is that of Virginia Woolf during a day in 1923, when she is writing "Mrs. Dalloway". The second is the story of Laura Brown, a thirtyish, bookish married woman living in the suburbs of Los Angeles. Laura has a four-year-old son and is pregnant with another child as she plans a birthday dinner for her husband on a day in 1949. The third story is that of Clarissa Vaughn, a fifty-two year old, slightly bohemian, literary agent who is planning a party for Richard, her long-time friend and one-time lover, a prominent writer dying of AIDS.
"The Hours" is, among other things, a nuanced and sensitive picture of middle age in the lives of its characters. Like the novel to which it pays tribute, "The Hours" relies heavily on interior monologue-on thoughts, memories and perceptions-to drive the narrative and to establish a powerful bond between the reader and each of the female protagonists. The reader feels the psychic pain of the aging Virginia Woolf as she contemplates suicide in the Prologue. The reader has an almost tactile sense of Laura Brown's claustrophobia, of her feeling that life is closing in around her, as she flees to a hotel for two hours in the middle of the day simply to spend time reading ("Mrs. Dalloway", of course). And the reader can identify with the yearning, the melancholy, that is suggested when Clarissa Vaughn thinks back to the time when she was young, when her life's choices had not yet been made.
"The Hours" is written, in short, like all great fiction--with deep feeling and love for its characters-and it stands as one of the outstanding American novels of the past decade. While resonating with the themes, techniques and characters of Woolf's difficult modern masterpiece, "The Hours" is masterful and original in its own right, an accessible and engaging work that is worth all the time you spend with it.

101 of 110 people found the following review helpful.
true to the spirit of Woolf
By M. H. Bayliss
I must say I'm a bit surprised by the vicious attacks launched at Cunningham, especially by readers who admit they have not read anything by Woolf -- there is the first mistake. Though I haven't read Mrs. Dalloway in quite a while, I have read To the Lighthouse (one of my all time favorite novels) and Cunningham captures her genius perfectly! This book demands a certain amount of concentration on the reader's behalf, but it's worth it. If you have ever read anything by Woolf, you will immediately appreciate the nuance of his language. It's not pompous just because he gets the prosody and rhythm of Woolf right on the nose! Normally I don't like split narratives that jump from chapter to chapter, but Cunningham does it so seamlessly and with such a feel for the 3 main characters that I found myself drawn into all three story lines. I don't want to reveal how they all come together, but let's just say they do, and with a bang. To give an idea of the kind of subtlety Cunningham displays, let me give one example: Lara Brown, the housewife, feels unconnected to her husband and 3 year old child and all she wants to do is finish reading Mrs. Dalloway. But, since it's her husband's birthday, she follows the expected role and tries to make him a fantastic cake. When the cake turns out to be amateurish and imperfect, she becomes almost suicidally depressed and decides to throw it out and start again. The scene continues, but the disappointment with the cake takes on a life of its own. Readers of To the Lighthouse will be reminded of the central dining scene when Mrs. Ramsey prepares a magnificant feast in much the same vein for her family. Cunningham's writing and grasp of Woolf is inspired -- I can see why he got the Pulitzer Prize. For those who criticize, be sure to catch up on your Woolf before nailing Cunningham to the cross. It's really a terrific book.

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Tuesday, July 29, 2014

^^ Get Free Ebook Travels in Siberia, by Ian Frazier

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Travels in Siberia, by Ian Frazier

A Dazzling Russian travelogue from the bestselling author of Great Plains

In his astonishing new work, Ian Frazier, one of our greatest and most entertaining storytellers, trains his perceptive, generous eye on Siberia, the storied expanse of Asiatic Russia whose grim renown is but one explanation among hundreds for the region’s fascinating, enduring appeal. In Travels in Siberia, Frazier reveals Siberia’s role in history—its science, economics, and politics—with great passion and enthusiasm, ensuring that we’ll never think about it in the same way again.

With great empathy and epic sweep, Frazier tells the stories of Siberia’s most famous exiles, from the well-known—Dostoyevsky, Lenin (twice), Stalin (numerous times)—to the lesser known (like Natalie Lopukhin, banished by the empress for copying her dresses) to those who experienced unimaginable suffering in Siberian camps under the Soviet regime, forever immortalized by Aleksandr Solzhenitsyn in The Gulag Archipelago.

Travels in Siberia is also a unique chronicle of Russia since the end of the Soviet Union, a personal account of adventures among Russian friends and acquaintances, and, above all, a unique, captivating, totally Frazierian take on what he calls the “amazingness” of Russia—a country that, for all its tragic history, somehow still manages to be funny. Travels in Siberia will undoubtedly take its place as one of the twenty-first century’s indispensable contributions to the travel-writing genre.

  • Sales Rank: #889833 in Books
  • Published on: 2010-10-12
  • Released on: 2010-10-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 1.75" w x 6.50" l, 1.80 pounds
  • Binding: Hardcover
  • 529 pages

Amazon.com Review
Amazon Best Books of the Month, October 2010: Over 20 years after Great Plains, one of the more oddly wonderful books of the last few decades, Ian Frazier takes us to another territory worthy of his expansive curiosity: the vast eastern stretches of Russia known as Siberia. Through the stories of Russian friends, Frazier was drawn there in the early '90s, and he soon fell in love with the country--an "embarrassing" sort of middle-aged love, an involuntary infection. What he loves is its tragedy and its humor, its stoic practicality and its near-insanity: he calls it "the greatest horrible country in the world," and Siberia is its swampy, often-frozen, and strikingly empty backyard. He took five trips there over the next dozen or so years, and Travels in Siberia is based on those journeys. But as in Great Plains, when Frazier travels he follows his own curiosity through time as well as space, telling stories of the Mongols and the Decembrists with the same amused and empathetic eye he brings to his own traveling companions. His curiosity quickly becomes yours, as does his affection for this immense and grudgingly hospitable land. --Tom Nissley

From Booklist
Frazier (Great Plains, 1989; On the Rez, 2000) has long been fascinated by vast, empty spaces and the people who live in them. It’s only natural that he is interested in the place that is almost synonymous with nowhere: Siberia. Here he tells of his repeated visits, from a summer trip across the Bering Strait to a winter trip to Novosibirsk; however, the centerpiece of the book is his overland crossing from the Baltic Sea to the Pacific Ocean. That’s a massive journey, and this is a massive book. He captures the character and particulars of the place but lets us down, somewhat, as a tour guide. The very best travel writers possess physical and mental toughness, but Frazier is often surprisingly timid: he allows his Russian guides to drive past prisons he really wants to stop and see. And when, at the end of the book, he finally visits an abandoned, snow-covered prison camp, he doesn’t explore the barracks building because it feels wrong: “I was merely a foreign observer.” His complaints about the discomforts of the journey occasionally leave us wondering whether he really loves Russia. Still and all, it’s an unforgettable and enlightening portrait of a place most of us know very little about. --Keir Graff

Review

“[Travels in Siberia is] an uproarious, sometimes dark yarn filled with dubious meals, broken-down vehicles, abandoned slave-labor camps and ubiquitous statues of Lenin—On the Road meets The Gulag Archipelago . . . As he demonstrated in Great Plains, Frazier is the most amiable of obsessives . . . he peels away Russia’s stolid veneer to reveal the quirkiness and humanity beneath . . . Frazier has the gumption and sense of wonder shared by every great travel writer, from Bruce Chatwin to Redmond O’Hanlon, as well as the ability to make us see how the most trivial or ephemeral detail is part of the essential texture of a place . . . [An] endlessly fascinating tale.” —Joshua Hammer, The New York Times Book Review

“Siberia provides Frazier the perfect canvas to paint what may be his masterpiece. Frazier told the story of the Great Plains (his eponymous 1989 bestseller) and Native American life (“On the Rez,’’ 2000) by mixing history, reportage, and memoir, but what makes him special is his brilliant, if quirky sense of humor . . . When confronted with a place as serious as Siberia, it helps to have Frazier’s comic leavening . . . Travels in Siberia is a typically sprawling Frazier book. Underneath a rich smear of his pen-and-ink sketches and his research (Frazier is an unusual travel writer in that not only is he very funny, but he is very serious, and he offers nearly 40 pages worth of endnotes and a bibliography of scores of books on Siberia) are the threads of five trips he took to the region since 1993. From the Alaska side, he hopscotched around Chukotka’s Chukchi Peninsula. For a satirist like Frazier, it was like shooting fish in a barrel, and he restrained himself, only rarely cracking a joke. “Chukchi girls dancing with a telephone lineman from California is a sight seen almost never, and then not more than once” — or noting that the two stuffed bears displayed in the Anchorage airport were killed by dentists . . . He then explores the question of why there are no historical markers or memorials at the Siberian gulag, as there are at some other sites of atrocity like Dachau and Auschwitz. The terrible crimes are still incompletely acknowledged, he argues, because the camps embodied Stalin and “the world has not yet decided what to say about Stalin.” It is a simple point but a powerful one and like much of the book, both Frazier’s images and his insights about the camps linger long after you stop shivering.” —James Zug, The Boston Globe

“It’s always easy to figure out whether you should read the latest book by Ian Frazier: If he’s written it, then you’ll want to read it . . . Much more than ‘travel writing,’ [Travels in Siberia] covers memoir, history, literature, politics and more. There are many reasons to love it, including the fantastic ending, possibly the best of any book in recent memory. Travels in Siberia is a masterpiece of nonfiction writing—tragic, bizarre and funny. Once again, the inimitable Frazier has managed to create a genre of his very own.” —Carmela Ciuraru, San Francisco Chronicle

“[Travel writing] . . . is revived by Ian Frazier’s Travels in Siberia, which evinces a passion as profound as Homans’s zeal for dance: Frazier’s ‘Russia-love’ . . . Between excursions to towns like Neudachino (‘Unhappyville’), he ponders a question that has puzzled many a visitor: ‘how Russia can be so great and so horrible simultaneously.’ In exploring this paradox, Frazier describes the physical world with a keen eye . . . Some of his descriptions read like medieval nightmares: the mosquitoes of western Siberia, so numerous that they gather in fierce black clouds; or the feeling of being locked, for almost two days, in a windowless train compartment beneath a ceiling so low that it is impossible to stand. Frazier candidly addresses Siberia’s tragedies and opportunities, even as his narrative offers, like explorer stories of old (crossing the Sahara, hacking through the Congo, landing in Tahiti with Captain Cook), all the thrills of armchair travel.” —Ben Moser, Harper’s

“Ian Frazier, a staff writer for The New Yorker, is a master of nonfiction narrative. As with his previous travel classics Great Plains and On the Rez, Frazier’s Travels in Siberia not only explores the geography of a remote, seemingly barren region, but also illuminates its dark history and resilient spirit. Frazier isn’t just a chronicler—he’s a central character . . . After reading Frazier’s passionate travelogue and history of Siberia, you’ll never again view the region as a big, empty space on a map. Frazier brings Siberia into vivid, monochromatic focus.” —Minneapolis Star-Tribune

Most helpful customer reviews

80 of 88 people found the following review helpful.
Great historical journey through Siberia
By Downtown Pearl
i read two excerpts from this book in the New Yorker Magazine a summer or two ago and couldn't tear myself away. It's such an adventure. If you've ever read one of the great Russian novels or studied world history at all you already have an historical vision filed away in your head and this book brings it all back, richly. The spirit in which Frazier traveled to research this book and because he's written it so well you feel like a fly on his shoulder throughout the journey. i'm so happy the book is finally published, i've been waiting a long time for it. Highly recommended!

119 of 135 people found the following review helpful.
Gorgeously written, but flawed American viewpoint
By Just lookin'
I'm going to write my review without biasing myself by reading the others.

I lived and worked in Siberian and the Russian Far East for several years in the 1990s. Frazier has always been one of my favorite authors; he is king of detail. "On the Rez" was a phenomenal book. Missing my second home, Russia, I snatched up Travels in Siberia the instant it became available.

I'm going to start with the limitations of this book:

1. East of Chita and Yakutia, the locals uniformly call their land the "Russian Far East." They do not call it Siberia, any more than people from Idaho or California call their land the Midwest. Just like Americans have the Midwest and the West, the Russians have the corresponding landlocked Siberia and the coastal Far East. It perpetuates Westerners' geographic misnaming of the region.

2. Leaving the history of Siberia's Indigenous peoples out of the book. This is the most egregious oversight of this book, and it's particularly perplexing given Frazier's history researching and writing "On the Rez." Can you imagine an author writing on the history and the experience of the Dakotas without mentioning the Sioux? This book manages to paint Siberia and the Russian Far East as the historic battleground of Russians and the Mongols, without mentioning the couple dozen tribes - of Asian, Turkish, or European descent - that migrated to, lived in, and defined Siberia for centuries before either the Russians or the Mongols arrived. In a few of these regions, Indigenous peoples still outnumber Russians, and it is still common to hear the native languages spoken on the streets or in government offices. Frazier writes about two visits to the Republic of Buryatia without clarifying that Buryatians are Indigenous descendents of the Mongols. He then visits a bit with the Even peoples in Yakutia, but again fails to relate any information about their history, although the book has some history on the Russian colonization of the region.

3. Frazier entered Siberia with the notion that it is All About Gulags; that is a typical American lens/misperception. Siberia is a whole lot of things, and Siberians do not, nor did they ever, think of their land as Prison Land, any more than Californians currently obsess about Japanese internment camps in California. In both places the gulags are a sad and horrible history but they are far from defining the place. If you lived in Siberia for a year and listened to Russian conversation, you would never know there are any prisons there. Another stereotype of Siberia that Frazier failed to question, and ended up just perpetuating.

4. Siberia and the Far East are the very most beautiful (a) in nature and all the wilderness parks, which Frazier never seems to get off the highway to see!; and (b) in private homes, where Russians and other natives fully open their hearts and are your best friends for life. Frazier is more exposed to the (much harsher) "public life" of Russia, the train toilets and the public litter, than to its wonderful private life. Russians often said to me, "I've visited America, and it's boring there." What they often mean is that Russians, and particularly those who live east of the Urals, are a very social, hospitable, warm, fun people who know how to have a good time. Frazier for whatever reason barely gets a peak at this. And he writes about forests, but never really gets a look at how gorgeous they are in Siberia, because he is always sort of on the main drag, pushed on by two hosts from St. Petersburg who only want to drive faster rather than slowing down and actually seeing anything.

That said, this book is wonderfully written, has riveting detail, and has some truly brilliant insights into both the Russian psyche and the land that Frazier visited. Worth reading.

13 of 13 people found the following review helpful.
More History Book Than Travelogue
By P Magnum
Ian Frazier's Travels In Siberia is a lengthy tome about not just Mr. Frazier's travels in Russia but a history of the country including Genghis Khan, the Decembrists, Stalin, Lenin and everyone in between. The book is extremely well written and you can feel Mr. Frazier's genuine love of the country coming through, but I felt a little shorted by the passages on his actual travels in Siberia. The first thing you think about when you think of Siberia is that it is a cold desolate place, but on his first trip he goes in the summer. While he does rectify this by going back and travelling through Siberia in the winter that trip seems more like an afterthought in the book. On his first trip, he spends much of his time sitting back in the camp his two travelling companions set up in various campgrounds, roadsides, etc. while they go out and experience the towns. It would have felt more like a travel book if Mr. Frazier had joined the two on their excursions into town and written about the locals instead of the many museums he visited. That being said, Mr. Frazier deserves credit for an extremely well written book especially his story of how he ended his first journey through Siberia on 9/11/01 and his resulting trip back to his home in New Jersey. It was quite compelling and the most heartfelt portion of the book.

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Sunday, July 27, 2014

^ Download The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross

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The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross

The scandal over modern music has not died down. While paintings by Pablo Picasso and Jackson Pollock sell for a hundred million dollars or more, shocking musical works from Stravinsky's Rite of Spring onward still send ripples of unease through audiences. At the same time, the influence of modern music can be felt everywhere. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalist music has had a huge effect on rock, pop, and dance music from the Velvet Underground onward. Alex Ross, the brilliant music critic for The New Yorker, shines a bright light on this secret world, and shows how it has pervaded every corner of twentieth century life. The Rest Is Noise takes the reader inside the labyrinth of modern sound. It tells of maverick personalities who have resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with the purest beauty or battered them with the purest noise, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. Ross, in this sweeping and dramatic narrative, takes us from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. In the tradition of Simon Schama's The Embarrassment of Riches and Louis Menand's The Metaphysical Club, the end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

  • Sales Rank: #111091 in Books
  • Brand: Farrar, Straus & Giroux
  • Published on: 2007-10-16
  • Released on: 2007-10-16
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.27" h x 1.44" w x 6.33" l, 1.98 pounds
  • Binding: Hardcover
  • 640 pages

Amazon.com Review
Anyone who has ever gamely tried and failed to absorb, enjoy, and--especially--understand the complex works of Schoenberg, Mahler, Strauss, or even Philip Glass will allow themselves a wry smile reading New Yorker music critic Alex Ross's outstanding The Rest Is Noise. Not only does Ross manage to give historical, biographical, and social context to 20th-century pieces both major and minor, he brings the scores alive in language that's accessible and dramatic.

Take Ross's description of Schoenberg's Second Quartet, "in which he hesitates at a crossroads, contemplating various paths forming in front of him. The first movement, written the previous year, still uses a fairly conventional late-Romantic language. The second movement, by contrast, is a hallucinatory Scherzo, unlike any other music at the time. It contains fragments of the folk song 'Ach, du lieber Augustin'--the same tune that held Freudian significance for Mahler. For Schoenberg, the song seems to represent a bygone world disintegrating; the crucial line is 'Alles ist hin' (all is lost). The movement ends in a fearsome sequence of four-note figures, which are made up of fourths separated by a tritone. In them may be discerned traces of the bifurcated scale that begins Salome. But there is no longer a sense of tonalities colliding. Instead, the very concept of a chord is dissolving into a matrix of intervals."

Armed with such a detailed aural roadmap, even a troglodyte--or a heavy metal fan--can explore these pivotal works anew. But it's not all crashing cymbals, honking tubas, and somber Germans stroking their chins. Ross also presents the human dramas (affairs, wars, etc.) behind these sweeping compositions while managing, against the odds, to discuss C-major triads, pentatonic scales, and B-flat dominant sevenths without making our eyes glaze over. And he draws a direct link between the Beatles and Sibelius. It's no surprise that the New York Times named The Rest Is Noise one of the 10 Best Books of 2007. Music nerds have found their most articulate valedictorian. --Kim Hughes

From Publishers Weekly
Starred Review. Ross, the classical music critic for the New Yorker, leads a whirlwind tour from the Viennese premiere of Richard Strauss's Salome in 1906 to minimalist Steve Reich's downtown Manhattan apartment. The wide-ranging historical material is organized in thematic essays grounded in personalities and places, in a disarmingly comprehensive style reminiscent of historian Otto Friedrich. Thus, composers who led dramatic lives—such as Shostakovich's struggles under the Soviet regime—make for gripping reading, but Ross treats each composer with equal gravitas. The real strength of this study, however, lies in his detailed musical analysis, teasing out—in precise but readily accessible language—the notes that link Leonard Bernstein's West Side Story to Arnold Schoenberg's avant-garde compositions or hint at a connection between Sibelius and John Coltrane. Among the many notable passages, a close reading of Benjamin Britten's opera Peter Grimes stands out for its masterful blend of artistic and biographical insight. Readers new to classical music will quickly seek out the recordings Ross recommends, especially the works by less prominent composers, and even avid fans will find themselves hearing familiar favorites with new ears. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
The classical music critic for The New Yorker, Alex Ross has a reputation as one of the most perceptive and humorous voices in the industry. Even so, The Rest Is Noiseâ€"a play on Hamlet’s last words, "The rest is silence"â€"is an ambitious undertaking, one that critics unanimously proclaimed a success. Ross’s lively, accessible prose and striking visual images bring the music he describes vividly to life. His anecdotes are amusing, and his revelations are far-reaching and profound. Though he arranges his material in chronological order, his narrative never descends into a clunky, decade-by-decade sequence of events. Instead, Ross gauges the legacy of classical musicâ€"its shaping of jazz, swing, pop, rock, and hip-hopâ€"in this compelling book.

Copyright © 2004 Phillips & Nelson Media, Inc.

Most helpful customer reviews

209 of 225 people found the following review helpful.
Not Noise But The Sound of the Twentieth Century in Words
By Michael Salcman
This magisterial book will, for many years, remain the definitive account of classical music (or art music, if you prefer) in the twentieth century, from the time of Richard Strauss and Gustav Mahler to the age of Steve Reich and John Adams. Ross situates his history of an art form within the swirl of contemporary developments in culture and politics. The many individual stories of composers and their chief works are unified through the use of literary themes, the philosophical musings of Theodor Adorno and a close analysis of Thomas Mann's novel Doctor Faust. Along the way, Ross gives us an absolutely riveting account of the musical scene in the Third Reich, covering the composers who stayed and were complicit with the regime, as well as those artists who either fled or perished. He covers music in the concentration camps and the life of composers under Soviet dictatorship. He makes links between modern performance practice and the rise of jazz, bebop and adventurous rockers like the Beatles and Radiohead. His knowledge is encyclopedic and his research prodigous. Here and there his enthusiasms betray him. The heavy emphasis on German music as the spine of musical development turns Wagner into the main 19th century ancestor to modern music, a leit motive throughout the book; he scants the incipient modernisms of Tchaikovsky and the Russian School, the contributions of Liszt, Berlioz and other French composers. The chapter on Sibelius is so long it feels like a Bruckner symphony, ditto the scene by scene analysis of Britten's opera Peter Grimes; these sections are among the few longeurs encountered in a historical text that generally reads like a mystery novel. This book is highly recommended for anyone who is afraid of modern music but be warned, it will make you go out and compulsively expand your library of discs!

86 of 96 people found the following review helpful.
A feast, a delight, a party
By Kevin McMahon
A history of 20th century music with the history left out, thankfully. Ross writes vividly about specific compositions and imparts his enormous enthusiasm. Everyone who dips into this book will compile a list of works to hear. His avidity is a model for other listeners: he approaches Metataseis with the same eager expectation of enjoyment as the Firebird. And happily his enthusiasm is focused solely on the music--the ideologies, manifestoes, movements and politics of 20th century classical music he approaches with extreme scepticism. He is especially good at teasing apart a composer's words from a composer's music. Naturally he has preferences: he provides several full-length portraits of Strauss and Stravinsky at different points in their long careers, and movingly profiles Shostakovich and Britten, but Schoenberg and Cage appear more as instigators than artists, and Boulez is given up as an obnoxious enigma. But overall, I can't imagine a better guide. While modernism in the visual arts has been pretty much embraced by culture at large (e.g. the crowds at MOMA or Tate Modern), musical modernism, the tradition of 20th century classical music, has not. Whatever the explanation, Alex Ross thinks it's a shame that more people don't know it and love it. He certainly loves it, and it's prompted some of the best writing on music since Bernard Shaw.

39 of 42 people found the following review helpful.
A Social History of 20th Century Music
By B. R. Townsend
Alex Ross' excellent book is what you might call a 'social' history. He doesn't ignore the analytical side (though following recent practice, there isn't a single bit of notation in the whole book) and gives pretty good prose evocations of how a lot of music was put together--Webern's partition of a twelve tone row into three-note segments, for example--but focuses rather on the whole flow of things, on the relationships between composers and with society. He isn't afraid to quote Webern's sycophantic praise of the Third Reich, for example.

The book is non-ideological in the sense that he steps back and views the infighting and political jockeying for position from outside. It becomes clear that virtually all 20th century music is political or politicized to a considerable degree. Or suffers from politics! The truth Ross isn't afraid to recount is that a lot of 20th century composers, especially among the 'progressives', were playing the avant-garde game of achieving fame through being merely annoying. Many accounts of 20th century music, when they weren't mere chronicles, are either dryly analytical or manifestos for one camp or another (such as Rene Leibowitz' book on Schoenberg and his school).

Ross is particularly keen to rescue certain composers from the condescension of the 'progressives'. Three in particular are Sibelius, Shostakovich and Britten. Boulez comes across as a particularly nasty piece of work on the condescending side. There is a large section on Hitler's musical tastes which is surprisingly relevant because, as Ross points out, it was the Nazis and their love of certain music (and in return the loyalty a remarkable number of composers and conductors showed them, Karajan, for example) that cost 'classical' music its moral authority. He points out that, pre-WWII, classical music was coded in popular culture with higher things. But afterward, we find that every villain loves classical music. The example that springs to mind is Hannibal Lector and the Goldberg Variations.

One interesting point Ross makes is that while there were few religious pieces written by major composers in the 19th century, the 20th century teems with them--everyone from Stravinsky to Messaien to Arvo Part. (He calls works like the Verdi and Berlioz Requiems concert music with Latin text, which is fair enough.)

Ross' book reminds me that we tend to forget how really beautiful a lot of 20th century music is: Messaien, Stravinsky (Symphony of Psalms), Shostakovich, Part, Adams and on and on. I will forgo the near-obligatory list of people he left out or said too much about.

This book is possibly the best history of 20th century music I have read and I have read most of them. It is refreshingly free of adherence to one camp or another and, while idiosyncratic, is enjoyably so. I would say that this would be the book on 20th century music I would most recommend even to a non-musician.

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Saturday, July 19, 2014

^ PDF Download Illness As Metaphor, by Susan Sontag

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Illness As Metaphor, by Susan Sontag

The fantasies concocted around cancer and around tuberculosis in earlier times, undergo close examination in Susan Sontag's brilliant book. Her subject is the unreal and often punitive uses of illness as a figure or metaphor in our culture. Her point is that illness is not a metaphor, and that the most truthful way of regarding illness - and the healthiest way of being ill - is to resist such metaphoric thinking.

  • Sales Rank: #617042 in Books
  • Published on: 1978
  • Number of items: 1
  • Binding: Hardcover
  • 87 pages

Most helpful customer reviews

9 of 11 people found the following review helpful.
The Right Disease
By Michael E. Nader
This is one of those books that both define a literary figure of speech and gives you examples of it throughout written works of the ages.
TB was a 'good' disease---it made you seem aesthetic, sensitive, loving. Cancer is a 'bad' disease---it makes you nasty. Read this book and find out why.

2 of 2 people found the following review helpful.
Excellent
By Hung Tran
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Wednesday, July 16, 2014

>> Ebook Download The Unburied, by Charles Palliser

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The Unburied, by Charles Palliser

A riveting historical murder-mystery by the bestselling author of The Quincunx.

There are three separate tales interwoven in this novel-three tales that could be called ghost stories, for their mysteries can never be resolved, the victims and the perpetrators never laid to rest.

Dr. Courtine, an unworldly academic, is invited to spend the days before Christmas with an old friend. Twenty years have passed since Courtine and Austin last met, and the invitation to Austin's home in the cathedral close of Thurchester is a welcome one. When Courtine arrives, Austin tells him a tale of deadly rivalry and murder two centuries old. The mystery captures Courtine's donnish imagination, as it is intended to do.

Courtine also plans to pursue his research into another unresolved and older mystery in the labyrinthine cathedral library. If he can track down an elusive eleventh-century manuscript, he hopes to dispose of a deadly rival of his own. Doubly distracted, Courtine becomes unwittingly enmeshed in the sequence of terrible events that follows his arrival, and he becomes witness to a murder that seems never to have been committed.

  • Sales Rank: #1616372 in Books
  • Published on: 1999-11-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.60" h x 1.34" w x 6.16" l,
  • Binding: Hardcover
  • 400 pages

Amazon.com Review
Though putatively a mystery set (mostly) in the Victorian age, Charles Palliser's The Unburied has more in common with Umberto Eco than Arthur Conan Doyle. Like The Name of the Rose, this novel is set in a scholarly community and features a lost manuscript as the McGuffin of choice. And here, too, the mystery is not really what the book is about at all. Palliser's tale centers on Edward Courtine, a Cambridge don with a bee in his bonnet about Alfred the Great. It doesn't take a great medievalist to figure out that Courtine has allowed emotion to cloud his reason concerning the Saxon monarch: his version of Alfred's life and character is so forgiving as to be downright suspicious.

When it is suggested that a source dear to his heart may in fact be fraudulent, he accuses his critics of cowardice. According to Courtine, those revisionist scoundrels doubt the veracity of his beloved source "because their own self-serving cynicism is reproached by the portrait of the king that Grimbald offers. You see, his account confirms how extraordinarily brave and resourceful and learned Alfred was, and what a generous and much-loved man." Now Courtine has come to the cathedral town of Thurcester because he believes Grimbald's original manuscript may be in the cathedral library--a manuscript that he hopes will validate his own version of the great king's reign.

Palliser takes his time setting up his story, seeding it with clues that more often than not lead to dead ends. We learn, for example, that Courtine was once married, that his wife ran off with another man, and that he blames his school pal Austin Fickling for the rupture in his marital bliss. Dark doings at the cathedral are also hinted at, with quite a lot of space devoted to a murder that occurred centuries earlier. Meanwhile, ecclesiastical renovations turn up some unpleasant surprises--and as yet another murder ensues, Courtine is swept up in less scholarly pursuits. As the hapless academic (a Watson without a Holmes) pursues one red herring after another, it becomes apparent that Courtine's psyche is the real mystery on hand. History, he discovers, can obscure as much as it elucidates. All these years, his obsession with an idealized past has provided an excellent refuge from the realities of his present. In the end, what he uncovers is the secret of himself--and the reader of The Unburied is treated to a fine ghost story, in which the ghosts are quite literally all in the mind. --Alix Wilber

From Library Journal
Palliser has created another tour de force of intricate plotting and darkly Victorian atmosphere. As with the best-selling The Quincunx, the reader is compulsively absorbed by tantalizing partial truths and vague foreshadowings, though coincidence plays a less intrusive role here. On a visit to an old school friend in Thurchester, England, professional historian Courtine looks forward to doing research in the cathedral library and renewing ties; he does not expect to become embroiled in a controversy surrounding a centuries-old mystery, nor does he anticipate being a major witness to a gruesome murder. Palliser brilliantly portrays the vicious rivalries particular to self-contained religious and educational institutionsArivalries that have been repeating themselves for 250 years since the horrific death of Canon Treasurer William Burgoyne and the mysterious disappearance of the Cathedral Mason Gambrill. This riveting story is as much psychological thriller as it is mystery. Highly recommended.
-ACynthia Johnson, Cary Memorial Lib., Lexington, MA
Copyright 1999 Reed Business Information, Inc.

From Booklist
With his two previous novels--The Quincunx (1990) and The Sensationist (1991)--Palliser established himself as a masterful writer whose atmospheric Victorian mysteries challenge readers' intellects as well as their curiosity. His long-awaited third novel won't disappoint. A gripping and provocative tale again set in the nineteenth century, the story centers around an eminent historian, Dr. Courtine, who is invited to visit his old friend Austin Fickling. The two parted on chilly terms decades earlier after Courtine accused Fickling of destroying his marriage, but Courtine sees Fickling's invitation as an opportunity for a reconciliation. And the invitation offers an excellent opportunity for Courtine to pursue, in the local cathedral library, his research on an unsolved eleventh-century murder. But when Courtine arrives, he finds Fickling nervous, secretive, and hostile, and Courtine senses that a sinister motive fueled Fickling's invitation. Ghostly midnight visits, a malodorous discovery beneath the cathedral floor, and a shocking truth revealed in the library's ancient texts add to Courtine's unease. Then an eccentric banker is murdered moments after Courtine and Fickling leave his house, and suddenly the sense of foreboding has turned into something real and lethal. This rich, hypnotic, cleverly constructed morality tale is must reading both for Victorian mystery lovers (see Anne Perry, below) and for those who like literarily sophisticated crime novels similar to Caleb Carr's The Alienist. Emily Melton

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43 of 48 people found the following review helpful.
"It is a riddle wrapped in a mystery inside an enigma." WSC
By taking a rest
The title of this review was borrowed from Sir Winston Churchill. I use the quotation here, as I believe it describes this book beautifully. This book is my first introduction to the work of Mr. Palliser who was unknown to me prior to this volume. I actually bought the novel based upon a quote on the jacket that referred to Mr. Palliser unburying the Author Wilkie Collins as well as others not named. Mr. Collins is credited by some for creating the mystery novel, and is known for such works as "The Moonstone" and "The Woman In White". He was a friend of Charles Dickens and they published a paper together for a time. Some Scholars suggest that the book Mr. Dickens was writing but died before finishing; "The Mystery Of Edwin Drood" was influenced by Mr. Collins. This is one of the top 10 books of this genre I have ever read. I actually bought the Author's previous book "The Quincunx" before I had reached the mid-point of "The Unburied". If as some have written the book prior to this was even better, I look forward to it being astonishing. If it were only as good as this book, I would be thrilled. The book has an interesting structure with an unusual Note at the beginning and end. I will say no more than that. Between those notes is a mystery of the highest caliber. Characters whose names are reminiscent and a tribute to Dickens, not simply badly copied. A plot that while complex can be followed but the reader must pay careful attention. Paper and pen to diagram relationships amongst the players does not hurt, it also allows you to continue hypothesizing when reading is impractical. For those who like naming the conspirators or detailing the crime before the book reveals it's secrets, just as objects and people, both living and dead, throughout the book do, will I believe find this tale wonderfully frustrating. It keeps its secrets until the end, but there is more. Every time you are tempted to think aha! I got it; a few pages later will have you questioning how you ever could have had such a solution. And the Author does not use simplistic literary tricks, the information is there, the reader has to find it. This Author pays tribute to his readers by challenging them to match wits, as opposed to handing down a cliché or re-write of a familiar tale. Mr. Palliser makes you work, he makes you think, he offers bits of information that are false leads unless you catch them before being duped, and admitting for the 10th time your aha! was really another trap presumption led you into. The book is like the wind and the Author the wind's master, your hat or paper are blown from you, and each time it pauses and you reach away it flies once more. When you finally grasp it you stand to find you have been lead into a Labyrinth, and the task you thought was complete has just begun. Get this prize of a book you will not be disappointed. I am off to start The Quincunx!

40 of 45 people found the following review helpful.
Dickens revisited
By Alan D Collins
Charles Palliser once again scores with a crisply written English and stylishly legal/murder 'who done it'!
Thrusting the reader into the 19th century, Palliser's haunting prose is vivid and enthralling.
This is not a book for those who do not like twists and turns, although this book is easier than Pallisers masterpiece, The Quincunx (which I have read 5 times at last count!).
Palliser uses intriguing techniques to tell his story - an editors Foreward followed at the end by an editors Afterword, in which the mystery is more clearly defined. There is a ghost-story, tales of King Alfred, and even a fairy tale thrown in for good (or should I say bad?) measure. It's a wonderful mix!
In this book, you can feel the English countryside - its fogs and mists and rains and gloom-laden scenery; its strange mixture of suspicious and creepy characters. It is a quintessentially English novel - every page evokes emotions; I found myself drifting off into the English countryside I once knew well so vivid are the descriptions.
This is a book to be read in one sitting, preferably beginning late afternoon, settling into a cozy chair by a roaring log fire, glass of red wine to hand. As darkness descends, and, with luck, the rains begin and the winds rattle the windowframes, the added atmosphere will add to the excellent story-telling.
Savor the wonderful language. It is a pleasure. Its the English language that should be - like Mervyn Peake and J R R Tolkien.
Enjoy! And, for those who have not read The Quincunx I urge you to rush to read it. The Quincunx is truly sensational!

21 of 23 people found the following review helpful.
Not easy, but ultimately satisfying
By A Customer
Several years ago I had the great pleasure of reading Charles Palliser's magum opus, the Quincunx. As a long devotee of Dickens, I found this great book to be a wonderful re-creation of the world of Dickens. When the Unburied was published, I immediately bought it. Twice I was able to make my way to about page 100, but for various reasons never made it beyond that point. It simply didn't pull me all the way in and I let myself be drawn to other books and other demands of life.
Ten days ago I decided that I was going to finish the book, come hell or high water. I'm glad I did because it's a very good novel. Once I made it to page 150 I was hooked and finished the book in a large gulp.
This novel requires patience and an ability to keep a lot of facts and clues straight. There is a multi-leveled story set in the Victorian times involving a murder, a literary mystery about King Alfred, a recounting of cathedral politics in the 17th century, a fairy tale, and several other sub-plots.
In the end, the read is well worth the effort. Palliser is particularly good at creating atmosphere ( in this case dark, foggy and wet) and in fleshing out memorable characters.
But this isn't a book for those who want a quick, easy read. However, if you're willing to invest some effort, I recommend the book.

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Monday, July 14, 2014

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Jack London: An American Life, by Earle Labor

A revelatory look at the life of the great American author―and how it shaped his most beloved works

Jack London was born a working class, fatherless Californian in 1876. In his youth, he was a boundlessly energetic adventurer on the bustling West Coast―an oyster pirate, a hobo, a sailor, and a prospector by turns. He spent his brief life rapidly accumulating the experiences that would inform his acclaimed bestselling books The Call of the Wild, White Fang, and The Sea-Wolf.

The bare outlines of his story suggest a classic rags-to-riches tale, but London the man was plagued by contradictions. He chronicled nature at its most savage, but wept helplessly at the deaths of his favorite animals. At his peak the highest paid writer in the United States, he was nevertheless forced to work under constant pressure for money. An irrepressibly optimistic crusader for social justice and a lover of humanity, he was also subject to spells of bitter invective, especially as his health declined. Branded by shortsighted critics as little more than a hack who produced a couple of memorable dog stories, he left behind a voluminous literary legacy, much of it ripe for rediscovery.

In Jack London: An American Life, the noted Jack London scholar Earle Labor explores the brilliant and complicated novelist lost behind the myth―at once a hard-living globe-trotter and a man alive with ideas, whose passion for seeking new worlds to explore never waned until the day he died. Returning London to his proper place in the American pantheon, Labor resurrects a major American novelist in his full fire and glory.

  • Sales Rank: #376445 in Books
  • Published on: 2013-10-01
  • Released on: 2013-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.17" h x 1.51" w x 6.43" l, 1.61 pounds
  • Binding: Hardcover
  • 480 pages

From Booklist
*Starred Review* Jack London (1876–1916) improvised a fast-burning life of reckless adventure that served as the wellspring for his magnificently dramatic writings, from The Call of the Wild to Martin Eden. A good student and insatiable reader ever-grateful for the public library in Oakland, California, young London, poor and fatherless, worked demeaning jobs, then took to sea as an oyster pirate. He learned to fight and drink and became a socialist and constant wanderer. His Klondike escapades yielded a gold mine of stories and inspired his lifelong practice of writing 1,000 words a day, no matter what. London scholar Labor extracts every drop of excitement, folly, romance, creative ecstasy, grueling effort, and despair from the vast London archives, including the relentless press coverageof his exploits. What writer today could ignite the front-page frenzy that surrounded London and the love of his life, Charmian? His fearless second wife, literary accomplice, and stalwart companion on perilous South Sea journeys, Charmian kept a diary from which Labor extracts riveting disclosures leading up to her robust, sexy, carousing husband’s precipitously failing health and early death. Labor’s unceasingly vivid, often outright astonishing biography vibrantly chronicles London’s exceptionally daring and wildly contradictory life and recovers and reassesses his complete oeuvre, including many powerful, long-neglected works of compassionate, eyewitness nonfiction. Let the Jack London revival begin. --Donna Seaman

Review

“A lively and authoritative biography.” ―Caleb Crain, The New Yorker

“Labor is the world's foremost Jack London scholar. His working-class background and deep erudition make him the right man to chronicle the life of this most popular American author. Now curator of the Jack London Museum and Research Center and emeritus professor at Centenary College in Louisiana, Labor has produced what will most likely remain the authoritative biography for generations to come . . . If you want to acquaint yourself with the writer whom much of the rest of the world equates with Melville, Hemingway and Faulkner, then begin with Labor's elegantly written, thoroughly researched and steel-eyed biography. He fills in the gaps between London's impoverished youth, rise to fame and untimely death at the age of 40--in brilliant and plain prose that does honor to London himself.” ―Eric Miles Williamson, The Washington Post

“Mr. Labor--an excellent writer, who knows the London canon backward and forward, brings this most American of authors to vivid life. Jack London: An American Life is almost as much fun to read as its subject's best work . . . Mr. Labor, a professor of American literature at Centenary College in Shreveport, La., is the country's foremost London scholar. He wisely lets London's life and art unfold without judgment. Despite his continuing popularity, London has often been dismissed as a mere writer of boys' tales. But at his best he is among the greatest writers that this country has produced. If you want proof, just read his short story ‘To Build a Fire' and then read this terrific book.” ―John Steele Gordon, The Wall Street Journal

“[A] first-rate literary biography . . . [an] authoritative new life of Jack London (1876-1916) . . . Earle Labor's Jack London: An American Life doesn't take away any of its subject's glamour or fascination. To the contrary. The book is not just definitive, as one would expect from the major London scholar of the past fifty years, it is also exceptionally entertaining . . . As Earle Labor makes clear in his fine biography, Jack London was a remarkable man and a writer of impressive variety, richness, and accomplishment.” ―Michael Dirda, Virginia Quarterly Review

“What a life. What a man. What a book. Only superlatives can describe this definitive biography of the nation's most popular and successful novelist of the early 20th century . . . Earle Labor has devoted much of a lifetime to the study of London and his works and has given us a book so meticulous in its fast-moving detail that the reader feels he is almost at London's side . . . Biographer Earle Labor summarizes Jack London succinctly: ‘… few writers mirror so clearly the American Dream of success and the corollary idea of the Self-Made Man.'” ―Pete Hannaford, The Washington Times

“Earle Labor's new book about London, subtitled ‘An American Life,' is an obvious labor of love (no pun intended). As curator of the Jack London Museum and Research Center in Shreveport, La., and professor emeritus of American literature at Centenary College of Louisiana, Labor is the acknowledged national authority on the life and work of London. Labor's work was graced by personal friendships with London's two daughters, Joan and Becky, as well as his own discovery of Charmian London's personal diaries in a safe at the ‘Cottage' in Sonoma, Ariz.--diaries that London's wife herself called ‘disloyal' because of their intimate frankness. To these new sources were added a number of previously undiscovered London letters and discussions with the descendants of London's bohemian friends in the Bay Area . . . Labor sets out to ‘neither maximize nor minimize' [London's faults] but only to accept London on his own terms as a natural-born seeker; a gifted artist of exceptional intelligence, sensitivity and personal charisma; a man driven by a Nietzschean outlook on life at a time when literature was stuck between Victorian romanticism and the modernism that wouldn't be born until after the First World War . . . Labor's book recalls the man himself with great charm of manner.” ―Gaylord Dold, The Wichita Eagle

“[Jack] London scholar Labor extracts every drop of excitement, folly, romance, ‘creative ecstasy,' grueling effort, and despair from the vast London archives, including the relentless press coverage of him . . . Labor's unceasingly vivid, often outright astonishing biography vibrantly chronicles London's exceptionally daring and wildly contradictory life and recovers and reassesses his complete oeuvre, including many powerful, long-neglected works of compassionate, eyewitness nonfiction. Let the Jack London revival begin.” ―Donna Seaman, Booklist

“[Labor's book is a detailed, almost page-turning biography of London's life . . . But Labor . . . offers much more than straight biography: he depicts London's writing habits, which jibe with the autobiographical fiction . . . Labor's details--London in elementary school, London drinking alcohol, London at sea, and so on--reveal the writer in life asserting his life as a writer. Labor verifies what happened, blow by blow, and what happened in London's life because the fiction that only he could write . . . Highly recommended.” ―A. Hirsh, American Library Association

“At long last, Jack London gets the authoritative biography he so richly deserves. Earle Labor is the true-blue dean of London studies. This portrait is brilliantly researched, elegantly written, and brimming with new facts about the brave author of The Call of the Wild. Highly recommended!” ―Douglas Brinkley, professor of history at Rice University, fellow at the James A. Baker III Institute for Public Policy, and author of Cronkite

“There was a time―before the Great War and the frontier’s closing drove the creative spark inward―when American novelists launched the reader off into unfettered narratives as raw, brawny, explosive, and drenched in gritty personal experience as the nation that inspired them. Jack London was among the last of the great ones. Now comes London’s London, the biographer

Earle Labor, to turn the light of truth-telling back upon this magnificent half-forgotten outlaw of our literature.” ―Ron Powers, author of Mark Twain: A Life

“Not so long ago, Jack London was considered a literary titan and a great American hero akin to Mark Twain and Ernest Hemingway--as famous for his wild adventures as for his bestselling books. Earle Labor's eloquent, deeply researched biography has brought London and his fascinating world back to life in all its vivid, colorful detail. This will stand as the definitive biography of London for many years to come.” ―Debby Applegate, winner of the Pulitzer Prize for The Most Famous Man in America: The Biography of Henry Ward Beecher

“In Jack London: An American Life, Earle Labor sifts through the myths of London's self-invented ‘American Kipling' persona to reveal a remarkable and at times remarkably frustrating man. London was famously charismatic, but to those closest to him, he could be vindictively cruel. He was ambitious and productive--he published 50 books before he was forty, Call of the Wild when he was only 27, and wrote 1,000 words every day without fail--but was also a depressed and self-destructive alcoholic. He may have even been bipolar. Despite being the best-selling author of his day, London was constantly broke, often writing to pay his debts. He was an adventurer and thrill seeker, but also an ardent radical socialist. Labor captures all these facets of his, as his wife Charmian put it, ‘kaledoscopic personality,' while still conveying his remarkable talent and obsessive self-improvement. The London in An American Life is as fascinating for his turmoil and dysfunction as he was in his time for his globetrotting and adventuring.” ―Thomas Flynn, The Daily Beast

“Earle Labor, a scholar whose academic career focused on the life and works of Jack London, has written an exceptionally well-documented, and, if there is such a thing, authoritative biography of one of America's great writers . . . Labor, a professor emeritus of American literature at Centenary College of Louisiana and curator of a Jack London research center there, draws heavily from letters and diaries to tell London's life story in rich detail, with much attention to his declining health even as London pursued his final adventures. This biography is well-written, though not a breezy narrative, and should be satisfying to anyone who loved reading London's books.” ―David Shaffer, The Star-Tribune (Minneapolis)

“[A] loving biography of the writer . . . Recognized as the dean of Jack London studies, Labor has been an active London scholar for 60 years, has edited volumes of his stories and letters, and curates the Jack London Museum in Shreveport, Louisiana . . . Labor's effort is likely to be as definitive a treatment as anyone needs . . . Earle Labor leads us skillfully through the many ‘stories' that constituted London's life: working as an adolescent in a cannery and as an ‘oyster pirate' on Oakland's waterfront; going on a seal hunt in the Bering Sea; riding the rails across America, with an interlude of 30 days spent in the Erie County Penitentiary for vagrancy; finding out how the poor live in London's East End; joining the gold rush to the Klondike; running for mayor of Oakland on the Socialist ticket; sailing to the South Pacific and visiting Robert Louis Stevenson's grave in Samoa; observing cannibals in the Solomon Islands.” ―William H. Pritchard, The Weekly Standard

“In this comprehensive account, more richly detailed than any prior biography of Jack London, Earle Labor debunks common myths. This is a London revealed by his personal writings, along with accounts from those who knew him best. Labor's crisp prose quotes extensively, allowing the reader to interpret the full character of this noted writer, rancher, and traveler. In placing London within the context of the tumultuous Progressive Era, Labor further explains the contradictory choices and beliefs of this complex individual. The result limns a portrait of a brilliant, creative, sensitive yet self-assured man who died prematurely, on the cusp of still greater offerings.” ―Clarice Stasz, author of Jack London's Women

“This engrossing biography paints a sympathetic (though not uncritical) portrait of London's dynamic ambition and energy. Born in San Francisco in 1876 to an impoverished single mother, London (White Fang) took up factory work to support his household while still a child, and by age 18 had worked as an oyster pirate, sailor, and rail-riding hobo. Omnivorous reading and sporadic education fueled his desire to write, and a year spent surviving the Yukon Gold Rush (1897–1898) provided him with inspiration for his earliest nonfiction and fiction. As rendered by Labor (The Portable Jack London), London's official biographer and curator of the Jack London Museum in Shreveport, La., London was a complex and often contradictory individual--a writer who turned every experience into literary fodder; who disciplined himself to produce 1,000 words per day; and whose by-his-bootstraps lifestyle fueled his devotion to socialism and social justice. But London's enthusiasms also had their dark side: he was a reckless spendthrift who had to churn out mountains of copy for pay to stay ahead of his creditors; he was an incautious celebrity whose public exploits often made him tabloid fodder; and he was a free spirit who could be self-destructive at times. Here, London emerges as a rugged adventurer with a soft heart, and a larger-than-life character who might have figured as the hero in one of his own brawny bestsellers.” ―Publishers Weekly

“[Jack London] may prove the definitive biography of the sailor-adventurer-prospector turned rancher-author . . . The biography delivers a riveting portrait of his subject, drawing on letters and reminiscences of brawls and drinking incidents from London's youth . . . The incidents in London's life are delivered in a literate, colorful and compelling manner . . . The new work further cements Labor's place, and Shreveport's, in the world of Jack London studies. A fixture at the local college more than 50 years, Labor's efforts and scholarship and the largesse of the late alumnus-trustee Samuel Peters brought to Centenary the Jack London Research Center, drawing students, scholars and Londonistas from around the globe.” ―John Andrew Prime, The Shreveport Times

“I rarely read biographies such as this--accurate, gripping, written like an adventure book but always with an understated sense of reality that reminds the reader this really happened.” ―Davide Sapienza, Italian translator of Feltrinelli's edition of Call of the Wild

“Quite a few books have been published recently about Jack London's fabulous life, but Earle Labor's Jack London: An American Life is undoubtedly the definitive biography. Written by the internationally acknowledged maestro of Jack London studies, the book demonstrates both the detailed scholarly documentation and the intelligent empathy with London's complex mindset that one has missed in previous biographies (which, incidentally, have also been vitiated by sensationalist canards about London's alleged drug addiction, homosexuality, and suicide).” ―Per Serritslev Petersen, University of Aarhus, Denmark

“A highly sympathetic, knowledgeable portrayal strives to correct the ‘caricature' of this dynamic, brief life. Having tracked his subject's career since his scholarly research on London in the 1960s, Jack London Museum curator Labor . . . is an ideal biographer to capture the dazzling spirit and adventures of the acclaimed American author . . . As Labor fondly delineates, London did live large, seeming to be in a terrible hurry, starting with his childhood digestion of stories by Washington Irving, Poe, Stevenson and Kipling. He crammed his higher education into a few months and then restlessly took off again for the high seas, writing and speaking widely on socialist issues involving exploitation of the workers and social justice, diving into passionate love affairs and embarking on South Pacific adventures in his custom-made boat. All the while, London wrote like a fevered soul--1,000 words per day without fail--following what he called ‘the spirit that moves to action individuals and peoples, which gives birth and momentum to great ideas.' Labor grasps the fire and fight of this most American of authors. A vibrant biography that will surely entice readers back to the original source.” ―Kirkus

“[Labor's] affectionate, meticulous and beautifully written Jack London: An American Life . . . [is] the definitive biography of the iconic ‘American Kipling.'” ―Tom Lavoie, Shelf Awareness

“If any biography [of Jack London] is definitive, it is probably Labor's . . . Jack London lived to the fullest, saying, ‘We only live once, and we'll be dead a long time.' People will be reading him, and about him, for a long time.” ―Bruce Ramsey, The Seattle Times

“In Earle Labor's biography of the literary icon, Jack London: An American Life, London comes across as a complex, larger-than-life man. Dozens of biographies have covered London's life and work, but Labor's is an especially well-balanced, thoughtful and definitive account.” ―Leslie Ashmore, Los Altos Town Crier

About the Author
Earle Labor is the acknowledged major authority on the novelist Jack London and the curator of the Jack London Museum and Research Center in Shreveport. He is also Emeritus Professor of American Literature at Centenary College of Louisiana.

Most helpful customer reviews

34 of 36 people found the following review helpful.
The truth about Jack London by world reknown scholar
By ookkees
Over 40 years in the making, this biography is built solidly upon original research into the life of Jack London. Well-known myths and fallacies are left behind leaving only the truth to shine through. Dr. Labor has striven for the utmost accuracy, revealing both the bright and dark sides of his subject. Did Charlie Chaplain once impersonate a waiter to serve Jack London and Wyatt Earp at a Los Angeles Restaurant as one report states? He very well may have, but the episode is NOT in this book because it could not be independently verified. That is the accuracy for which he has striven.

London's life was as much of an adventure as any of his best books...and was the basis for much material in his books. If there is one shortcoming to this biography, it is the limitation of space. Much interesting material had to be jettisoned in order to fit the work into the space allowed by the publishers. Still, if you only read one biography of Jack London, this is the one it should be. You cannot choose a better one.

27 of 31 people found the following review helpful.
An Unexpected Disappointment
By Simple Jack
Any number of biographers have tackled Jack London's extraordinary life, and there are plenty of choices out there for those who wish to find out about his origins and life's work. The most widely-read of these include "Sailor on Horseback" by Irving Stone; "Jack" by Andrew Sinclair; and more recently "Wolf" by James Haley.

Of these, the iconic tome remains Irving Stone's, written just two decades after London's death and published in 1938. Irving Stone himself is one of the great authors of the mid-twentieth century, and his "Sailor on Horseback the Biograhy of Jack London" is an excellent piece of work. Stone had the full cooperation of Charmian London (Jack's second wife) as well as many other people who knew London well and were still available for interviews and as sources of raw material. "Sailor on Horseback" reads right along, and accords Jack London a gracious and truthful respect, lauding his hard work, vision, imagination, and most importantly, London's humanity, which was his most outstanding trait.

"Jack London,: A biography" by Richard O'Connor was published in 1964, and is a good read, with a number of interesting details not found in most biographical work on London, even today. O'Connor still, however, makes occasional attempts to hit below the belt, like most of London's biographers. It was followed by Andrew Sinclair's "Jack: A Biography of Jack London" (1977), which adopted a mildly snide tone (chalk it up to an old grudge over "The People of the Abyss") and a new perspective of judging London by polite, upper-middle class mores. There were some fresh details about some of London's experiences, but Sinclair's book -- which remains a worthwhile read -- provided nothing truly revelatory.

In 1997 Alex Kershaw's "Jack London: A Life" made its appearance. Very much like Richard O'Connor's book, Kershaw's biography ranges from magnanimous to vituperative, but its closing chapter (which should have been its opening premise) redeems Kershaw to a great degree. However, Kershaw actually takes the step of suggesting Jack London's views on race were similar to Adolf Hitler's, an outrage in utter contradiction to London's socialist views and well-known humanism.

Next in the upper tier of London biographies was James Haley's "Wolf: The Lives of Jack London." While Haley accords Mr. London quite a bit more respect than does Mr. Sinclair -- as one author of limited talents attempting to render an understanding of another of towering and enduring skill -- it is laced with what seems envious innuendo regarding London's sanity and sex life, and retains the haughty, bourgeoisie indictment of London for failing to properly raise his daughters, among other social missteps. It also continues the misunderstanding of London's racial perspectives, an unveracious canard floated by academics such as Professor Kevin Starr in his lengthy, but rather unstrengthy, series of books on California history.

At about the same time as Mr. Haley's work arrived, Jeanne Campbell Reesman published a paean to the academic elite, Jack London's Racial Lives: A Critical Biography, explaining the reasons for Mr. London's inclusion of race relations in his work. (The backstory here is that London used some terms and described some situations -- as did Mark Twain and many other authors of his time -- that are now considered politically incorrect or offensive by today's standards. For some reason, London has been keel-hauled for this, while Twain and others were given a free pass). Reesman attempts to explain London's inclusion of racial issues in his work as a result of an incredibly complex early life, where the young author-to-be was surrounded by peoples of all colors and ethnicities, but was apparently influenced by some very bad authority figures, including his mother. Reesman's book is practically indecipherable, loaded with academic jargon and all manner of racial and social equations intended to elevate its author to the status of literary clinician. The book, mostly incoherent, does Jack London far more harm than good. Reesman's lack of credentials as a psychologist, philosopher, or anthropologist don't do her much good here in supporting her thesis, in any event.

Now we come to Mr. Earle Labor's "Jack London: An American Life". Mr. Labor has been studying Jack London for many decades, and, according to the dust jacket notes, is the "major authority" on Jack London. (Labor has been associated with Jack London "scholarship" for many decades, but I would take exception to notion that he is the "major" authority on London; many other fine men and women have contributed to the body of work concerning Jack London, and some have added material of great significance.)

This is a book I wanted to like and worked hard at doing so. However, I found it impossible. The notes on the dust jacket suggest the book is rife with new details regarding London's 40 years on this Earth, but they were really few and far between, and not especially significant.

What is far more important with respect to Mr. Labor's book are the details he left out, and the now all-too-familiar pronunciation of polite society's judgment on Mr. London. Jack London was a self-educated man, or "auto-didact" as such folks are called by the academic community. Without question, London's astonishing and rapid rise as an author did not sit well with many of that ilk, and that point of fact has irked a fair number of them over the decades. George Orwell -- who could be said to have derived much of the plot for "1984" from London's socialist classic "The Iron Heel," nonetheless called London's work "crude". The noted literary critic H. L. Mencken disparaged London for his lack of formal education, all the while freely admitting of his genius. Labor, an Emeritus Professor of Literature, strives to be humane, compassionate, and objective, but the strictures of his position, and associations with various organizations purporting to be authorities on Jack London, are clearly evident in this newest biography.

The most important event at issue here is the possibility that Jack London committed suicide. Irving Stone's book strongly suggests this quite probable, but stops short of stating it as fact. It seems that suicide is a shameful act and there has been quite a movement for some few decades now to squash Irving Stone's suggestions, perhaps beginning with Professor Labor's "Open Letter to Irving Stone." Labor is certainly the man for the job, for he completely omits many of the evidentiary details included in Stone's work and dismisses Stone as a liar. I suspect the possibility London may have in fact killed himself, or unintentionally overdosed on drugs, is not particularly palatable to a certain segment of his followers in the academic community; it's certainly not something done by a gentleman. But for Professor Labor to simply skewer Irving Stone as a bald-faced liar when Stone presents strong evidence in support of a possible suicide or drug overdose is a problem in a world where ample evidence for such a possibility has been long-established. In fact, biographer Andrew Sinclair commented in late 2014 regarding the cause of Mr. London's death that "London's inheritor, Milo Shephard, on the Wolf House ranch showed me the syringes and ampoules that killed him: an unpremeditated overdose of morphine and atropine sulphate, wrongly diagnosed as uraemia." Moreover, Mr. London's own daughter has twice supported the idea her father took his own life, in both "Jack London & His Times" and in her later book, "Jack London and His Daughters". In the latter volume, Ms. London states, "He died on November 22; mercifully, for some time we did not know that he had taken his own life." If ever there was a prime source for material regarding Jack London, his daughter would have to be at least nominally included.

Beyond this, Labor continues the tradition of dismissing London's first novel, "A Daughter of the Snows" as "a clumsy Klondike romance". In fact, it's a very readable book, and an important part of the chronicling of American history, with vivid, stunning descriptions of life during the Alaskan gold rush; and perhaps more importantly, it features a very strong, capable, well-rendered female protagonist (Frona Welse) who (unlike Maud Brewster) is free of the usual tropes and quite credible. He also dismisses many of London's more obscure short stories as hack work, calling "The Passing of Marcus O'Brien", "The Unparalleled Invasion", "The Enemy of All the World", "A Curious Fragment" and "The Dream of Debs" "second-rate". While a couple of these might not keep one up at night turning pages, "The Unparalleled Invasion" is truly visionary, describing the use of WMD's and aerial bombardment long before it become a reality, and interspersing then-current political realities with prognostications that have proven eerily accurate. (Interestingly enough, Alex Kershaw cites "The Dream of Debs" as being one of London's better short stories and is far more magnanimous with respect to Jack London's later and lesser-known work, showing there is clear disagreement in the journalistic and academic communities on these points.)

Labor also utterly trashes the novel "Jerry of the Islands", suggesting the dog "Jerry" does little more than round up native labor for the copra plantations. This, in my view, is the most egregious of mischaracterizations. Professor Labor truly appears not to have even read "Jerry of the Islands". The book is one of London's best, not simply for its descriptions of the brutal conditions of life in the Solomon Islands, but for its obvious rebuttal of President Theodore Roosevelt's famous and controversial "Nature Faker" accusation. One of Jerry's adventures is a stint with a blind, elderly islander who is attacked by a group of young native thugs. The blind man has trained Jerry to not only communicate and count using a series of soft barks, but to point out the location of the enemy combatants, enabling him to ultimately defeat them with well-placed arrows. Because of its intense and thorough treatment of animal psychology, this book is one of London's most important, but like "Martin Eden", it is not well-known and certainly deserves better than this summary dismissal.

The remainder of the book is, in my view, somewhat plodding, if generally accurate and competent. Where "Jack London: An American Life" really fails is in generating a new, vibrant interest in Jack London's lesser-known work, which is a rich treasure trove of not only writing of the first quality, but of the times in which London lived. By so easily overlooking and even denigrating London's "other" work, Labor fails in precisely what one ought to expect from a Professor of Literature: to instill a new wonder and curiosity in readers about one of America's -- and the world's -- greatest authors.

For this reason alone, I will continue to recommend "Sailor on Horseback" as the best of the London biographies; Stone treats London with the respect, compassion, and yes, at times, even the awe that he's earned as a writer and adventurer, without attempting to hide his flaws in some kind of misguided whitewash. Where Labor's book may yet play an important role is in introducing new readers to Jack London; I just hope those readers can find a copy of "Sailor on Horseback" to get the rest of the story.

9 of 10 people found the following review helpful.
In-depth review: the life of a "self-made man"
By John L Murphy
As an early pal saw Jack, he strove "to be the conqueror". This, Earle Labor argues, was London's greatest asset and his greatest liability. After a second lowly paid and repetitive, dangerous job feeding a machine, he refused to bow to the "work-beast" again.

Instead, he relied on his strength, his determination, and his wits. He finally sold a couple of "yarns" at the age of twenty-one. Most writers at this stage would have little to go on from their experience. Jack had plenty.

Labor takes us through the early years, already crammed with possibilities for the later London to draw upon. As a teenager, Oakland cannery worker, oyster pirate, fish patrolman, hobo, able-bodied seaman, he did all this before returning to high school and, briefly, the U. of Cal. Although he had to drop out to work again, after his menial labor, he vowed to find a better way to make a living.

Then, the 1897 Klondike Gold Rush spurred him and his uncle north to the Yukon. Labor memorably captures the excitement and dread of this hyped event. While we never learn how London eked out his five dollars worth of gold, this is not Labor's concern. He wants us instead to learn how Jack began to listen, watch, and ponder what he saw all around him. Out of this, soon after, nearly eighty stories would emerge when, finally, he left hard labor behind for a career as a paid writer.

What distinguished London from his contemporaries who had beaten him back to cash in on writing about the Klondike and the Northland, Labor finds, was Jack's "human interest, romantic imagination, and sympathetic understanding". He gets the silence in, the primitive pull of the landscape, where its woods and animals lurked, and where foolish men fell to the harsh climate. Although late to the rush to get the Yukon down on paper, London's fiction remains in print today.

A popular writer, one whom before Labor chose him for his dissertation in 1961 lacked respect among the professorial establishment, London for Labor represents not only a dynamic, clever hustler, but a man in thrall to his own vitality, however dampened by his weakness for alcohol--as a teenager, already he had a near-fatal poisoning one night. He scrapped, he connived, and he conned. He watched other men give in to weakness, and among tough guys, he soon got the hang of survival.

London wisely slowed down--somewhat--once he found a publisher. At a thousand words a day, six days a week, by 1900 this "Self-Made Man" was acclaimed as "the American Kipling" with a similar knack for conveying high-minded ambitions in vernacular, jocular terms, and with a commitment to convey on paper the voice and temperament of an observer vowing to remain "original". Both were inspired by Western efforts to colonize and civilize the wild reaches. Yet, Jack resisted imperialism.

Drawing on his own radical tendencies and encounters on the road of hobo and tramp sailor, London balanced his hard-headed nature to cash in as a professional, stable writer (he was the first to combine his reportage with photography) with his political and social concerns. His private life, with affairs with Anna Strunsky and Charmian Kittredge, rivals the scandals of his fictional characters or any of this era, surely; Labor tells the real stories adroitly.

Meanwhile, the Russo-Japanese War created more notoriety, and his divorce from Bessie still more. Restless, he wandered on the waters where once he stole oysters, and he toured the lecture circuit, preaching revolution. In 1905, he moved to the Valley of the Moon, his rural haven, fifty miles north of the Golden Gate: "I found my paradise.

In Hawai'i, he learned to surf, and in the Solomon Islands, as Labor interprets it, he and his partner saw misery to rival the colonial horrors evoked by Conrad's "Heart of Darkness." The physical ailments he acquired there worsened, and that and his carousing and drinking shortened his life.

More publicity followed. By thirty-five, London was "firmly established as headline copy for every newspaper in the country" and as Labor reminds us, before radio, the press possessed massive influence. Jack welcomed attention, but he also needed a rest, as his health suffered from the tropics. Inspired by the ranch and his love for Charmian, he wrote his longest novel, "The Valley of the Moon."

The unlucky year of 1913 signaled a decline. Although the highest-paid author in America, with a million books sold by Macmillan, he found himself pitching "crackerjack" serials as "a dog writer" to grab "the biggest public I have".

Late in 1916, despite or because of a daily diet of duck, he gave in to uremia. He was buried "beneath a giant lava boulder rejected by the builders of Wolf House". Labor concludes with a nod to the pilgrims who continue to visit the grave, nearly a century after London's death.

Those visitors continue to read London's fiction and journalism. Outside of this circle, for whom Earle compiles this intimately told account, fewer may recall much about this media-savvy author's impact. Labor amasses the details, drawn from reliable sources.

The subtitle has been applied by many previous chroniclers of other people's lives, but in Jack London's case, it fits well. Earle Labor has made London's life and work his lifework during the past half-century. Labor introduces a man who roamed not only the Americas but Asia. He set off when only a teenager. Labor corrects Jack's boasts by corroborating his claims against testimony of his friends and family-- and the historical record. Sympathetic to London's compassion, energy, and ambition, Labor compiles a sober, smoothly told, careful study which will prove a definitive, comprehensive biography. Labor emphasizes the life far more than any work, so this is not a critical examination of the writing, but a retelling of London's career.

While his results may cause the curious to marvel more at London's frenetic pace rather than the more than fifty books he found time to produce (and I closed this wishing for far more on the books and the stories, which by contrast or intent barely gain notice), his life remains engrossing. I am not a London specialist, so I came to this admittedly hoping for a critical biography. But, Professor Labor cannot be faulted for his thorough, well-documented, presentation of the life of an author he has followed since his own boyhood reading his "yarns".

Perhaps Jack London pioneered the style of the bestselling adventurer and rogue; his lecture tours anticipated the talk shows and book signings accorded his equivalents today. Separating the claims of many previous biographers from the facts, Labor's report of Jack's vital if too vigorous (given his premature demise) gadabouts tells his own brawny epic.

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