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Major new fiction from an acclaimed master

From the prizewinning writer Stuart Dybek comes a superb new work: a novel-in-stories, eleven masterful tales told by a single voice with remarkable narrative power. In I Sailed With Magellan, Dybek finds characters of irrepressible vitality amidst the stark urban landscapes of Chicago's south side; there, the daily experiences of the neighborhood are transformed in the lush imaginative adventures of his hero, the restless Perry Katzek.

There is remarkable music in each of Dybek's intertwined episodes, the rhythm of street life captured in all its emotional depth and unexpected humor: a man takes his young nephew to a string of taverns where the boy sings for his uncle's bourbon; a small-time thug is distracted from making a hit by the mysterious reappearance of several ex-girlfriends; two unemployed youths hatch a scheme to finance their road trip to Mexico by selling orchids stolen from the rich side of town; a young couple's amorous beach adventure is interrupted when an unexpected visitor washes ashore. As these poignant, often funny chapters unfold, Perry grapples toward the exotic possibilities the world offers him, glimpsing them even beneath the at times brutal surface of the inner-city.

Throughout I Sailed With Magellan, fans of Dybek will find the captivating storytelling, the sharp, spare prose, the brilliant dramatization of resilient, inventive humanity that they have come to expect from him.

• Sales Rank: #1774190 in Books
• Published on: 2003-11-15
• Original language: English
• Number of items: 1
• Dimensions: 8.25" h x .80" w x 5.50" l,
• Binding: Hardcover
• 320 pages

From Publishers Weekly
Dybek's third work of fiction (his first in over 10 years, after the story collections Childhood and Other Neighborhoods and The Coast of Chicago) comprises 11 elegiac, interlocking stories narrated by Perry Katzek, a young Polish-American growing up on Chicago's racially diverse South Side in the 1950s and 1960s. Although it lacks the narrative momentum of a linear novel, the book offers a powerful, cumulative portrait of the lives of Perry, his family and the people in his neighborhood, where "it seemed that almost every day someone lost teeth at one or another of the corner bars." "Breasts" follows three men with only tenuous connections to Perry, including Joey Ditto, a gangster who keeps getting distracted from making a ruthless hit by the ethereal forms of past lovers. "Blue Boy," which begins as a tale about a sick youngster, ends as a gorgeous contemplation of loss. The strongest stories deal directly with Perry's exploits. In "Orchids," Perry and his friend Stosh try to scheme their way to Mexico by stealing exotic orchids, and in the much-anthologized "We Didn't," Perry and his girlfriend's erotic lakeshore tumbling ("Swimsuits at our ankles, we kicked like swimmers to free our legs") is interrupted by the discovery of a dead body. "I was the D. H. Lawrence of not doing it," Perry reflects, "the voice of all would-be lovers who ached and squirmed." Indeed, all of these beautifully written stories teem with aching recollections. They are lyrical odes to wasted lives, youthful desires, vanishing innocence and the transformative power of memory, which is "the channel by which the past conducts its powerful energy; it's how the past continues to love."
Copyright 2003 Reed Business Information, Inc.

From Booklist
*Starred Review* Whenever Perry Katzek's much loved Uncle Lefty takes him up on the roof of his building to see the pigeon coop and the great grid of Chicago, he says, "Welcome to Dreamsville," which could serve as an alternative title for this magical suite of linked stories. In his first book since the unforgettable Coast of Chicago (1990), Dybek writes of his hometown with the poignant realism of Henry Roth, the mythic intensity of Leon Forrest, and the poetic otherworldliness of Gabriel Garcia Marquez. Eleven perfectly formed and exquisitely sensual tales--each so saturated with personality, event, and revelation they feel like novels--illuminate transforming moments in Perry's life. Imaginative, adventurous, and romantic, Perry falls in love and loses loved ones, witnesses violence and experiences transcendence, while Dybek masterfully and tenderly conjures the edgy ambience of Chicago's ethnic neighborhoods and the great divide between the bucolic North Side and the broken-glass-strewn, tavern-spiked industrial South Side, where bravado, musical gifts, and witty repartee are highly valued. Set in a chimerical world of ice and flowers, soul-bruising hard work and sweet dreams, ruthless mobsters and die-hard friends, Dybek's mesmerizing tales coalesce into an epic of survival and spiritual growth that is, by turns, gritty, surreal, hilarious, tragic, and bittersweet. Donna Seaman
Copyright © American Library Association. All rights reserved

Review
"It's hard to tell where Nelson Algren leaves off and Stuart Dybek begins--they're a couple of naturals. They each capture the lyricism of Chicago's backstreets: the city behind the billboards. They celebrate our alleys as well as our boulevards. Stuart Dybek is, at this moment, our city's blue-collar bard. These eleven lovely stories comprise the Chicago novel of today."
--Studs Terkel

"Stuart Dybek is one of America's literary masters, and I Sailed with Magellan is a forceful new demonstration of his extraordinary skills. This book of linked stories is full of nuance and feeling and the voice of working people from a time when our world and horizons were just a little narrower and our connection to those near at hand somehow even more consequential. It is the kind of penetrating, moving book Stuart Dybek consistently writes."
--Scott Turow

"It's a superb cycle of stories -- brilliant individually and as a single whole story of the lives of those brothers and their larger family. 'Live from Dreamsville' is a Dickensian portrayal of the nightmare world inhabited by children and unsuspected by their elders. Stuart Dybek risks real emotion and achieves language of great beauty. May the book receive its due." --Frederick Busch, author of The Night Inspector

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15 of 17 people found the following review helpful.
Its Inventiveness and Spirit are Undeniable
By Bookreporter.com
Stuart Dybek's I SAILED WITH MAGELLAN arrives more than a decade after his previous book, a short story collection titled THE COAST OF CHICAGO. While it's neither a blockbuster nor a doorstop tome like Jeffrey Eugenides's long-awaited MIDDLESEX or Donna Tartt's years-in-the-making THE LITTLE FRIEND, I SAILED WITH MAGELLAN is definitely worth the wait, serving as a reintroduction to a writer who captures his old Chicago neighborhood with documentary detail and raconteur flourish.
Despite its billing as a novel, I SAILED WITH MAGELLAN is actually a series of short stories that have locales and characters in common. All feature a teenage narrator named Perry and all are set in the Little Village community of Chicago during the early 1960s. Dybek lovingly and often humorously evokes this time and place through telling observations.
Poor families use old bed sheets for curtains and veterans order shots for friends who didn't come back from the war. It's a dangerous, often discouraging neighborhood, and in strong, unfussy prose Dybek describes "the daily round of life where bag ladies combed alleys and the homeless, sleeping in junked cars, were found frozen to death in winter. Laid-off workmen became wife beaters in their newfound spare time; welfare mothers in the projects turned tricks to supplement the family budget; and it seemed that every day someone lost teeth at one or another of the corner bars."
Fortunately, Dybek lets his lively characters --- including a junior high writing prodigy named Camille Estrada and a slob hitman named Joe Ditto --- run wild in this setting. Rather than engineering plots and scenes for them, Dybek simply lets them tell their own stories, a rare talent that gives the book a personal, unrehearsed quality. Plus, it makes for some truly weird goings-on. As a coming-of-age story, I SAILED WITH MAGELLAN eschews any predictability in favor of a dreamlike flow of events and characters, many of which are supersaturated with local color.
There is, for instance, the Chickenman, who walks around town with a chicken perching on his head and pecking corn off his tongue. And there's Little Village's unofficial child saint, Ralphie Poskozim, who was born with blue skin: "The blue was plainly visible beneath his blue-green eyes, smudges darker than shadows, as if he'd been in a fistfight or gotten into his mother's mascara. Even his lips looked cold."
All of these strange characters are filtered through Perry's perspective, and as the novel progresses, he grows up and his concerns become more adult. Fortunately, as Perry gains more freedom, the stories don't lose their charm or their sense of wonder.
Memory works in flashes, not in fluid narratives, and it allows for exaggeration of facts. In the end these chapters cohere into something larger than a short-story collection, but the book is not like a proper novel. This is certainly not a criticism: the form of I SAILED WITH MAGELLAN may be unclassifiable, but its inventiveness and spirit are undeniable.
--- Reviewed by Stephen M. Deusner

11 of 12 people found the following review helpful.
Excellent writing, deeply known characters
By J. Rosenberg
I especially liked the stories in the first half of this book, those that focus on main character Perry, a boy growing up in a Polish neighborhood on Chicago's Southwest side in the 1950s. They are deeply felt, wonderfully detailed, highly realistic and with excellent characters. Toward the middle are a few stories more "poetic" in style that appeal to me less. The last stories return to the old neighborhood and again, the perfectly noted details and highly individualized characters drew me back into the lives of that time and place. Highly recommended for those who enjoy short fiction and anyone who appreciates excellent writing.

2 of 2 people found the following review helpful.
Among the best contemporary fiction I have read in years
By R. M. Peterson
I will start with the conclusion: READ THIS BOOK. It is exhilarating and poignant, funny and wise. It consists of eleven interlaced stories about Perry Katzek, the son of an immigrant from Poland, growing up on the South Side of Chicago in the 1950s. The Chicago setting, the kaleidoscopic episodes, the sweaty grittiness of urban, immigrant life, and the rather picaresque nature of the narrative all remind me of Saul Bellow's "The Adventures of Augie March", though, to my mind, I SAILED WITH MAGELLAN turns out to be an even better book.

No doubt much of it is based on the personal experiences of author Stuart Dybek, who was born in 1942 and grew up in the Little Village neighborhood of Chicago. Indeed, much of the book may well be personal memoir draped with but the thinnest of fictional garb. Still, it reads more like a novel (or a collection of inter-related stories) than like a memoir.

Those who are from Chicago and are now between the ages of 55 and 75 might treasure the book just a tad more than the rest of us, inasmuch as it features such places as Twelfth Street Beach, Sportsman's Park, the Rocks, Meigs Field, Douglas Park, the outdoor market on Maxwell Street, the Sanitary Canal, and the Baha'i Temple. (I certainly would treasure any novel half as good about Philadelphia - my hometown - during the same years.) But one need not be from Chicago to find the book special. What it has to say about memory, childhood and youth, and the human condition should speak to most, and especially to males who grew up in an urban, working-class setting.

The book abounds with lovable characters and with sparkling anecdotes. Among the former are Perry's father (whom he and his brother call "Sir" because one night while watching "Leave It to Beaver" he had said how nice it was that Wally and Beaver called their father "Sir"), his uncle Lefty who played the sax and the horses, his best friend Stosh, and his erstwhile girlfriend Laurel Elaine Levanto who left Perry stranded in the Fire Truck Graveyard after the high school prom. Among the anecdotes is this one about Denny "the Fish" Mihala: when the fourth-grade teacher Sister Philomena asked the class, "If birds come in flocks, and fish in schools, what other kinds of groupings can you name?", Denny eagerly answered, "A dozen donuts!"

The motif that struck home with me the most had to do with memory and nostalgia. Here is one such excerpt: "Who knows why certain humble objects - a bike, a sweater, a sled - are salvaged by memory or dream to become emblems of childhood? Childhood, an alternative universe expanding into forgetfulness, where memory rather than matter is the stuff of creation."

I SAILED WITH MAGELLAN is also noteworthy for its writing and craftsmanship. The stories are skillfully interwoven, and there are moments when Dybek's writing is brilliant, such as when he refers to a character gazing up at the nighttime sky, "aware that he was just another speck adrift in stardust on the absolute zero breath of God."

I SAILED WITH MAGELLAN (the title comes from a song Perry's brother Mick sang when they were kids) was published in 2004, which to my way of thinking still makes it contemporary fiction. I don't read a lot of contemporary fiction. Maybe I should make a point of reading more, because I SAILED WITH MAGELLAN is first-rate literature. It easily is one of the ten best books I read in 2012.

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## PDF Download Later the Same Day, by Grace Paley

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Publisher: NY (1985)

• Sales Rank: #2471547 in Books
• Published on: 1985-04
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 211 pages

From Publishers Weekly
In the 17 short stories collected here, Paley writes with verbal economy and resonance, pithy insights, and warmth and humor. The themes are familiar: friendship, commitment, responsibility, love, political idealism and activism, children, the nuclear shadow. PW greatly enjoyed these tales, stating: " 'Somewhere for me perfection is flowering,' says a character in one of these stories. Many readers will find perfection flowering here."
Copyright 1986 Reed Business Information, Inc.

Review
Later The Same Day combines Grace Paley's talent for innovative short stories with her unwavering commitment to feminist peace activism. Her characters are heroic in ordinary ways - they talk, laugh, and think about the things that matter to them. They live normal, everyday lives yet remain awake and focused in their concern about the future, emanating wisdom, humor, disappointment, hope, and fear. These stories center upon an appropriately named character, Faith, who tells and listens to the stories of friends, neighbors, lovers, and strangers struggling to find hope and meaning in their sometimes shattered lives. As the story titles suggest, Faith's endless confidence in her friends and in the ordinary powers of "Listening" and in becoming a "Story Hearer" pave the way for radical transformation. In "Zagrowsky Tells," Faith runs into the old Jewish pharmacist whose drug store she and her friends once picketed because he refused to sell to black patrons. Now, years later, she listens to how the ordinary act of learning to love his half black, half-Jewish grandson has taught him to unlearn his racism. Throughout the collection, neighbors learn to listen to each other, husbands and lovers learn to hear women, women who are longtime friends and political allies validate each others lives, and strangers tell stories that need to be heard. For Grace Paley, these important ties of love, faith, and language are what create community. -- For great reviews of books for girls, check out Let's Hear It for the Girls: 375 Great Books for Readers 2-14. -- From 500 Great Books by Women; review by Suzanne Sowinska

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0 of 0 people found the following review helpful.
A poweful voice
By Alejandro Gaviria
This book was originally published 30 years ago. Grace Paley was then a beloved artist and a well-known political activist. But she is now almost forgotten. Previously only five people had reviewed this book, her last collection of short stories. Her style of social feminism has lost much of its urgency and appeal. Her political activism is outmoded to say the least: China is no longer the land of socialism and poor peasants, but the hub of capitalism and overpollution. Her leftism has not aged well, especially after Perestroika and all that. But her voice is still powerful. It touches a timeless issue, namely, how to live our private lives, the accumulation of days and tragedies, beyond our ideological convictions and social roles.

In the last story of this collection, the two main protagonists discuss whether or not to have a child. “Haven't we agreed often, haven't we said that it had become noticeable that life is short and sorrowful? Haven’t we said the words 'gone' and 'where'? Haven't we sometimes in the last few years used the word 'terrible'? Everyone know this about life. Though of course some fools never stoop singing its praises,” says one of them.

Grace Paley knows this well. She is not one of the fools. But she also knows that the stories we tell about ourselves can be redeeming. “I was right to invent for my friends and our children a report on these private deaths and the conditions of our lifelong attachments,” says Faith Darwin, the narrator of various stories of this good collection. This summarizes Paley’s purpose and ambition: inventing a report on the conditions of our attachments in order to palliate the too obvious sorrows of life.

20 of 21 people found the following review helpful.
Later the Same Day...a permanent resident of my headboard
By A Customer
I have a friend who is so well read that she refuses to discuss books with anyone else for fear they may "contaminate" her.
Although I think that I have great taste in the printed word, I seldom mention anything I have read to her for fear she will think me common.
When I read this book, I called her up and told her she must read it immediately.
I have read a book a day or so since I was six. I am now a women of a certain age. About once every three years, I read the first page of a book and feel lightening strike my brain. That happened with "Later the Same Day".
I now read and read again every book by Grace Paley, seeing my life in the lives of women who were wives/daughters/mothers/lovers/writers 50 years ago. (Is it that long?)
The difficulties of combining motherhood, marriage, extended family, creative fullfillment, community activism and friendship are explored in painful detail in these stories, and ring true to the lives of all the women I know in the year 2000.
Give this book to women in their 20s, 30s, and 40s, and ask them when it was written, and they will all say "this year".
Give a copy to all your literate friends, both male and female, and keep a copy in your own headboard or bedside table, for those lonely nights when you want to know you are not alone in the struggle to be a complete person.

2 of 2 people found the following review helpful.
Book connection
By PATH12
Overall ,I enjoyed reading this book because I made many connections to it. While I was reading it, I was thinking in my mind how similar this book is to my life. Not only this book made a connection to my life but also to the world we are in today. The way it connects is by the political situations we were facing. Now that we have a new president, which is African American indeed, we are all looking forward to a better future and a better economy situation. I recommend this book to everyone to read because people might have some sort of connection to this book. This book can be challenging at times, but we should know that not everything in lfe is going to be easy.

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> Fee Download Tell Me No Lies, by Elizabeth Lowell

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The McKenna Legacy

Does Skelly McKenna have what it takes to fulfill it?

Skelly McKenna didn't believe in his grandmother's legacy. But then Rosalind Van Straatan walked into his office…and into his heart. Rosalind held the key to the story of a lifetime—one that could make his career…and ruin her family.

Rosalind needed to know the unvarnished truth about what happened the night her legendary grandmother confessed to murder. The irreverent Skelly McKenna wasn't exactly her first choice of investigative partner; unfortunately, he was her only choice. Truth be known, she didn't trust him…but she did want him.

• Sales Rank: #2834649 in Books
• Published on: 1986-11-01
• Number of items: 2
• Binding: Paperback

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A searching new collection from America’s philosopher-poet

John Koethe, in his tenth volume of poetry, investigates the capricious nature of everyday life, “the late-night jazz, great sex and all / The human shit defining what we are.” His poems―always dynamic and in process, never static or complete―luxuriate in the questions that punctuate the most humdrum of routines, rendering a robust portrait of an individual: complicated, quotidian, and resounding with truth. The Swimmer argues that this “energizes everything”: life’s trivialities, surprises, and disappointments, and the “terrible feeling of being just about to fall.”

• Sales Rank: #275441 in Books
• Published on: 2016-03-15
• Released on: 2016-03-15
• Original language: English
• Number of items: 1
• Dimensions: 8.53" h x .55" w x 5.76" l, .0 pounds
• Binding: Hardcover
• 96 pages

Review

"Koethe is a beautiful writer, one whose subtle inventiveness can give new life to persistent images, nail a complex feeling in just a few words, or make the basic tools of the poetic trade into sources of pleasure and persuasion." ―Jonathan Farmer, Slate

"These poems won't shatter the universe, but that's precisely their point, the tragedy they lament: that as individuals we are small and the universe pays our seemingly vast inner lives no mind. Koethe seeks to ease his mounting fear by talking―by writing―himself through it, and listening in is a perverse pleasure, and a palpable comfort." ―Craig Morgan Teicher, NPR

“Koethe’s poems are able to offer the kind of idiosyncratic musings that will keep the reader thinking beyond the confines of the page.” ―Publishers Weekly

“A welcome new book from an important voice.” ―Library Journal

About the Author
John Koethe has published ten books of poetry, and has received the Lenore Marshall Prize, the Kingsley Tufts Award, and the Frank O’Hara Award. He has also published books on Ludwig Wittgenstein, philosophical skepticism, and poetry, and is the Distinguished Professor of Philosophy Emeritus at the University of Wisconsin-Milwaukee.

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0 of 0 people found the following review helpful.
This is a late style at its best.
By david bergman
As Koethe grows older his poems grow richer and more tangled and plainer and straighter all at once. His voice grows both calmer and less certain. The vision lighter and more unbearable. This is a late style at its best.

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~ Get Free Ebook My 5 Cambridge Friends: Burgess, Maclean, Philby, Blunt, and Cairncross

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At once historically important and thrilling to read, this is the first account through Soviet eyes of the most famous spy ring the world has ever known: the Cambridge Five. Written by their KGB controller--their protector, confident, and link to Moscow--this book offers unique insight into the true characters and intrigues of the legendary British spies. Illustrated.

• Sales Rank: #379405 in Books
• Published on: 1995-01
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 6.25" w x 1.00" l,
• Binding: Hardcover

From Publishers Weekly
The so-called Cambridge Five-Guy Burgess, Donald Maclean, Kim Philby, Anthony Blunt and John Cairncross-comprised what may have been the most notorious spy ring in history. In his richly informative memoir, Modin describes the personal relations among the quintet-and subtly speculates about their homosexual interaction. Modin, who is retired and lives in Moscow, was their KGB desk officer from 1944 to 1955, and arranged the 1951 defections of Maclean and Burgess. He is surprisingly lavish in his praise of Cairncross, who is generally regarded as the least significant of the five, revealing that he was the first to inform Moscow of the Anglo-American atomic bomb project and provided crucial information about the vulnerability of the Germans' main battle tank. Modin also details his friendships with Burgess and Philby (who defected in 1963) during their Russian exile; Maclean, however, avoided all socializing. Of the two who remained in Britain and were never prosecuted, Cairncross now lives in the south of France and Blunt died in 1983. Burgess died in 1965, Maclean in 1983, Philby in 1988. Photos not seen by PW. 25,000 first printing; author tour.
Copyright 1994 Reed Business Information, Inc.

From Booklist
Modin's predecessors in control of the damaging Cambridge spy ring were executed, but he has survived to ripe retirement and joins the informers of KGB activities. In London during the late 1940s, he collected the "take" from Guy Burgess, Anthony Blunt, and John Cairncross; in 1951 he arranged the defection to Russia of Burgess and Donald Maclean. These facts alone guarantee acute interest in Modin's version of events that have been shrouded in mystery for decades. It is further enhanced by Modin's insight into the motivations and personalities of his agents, insight that reflects the experience of a highly capable intelligence operative. The spies' privileged backgrounds, and homosexuality in Burgess and Blunt's case, could hardly be more different from Modin's own provincial origin. Indeed, Modin says he most liked Cairncross, also of working-class pedigree, but he worked smoothly with them all as they devastated British intelligence and Allied diplomacy. A combination of anecdotes and psychological analysis, this reminiscence adds detail rather than changes the basic story of these British traitors and swells the flood of Soviet espionage books bound to rise even further before ebbing. Librarians keeping up (lately with The Philby Files, G. Borovik ) should order. Gilbert Taylor

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5 of 5 people found the following review helpful.
Modin Pulled Their Strings
By G. Keenan
For a better understanding of Philby and his co conspirators - read "My Cambridge Friends" by Yuri Modin. Modin was his KGB handler and the handler of most of the other Cambridge crew : Cairncross, Burgess, McClean and Blunt. McClain apparently was the most destructive of the 5 for he provided strategic political insight direct to Soviet leadership. Philby, though devastating to western spy networks and the longest serving of the 5 (except perhaps for Blunt), didn't so much alter the course of world politics and power but the way the "game" was played.

Modin even says that in the end, even the Soviets weren't sure they weren't being played by Philby. Not so much that they suspected him of being 2 way, but more so that they weren't convinced of his ethical underpinnings and rationale either. If there was any philosophical or ethical basis for Philby's actions anyway. It may have been just the need of a petty man to feel like he had put one over on his contemporaries to feel bigger. One could say the "five" became Communist agents as college kids during the depression of the 30's out of sympathy for the unemployed masses in the West and in reaction to a worse alternative system, Fascism. Perhaps. But Philby never made that case for himself in his own book. What does seem to be clear is that the British 5 didn't do it for the money like the Soviet's agents in the US turned out in the 80's and 90's. Although the morally directionless Burgess may have taken some of the money for his wastrell ways.

What does come across strongly however is how blind and nearsighted the British Old Boy establishment was and maybe is. Not that the FBI and CIA are much better off. Robert Hansen held a similar position and performed comparable damage on the US side and despite being turned in and identified several times for cause ... was only "discovered" when a Russian defector received a $1M+ payoff from the US to identify the mole. The FBI had never pursued the leads nor ever required him to submit to "routine" lie detector screening.

I highly recommend Modin's book.

11 of 13 people found the following review helpful.
"The Greatest Illusion"
By F. S. L'hoir
Yuri Modin writes a fascinating account of his five Cambridge 'friends.' As a young KGB officer, proficient in English, he had studied all their files, and later under diplomatic cover, he dealt personally with three of them as agents in London from 1948-51. Written in an engaging manner, the book presents the reader with a rare glimpse into the life of a KGB officer on the job, as it were, handling agents in what was then enemy territory. Furthermore, Modin offers his readers candid portraits of Guy Burgess, Anthony Blunt, and John Cairncross (the least known of the "five").

Modin's depiction of Guy Burgess is especially welcome, since a curtain of what can only be taken as official silence seems to have descended on the life of the incorrigible spy (One is still eagerly awaiting Andrew Lownie's promised biography, "Stalin's Englishman: the Double Life of Guy Burgess," which was supposed to be published in 2000 [H. Peake, "Private Life of K. Philby," NY 1999-2000, p. 359]). Although Modin's account contains some of the canonical elements of Burgess lore ("I never could fathom why he looked like a tramp at close quarters, even though his clothes came from the best tailor in London" [152]), the author nevertheless gives readers a quick look at the "consummate" secret agent, with a computer-like mind and ideas that "danced like quicksilver" (156-7). Modin also relates several amusing anecdotes, including one in which Burgess, who had bought a used gold Rolls Royce with KGB funds, like a demented Mr. Toad, took Modin on the wild ride of his life.

If Guy Burgess frightened Modin out of his wits because of his maniacal driving, John Cairncross frightened the author even more because of incompetence behind the wheel, flooding the engine of his KGB-issued Vauxhall in the middle of a London intersection, prompting a bobbie to come to their rescue (with Modin fearing imminent arrest and experiencing the "first real cold sweat of [his] career as a secret agent" [171]). Modin contrasts the always-punctual and professional Anthony Blunt with the always-tardy and distracted Cairncross. Modin, in fact, depicts a more affable Blunt than is evident from his customary cold-as-ice persona. According to the author, Blunt was candid in his dislike of Soviet Imperialism, and he also confided that he could never defect to the Soviet Union because would not be free to pursue his passion for art history. Modin also relates how, in 1951, he made contact with the then-retired Blunt, in order to offer financial aid to Philby, who, undergoing a protracted grilling by MI5, was down on his luck.

One gets the impression that Yuri Modin not only respected his agents professionally but also liked them personally. Paradoxically, he envisions them as patriots, who were passionate in their love for England. Products of the 1930s, they were, in Modin's estimation, "naive" . . . "Don Quixote figures who spent their lives tilting at windmills, while history was inexorably destroying their ideal." According to Modin, his Cambridge `friends' traded the customary "illusions of humanity," such as money and love, in order "to follow the greatest illusion of all[:] . . . politics" (273).

Modin's view of the Cambridge Spies might be biased and even rather romantic--he is even mistaken in some details that did not involve him personally--but "My Five Cambridge Friends, " which adds many missing pieces to the massive, and still-incomplete, jigsaw puzzle, never ceases to inform or to entertain.

39 of 42 people found the following review helpful.
Disappointing, reveals little new information
By A Customer
This book reveals remarkably little information that is unavailable elsewhere concerning the Cambridge Spy Ring, Philby, Burgess, McLean, Blunt and Cairncross. In fact, even the cover page alleging Modin was the controller for all five is misleading, as Modin admits he was never the controller for Philby and McLean, and in fact, only met McLean for a few minutes several years after he defected.
This book contains numerous contradictions. Modin states that the KGB files on the Five were destroyed in 1953, after McLean and Burgess defected, yet he mentions he has reviewed those files since the fall of the Soviet Union. He makes a strong point about his predecessor's negligence for meeting the agents in London pubs (lack of privacy, etc...) and claims he never ever met any of his agents in pubs. However, he later in the book mentions that he met Blunt in a pub when the art historian/spy was in the process of retiring from active duty for the KGB. Additionally, Modin and/or his editors repeatedly confuse MI5 and MI6, such that some statements he makes are difficult to comprehend because of the uncertainty of which branch of the British intelligence service is being referenced.
Modin discusses remarkably few technical details about his roll as the controller of the spy ring, mentioning only his precautions in going to a meet. He also mentions a few details about his friendships with Burgess and Philby after they defected to Moscow, but essentially, that is all the insider information that he shares. Modin does not reveal even the topics that he or Philby tought as instructors at the KGB academy. I got the very strong impression that either Modin has lost most of his memory, or has remained deliberately vague out of loyalty to the former KGB and Soviet Union.
A better set of books on this topic would be KGB: The Inside Story by Andrew and Gordievsky; Mask of Treachery by Costello; The Master Spy by Knightly; and Spycatcher by Wright.

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~~ Ebook Great Expectations: The Sons and Daughters of Charles Dickens, by Robert Gottlieb

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The strange and varied lives of the ten children of the world's most beloved novelist

Charles Dickens, famous for the indelible child characters he created―from Little Nell to Oliver Twist and David Copperfield―was also the father of ten children (and a possible eleventh). What happened to those children is the fascinating subject of Robert Gottlieb's Great Expectations. With sympathy and understanding he narrates the highly various and surprising stories of each of Dickens's sons and daughters, from Kate, who became a successful artist, to Frank, who died in Moline, Illinois, after serving a grim stretch in the Royal Canadian Mounted Police.

Each of these lives is fascinating on its own. Together they comprise a unique window on Victorian England as well as a moving and disturbing study of Dickens as a father and as a man.

• Sales Rank: #1006377 in Books
• Published on: 2012-11-27
• Released on: 2012-11-27
• Original language: English
• Number of items: 1
• Dimensions: 8.13" h x .92" w x 5.51" l, .83 pounds
• Binding: Hardcover
• 256 pages

From Publishers Weekly
Just in time for fireside reading season, Gottlieb (Lives and Letters; Sarah: The Life of Sarah Bernhard) offers this intimate look into the family life of Charles Dickens, the World's Best Worst Father. Gottlieb profiles each of the 10 Dickens children—seven sons and three daughters, one who died in infancy—and includes a chapter on the scandalous possible existence of an 11th child, a son born to Ellen Ternan, Dickens's probable mistress. The book is divided into two separate, chronological sections delineated by Dickens's death in 1870, a structural choice that re-enacts the way in which Dickens held ultimate control over the life narratives of his children, and demonstrates just how large his shadow loomed as both an excellence-demanding father and a disappointment-doling ghost. Life was often bleak for the siblings, who were subject to Dickens's often brutal scrutiny and the life-altering decisions that followed. Gottlieb studs these portraits with artifacts ripe for happy discovery, including excerpts from personal letters and rare photographs. The results are fascinating but often tragic, with each Dickens baby born with more perceived brilliance than the last, only to grow up and reveal a fatal ordinariness to their father. This smart and accessible biography is written in a clever, conversational tone that radiates coziness during even the coldest moments, keeping the pages swiftly turning. (Nov.)

From Booklist
Master portraitist Gottlieb (Lives and Letters, 2011) zeros in on cherished writer Charles Dickens’ greatest failings in this unique, fascinating, and disconcerting family history. Marrying Catherine Hogarth elevated Dickens’ social standing, and theirs was a “highly sexual” marriage. But as Catherine endured a dozen pregnancies and suffered miscarriages, the death of a child, and postpartum depression, her famous husband withdrew his affection. In love with the actress Ellen Ternan, he “ruthlessly expelled” Catherine from her home and, even worse, kept their children, recruiting Catherine’s sister, Georgina, as a surrogate mother. The repercussions of this betrayal certainly undermined the well-being of the nine Dickens offspring, but Dickens was also venomously critical of his seven sons, sending most of them to India, Australia, or the military, where they floundered and fell into debt, and several died young. Among the sons, only Henry, an attorney, truly thrived. As did Katey, an accomplished painter, while Mamie lived a strange half life. Gottlieb’s meticulously researched and vivid group portrait of the Dickens clan ascendant and accursed reveals a complex amalgam of ambition and inheritance, celebrity and despair, pride and stoicism. --Donna Seaman

Review
“Robert Gottlieb's Great Expectations: The Sons and Daughters of Charles Dickens is an ingenious way of using the available information on Dickens's nine children who grew into adulthood. It throws light not only on the novelist himself, but also on the range of influence parents and home life can have on offspring. It is also a fascinating and haunting portrait of attitudes towards children and career possibilities in England in the mid-nineteenth century . . . It would have been easy for Gottlieb to trace the personal weaknesses and the strange fate of most of the Dickens brood to the separation of their parents and the banishment of their mother, but it is to his credit that he reads each case more subtly and without a scheme and allows each of the children a sort of autonomy, giving them a life not merely determined by a single traumatic event in their youth or childhood . . . The fate of the Dickens children as outlined here allows us to imagine with greater richness the lives of so many others whose names merely survive on gravestones, or census forms, or on lists of members of the army and navy. They also help us to read the novels of the period.” ―Colm Tóibín, The New York Review of Books

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21 of 22 people found the following review helpful.
Another Side to Dickens--the Father
By Timothy Haugh
In this year of the 200th anniversary of Charles Dickens' birth, there have been a number of good biographies of the author published. The best of them, however, seem to be those that take a different tack than the huge overview of his entire life. This one joins that short list, for Mr. Gottlieb has provided us with a look at Dickens through providing us with short biographies of his children.

In most biographies Dickens does not shine as a husband and father. Granted, this part of his life is often lost under the avalanche of information about his writing. In addition, his parenting is colored by two telling things: his nearly universally condemned (and rightly so) treatment of his wife, Catherine, while separating from her which included his attempts to forbid his children to see her; and his often-voiced disappointment in his children's lack of achievement in his letters. Unfortunately, these events of his latter life can be misleading.

Mr. Gottlieb does a nice job of showing us the real story of the Dickens children in brief biographical entries for each child. In fact, since he divides their stories into pre- and post-Dickens death, most of the children get two entries. And what comes out is that most of his children end up as reasonably successful adults with two of the ten--Kate and Henry--becoming fairly well-known in their own right: Kate as a portrait painter and Henry as a lawyer and judge, eventually knighted for his service to the country. Even some who take severe tongue lashings in Dickens' letters turn out well when objective eyes are opened. Alfred and Plorn have some success in Australia. Charley, especially, shows strong literary abilities as an editor and manager once Dickens lets him try his hand though, of course, he will never become the author his father was.

What Mr. Gottlieb recognizes is that it will be difficult for a man who pulled himself up from poverty through talent, indefatigable energy, and a lot of hard work to accept that his children will be anything less than hugely successful. Frankly, despite the carping and complaining we find in many of his letters, Dickens must have been a loving father. He was clearly at his best with young children, but he also made provision for each of his children as they grew and did his best to get them started on careers; in some cases, multiple times. If he was sometimes critical and worried that his children wouldn't amount to anything, that seems fair when some of his kids ran up debts and abandoned situations Dickens found for them. Besides, it is interesting to see how much Dickens' children loved him, even decades after his death and the need for pleasing him or protecting his legacy would seem to have passed.

Mr. Gottlieb also deserves credit for briefly looking at the evidence for Dickens having an eleventh child with his mistress, Ellen Ternan. Most of this comes from Claire Tomalin's work on the subject which I have commented on elsewhere (and in a somewhat similar vein to Gottlieb). He finishes with a short connection between Dickens and his fictional children.

In the end, this is an easily digestible book that adds a lot of flavor to other, larger biographies of Dickens. In so many of these other books, Dickens children are mentioned only in passing and we get little sense of this part of Dickens' life. Having this information available makes for a much more complete picture of the author and Mr. Gottlieb should be congratulated on his work.

4 of 4 people found the following review helpful.
Great Expectations: The Sons and Daughters of Charles Dickens is a concise guide to the children of Boz
By C. M Mills
Robert Gottlieb is a literary scholar who has long been fascinated by the works of Charles Dickens (1812-1870) the most famous and widely read English novelist. In this short work of only 239 text pages we learn about the many children sired by Dickens. Dickens and his wife Catherine separated in 1857 after news of the novelist's affair with Ellen Ternan the actress was revealed to the public. Dickens saw Catherine only three times from 1857 to his death in 1870. Catherine had grown fat and Dickens was bored with her. He certainly exercised his marital rites producing a quiverful of children with Kate.
The children Charley-the oldest son who became a businessman. Mamie his eldest daughter never married. She was eccentric and loved animals.
Katey was wed to Charles Collins the brother of Wilkie Collins the novelist. He died and Katey remarried an artist named Carlo Perugni who was associated with the Pre-Raphalite artistic brotherhood. Katey was an artist and was the favorite of her father.
Walter died young while on duty in India as a member of the British army. Frank served in India and in Canada as a mountie. He died in Moline, Illinois where he is married. Sydney was a sailor who had a short and sad life. Henry Fielding Dickens became a respected barrister and was a graduate of Cambridge.
None of the children could match the genius displayed by their father. Many of them had difficult lives dealing with such issues as finances, illness and an inability to find a career to pursue in life. Some of them were sent to such faraway places as India and Australia. All of them loved both their famous father and their mother. Dickens may have fathered a child with Ellen Ternan but this is uncertain. If he did the chances are high that the child died in infancy.
Dickens was a demanding father who expected great things from his brood. He wanted them to be neat, orderly and successful. He was often disappointed by them. Dickens comes across as a great author but a poor and adulterous husband. he was loved by his family.
This little book will add to our understanding of Dickens and his personal life. It is a worthy addition to the groaning shelf of Dickens biographical works.
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2 of 2 people found the following review helpful.
What the Dickens?
By Amazon Customer
Well you might ask. Or no doubt the great writer must have done so as he considered his considerable brood. But he might also have taken a good look in the mirror and considered himself and his less than admirable approach to parenting. The dickens indeed. Realizing the perils of examining yesteryear figures through the critical lens of modern mores, the practice of sending young teenagers off to Australia or India to fend for themselves still seems a bit extreme. That said, arguably the greatest novelist in English literature deserves a certain amount of disciplinary leeway...birth control being no control in the nineteenth century and a house full of young children a challenge to anyone's concentration. Then it comes to Dickens, the private man and the public figure remain enigmatic because the differences are so irreconcilable. Although somewhat mechanical in structure, Robert Gottlieb's Great Expectations does a very good job of casting new light on this fascinating subject and, in so doing, reminding us that in writing about so many waifs, orphans and lost children, Dickens also did a spectacular job of creating his own.

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? Download PDF In Touch: The Letters of Paul Bowles, by Paul Bowles

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A collection of correspondence from the author of The Sheltering Sky discusses his attempts to record primitive Moroccan music, nature and the craft of writing, the Beat writers, living in North Africa, and other topics.

• Sales Rank: #2904778 in Books
• Published on: 1993
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 6.75" w x 1.75" l,
• Binding: Hardcover
• 604 pages

From Publishers Weekly
Expatriate American novelist, story writer and composer Bowles, who has lived in Morocco for nearly a half century, is a prolific letter writer, as attested to by his expansive, conversational correspondences with the likes of Allen Ginsberg, William Burroughs, Gore Vidal and Virgil Thomson. A vast humming tableau of the avant-garde, these 400-plus letters extending from 1928 to 1991, vividly evoke Bowles's frenetic activity in the Paris of the 1930s and '40s, where he met Jean Cocteau, Ezra Pound, Gertrude Stein and painter Pavel Tchelitchew. Peppered with firsthand impressions of Tennessee Williams, Leonard Bernstein, Kurt Schwitters, Aaron Copland and many others, the volume, edited by his biographer, also contains Bowles's sharp lyrical travel observations from Mexico to Ceylon, as well as his reflections on the unconscious processes that guide his writing of fiction. Most revealing are his letters to his wife Jane Bowles during her 16 years of suffering from a neurological disorder that destroyed her eyesight and led to strokes, convulsive seizures and electroshock therapy for depression. Photos.
Copyright 1993 Reed Business Information, Inc.

From Library Journal
American-born composer and writer Bowles settled in Tangier after traveling extensively in Europe, Africa, and Latin America. These letters, culled from more than 7000 pages of correspondence, record Bowles's activities and friendships from 1928 through 1991. Correspondents include Gertrude Stein, Virgil Thompson, Tennessee Williams, Allen Ginsberg, and William Burroughs, among others. The subjects covered in the letters vary greatly, but many of them deal with one of Bowles's favorite themes--travel. Among the most interesting letters are those dealing with Jane Bowles's breakdown and hospitalization. The work includes biographical notes and an Arabic glossary. Recommended for contemporary literature collections.
- William Gargan, Brooklyn Coll. Lib., CUNY
Copyright 1994 Reed Business Information, Inc.

From Kirkus Reviews
``Places have always been more important to me than people,'' Bowles (b. 1910) confesses in one of more than 400 letters collected here by Miller. Spanning more than seven decades, the letters offer no intimate revelations and little celebrity gossip- -but they're full of dazzling descriptions of faraway places. ``At Asni the trees are full of peacocks that scream murder. The road swarms with children who hand us amethysts till we have nowhere to put them.'' With campy wit, Bowles compares the exotic to the homegrown mundane: In a Saharan oasis, the coarse grass ``looks like the stuff they put in Woolworth's windows on the floor of the display cases at Easter time''; in a Berber village, ``the streets and walls look as if someone had poured tons of white cake- icing over them.'' It's not surprising, then, that Bowles-the- writer's letters add up to a book that one would rather quote than discuss. What is surprising is the strength of Bowles-the- composer's devotion to Berber music and Bowles-the-husband's devotion to his wife through long years of illness. Descended from New England Puritans, Bowles read Poe at age six and took off from there. In the 30's, he was close to Gertrude Stein and Aaron Copland. In the 50's, he befriended Tennessee Williams, Truman Capote, and Gore Vidal. In his pursuit of sexual adventure and his reliance on the drug kif, he was way ahead of the pack--led by Ginsberg and Burroughs--that hit Tangier in the 60's. More recently, Ph.D. candidates have elicited from him pithy statements on writing (on the hermetic absorption needed to complete a novel: ``Don't let the air in; it kills the fetus''). About a quarter of the collection is dead wood--chat about agents, contracts, fees--but read in one sitting, it's a fascinating, tonic history of the counterculture in what was for a time the American century. (Photographs) -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.

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# Download La Folie Baudelaire, by Roberto Calasso

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In La Folie Baudelaire, Roberto Calasso―one of the most original and acclaimed writers on literature, art, culture, and mythology―turns his attention to the poets and writers of Paris in the nineteenth century who created what was later called "the Modern." His protagonist is Charles Baudelaire: poet of "nerves," art love, pioneering critic, man about Paris. Calasso ranges through Baudelaire's life and work, focusing on two painters―Ingres and Delacroix―about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay The Painter of Modern Life. In Calasso's lavishly illustrated mosaic of stories, insights, close readings of poems, and commentaries on paintings, Baudelaire's Paris comes brilliantly to life.

In the eighteenth century, a Folie was a garden pavilion set aside for people of leisure, a place of delight and fantasy. Following Baudelaire, Calasso has created a brilliant and dramatic "Folie Baudelaire"―a place where the reader can encounter the poet himself, his peers, his city, and his extraordinary likes and dislikes, finally discovering that that places is situated in the middle of the land of "absolute literature."

• Sales Rank: #1206015 in Books
• Brand: Calasso, Roberto/ McEwen, Alastair (TRN)
• Published on: 2012-10-16
• Released on: 2012-10-16
• Original language: English
• Number of items: 1
• Dimensions: 9.33" h x 1.15" w x 6.33" l, 1.91 pounds
• Binding: Hardcover
• 352 pages

Features

• Used Book in Good Condition

From Booklist
What Calasso, a wizard of cultural erudition and scintillating interpretation, did for Kafka in K. (2005), he does for Baudelaire here. As in all his propulsive yet intricately figured books, Calasso dives right in, pulling biographical and historical facts into the slipstream of his richly anecdotal critique, along with glinting quotations and startling observations. The French poet and critic takes shape in all his resistance to society as Calasso considers Baudelaire’s transforming sensibility, “a Baudelaire wave that rolls across all things,” particularly as manifest in his art essays. He also parses Baudelaire’s habits of being, including inebriation, and his thorny relationships with his mother and his muse and lover, the Haitian-born Jeanne Duval. In vital and witty close readings of both published and private works, Calasso traces the coalescence of Baudelaire’s seminal and controversial definitions of modernity and osmotic influence. This ignites Calasso’s own freshly discerning responses to Ingres, Delacroix, Manet, and Degas, in which he offers evocative and moving insights into the artistic audacity and moral ferment of Baudelaire’s Paris, that oft-revisited revolutionary crucible. --Donna Seaman

Review

“Roberto Calasso's book, written in magnificent and supple prose and illustrated with reproductions of often little-known works of art, responds admirably to its title: it's the most absorbing guided visit that one could imagine of the brothel-museum of Baudelaire's dreams . . . One exits amazed by the intelligence and erudition of the guide, the foremost expert on a romantic and decadent Paris in which the rococo and neo-classical epochs remained living and present under the surface. And silently running throughout this account are the contradictory facets of the most gifted man in Paris at that time, Baudelaire, lover and critic of art, poet, journalist, bohemian, and dandy.” ―Marc Fumaroli, Commentaire

“Roberto Calasso [is] the most inquisitively suggestive literary critic in the world today . . . La Folie Baudelaire is no narrow study of the poet's work or, even worse, a birth-to-death biography. Rather, by associating the poet with the prominent writers and artists with whom he came into contact, Calasso has created what he calls ‘analogical history . . . an ever-more-urgent desideratum in an intellectually debilitated epoch such as the present.' A questioning assault upon the received wisdom, it exposes the hollow triumph of Impressionism and its artists, Renoir, Manet, Monet and Degas, over an implacable academy . . . the deeper purpose of Calasso's project can be glimpsed: a subtle inquiry into how the 19th century, and the popular description of it as a century of startling liberatory artistic promise and vast industrial progress, could give birth to a next century defined by Auschwitz, the gulag and Hiroshima.” ―Thomas McGonigle, The Los Angeles Times

“Calasso captures [Baudelaire's] shifting, overlapping world, never seeming overwhelmed by his material. Certain anecdotes stand out. Calasso is not afraid to show these figures as occasionally absurd. Ingres, a ‘compact and stocky' man ‘devoid of a sense of the ridiculous,' runs through his studio to launch himself on to a mattress in order to create interesting folds in a drape. Degas, a keen user of early photography, tries to capture the moon, only to find it ‘moved too much.' Calasso also collects stories of supporting characters--from Degas's housekeeper to Baudelaire's mistress--to evoke an entire world. Such details, combined with his ear for a lyrical phrase, make La Folie Baudelaire a joy to read.” ―Emma Hogan, Financial Times

“Calasso['s] … extravagant admiration and connective intuition make a book of equal brilliance out of a chain of fragmentary reflections--Walter Benjamin might have called them blinks--beginning and ending with Charles Baudelaire (1821-67), cast as the primary metaphysician of modernity: part-creator, part-revelator, part-enactor of our signature condition . . . Calasso emphasizes Baudelaire's clarity and originality (his ‘firsttimeness'), his imperativeness and his fearlessness . . . [Calasso's] Baudelaire is a person, not to say a personage. Part of the fascination of his book is its biographical or prosopographical color. ‘Baudelaire was a dandy, especially in ruin,' Calasso observes characteristically, evoking him at 32, walking too cautiously, for fear of widening the rips in his clothes. ‘He is a first Buster Keaton in a frock coat, who moves off, slowly, through the streets of Paris.' . . . The highlight of this ambitious enterprise is the reading or rereading of certain painters and paintings, in Baudelairian perspective . . . arresting observations on painters and paintings alike, aided and abetted by some discriminatingly chosen illustrations, beautifully reproduced . . . Calasso is one of the few to do justice to Degas's rabid antisemitism. He is also a great noticer of things in the paintings . . . Roberto Calasso wends his way, inviolate. La Folie Baudelaire is bedazzling.” ―Alex Danchev, The Guardian

“From a masterful biographical portrait of Baudelaire, the narrative spins out . . . to consider subjects as myriad as the airlessness of Ingres's neoclassicism, Chateaubriand's complaints about ‘the vulgarity . . . of passports' and the African exile of French poetry's enfant terrible, Arthur Rimbaud . . . his eye for illuminating anecdote is peerless. Thus he informs us of Alberthe de Rubempré who ‘was the mistress, in rapid succession, of Delacroix, Stendhal and Mérimée,' before waspishly adding: ‘Each of them spoke too well of her to his best friend--and was then promptly ousted by him.' . . . La Folie Baudelaire is a concrete triumph, for its recreation of Baudelaire's milieu is so intensely vivid as to miraculously transform the distantly anecdotal into the seemingly actual.” ―Lucian Robinson, The Guardian

“What a rare and special book this is, from its opening paragraph . . . But then what a rare writer is the prolific, post-Calvino Italian master Roberto Calasso--72-year-old scholar, translator, author of film scripts, radio and television adaptations, operatic librettos and seemingly most other viable prose forms in the late 20th and early 21st centuries . . . [La Folie Baudelaire is] an ideal introduction in English to one of the most urbane and readable of living masters.” ―Jeff Simon, Buffalo News

“In a series of elegant, passionate, erudite books, Calasso has attempted to map out an esoteric terrain: the metaphysical in literature. This study of Baudelaire and his era therefore represents a new stage in his project, developing from one of the essays in his Oxford lecture series, published as Literature and the Gods: an attempt to show how the metaphysical is still present, if in an occluded and buried form, even at the point when modernist literature begins . . . [Calasso's] book is baroque in its construction: its argument does not proceed from point to point but through a sequence of slow drifts and sudden aphoristic shocks. It is a gorgeous, willful, and convincing re-staging of Baudelaire's style . . . Toward the end of his book Calasso offers a final definition of his style: ‘an audacity that came naturally to Baudelaire no less than did a certain wavelike motion of verse. And it is precisely the alternation between those two tempos--the prestissimo of provocation and the sforzato of the Alexandrine--that separates him from all those who came before him and those who were to follow him.' Or, to put this another way, he was revolutionary, sure--and yet, as Calasso observes beautifully, ‘all his poetry seems translated from Latin.' Baudelaire was a classicist in his investigation of corruption. He was a constant double agent.” ―Adam Thirlwell, The New Republic

“Calasso's book can be seen as a series of spirited improvisations on the theme expressed in Walter Benjamin's essays on Baudelaire: that the poet, though he remained resolutely in the Romantic tradition, was the first to express the dark new reality of what Benjamin called ‘the permanent catastrophe' of life after the Industrial Revolution. Calasso illuminates this image of Baudelaire: the first poet to describe the shocking beauty of a decomposing corpse; to define the mixture of disgust, boredom, alienation, and fear that hung like a permanent fever mist in the brain of the city-dweller; to glory in the allure of the unhealthy, perverse and deformed, of the artificial and mechanical, of dissonance and fragmentation--all the scenery of destruction and despair that would become the natural landscape of writers from Kafka to Sartre and onward . . . Smoothing the way is the curiously conversational tone in which even the most arcane information is conveyed, as well as the underlying sense that, as the author piles detail upon detail, he's having a huge amount of fun. Calasso may identify with his hero, but there is no Baudelairean melancholy in his work. There's no show-off either--only a sincere delight, an innocent reveling in his own encyclopedic mind at play. This mood is catching, and if one adopts the right dreamy pace, one can commune with Calasso through a kind of imaginative osmosis.” ―Andrea Lee, Page-Turner (Newyorker.com)

“[Roberto Calasso is] an ambitious artist-critic, pushing the subject as far as he can, bent on penetrating the mind of both Baudelaire and his time. In the process, he delivers plenty of insight. . . Tough but rewarding, written with bold intelligence and panache.” ―Kirkus

“[Roberto Calasso is] a writer about the foundational myths and tales of human society who has no equal in the sparkle of his storytelling and the depth of his learning . . . His writing . . . these lost voices speak again, in magical, uncanny and something even sinister ways . . . La Folie Baudelaire . . . now published in a translation by Alastair McEwen that captures all the shot-silk hues of Calasso's elegant, gnomic and epigrammatic prose, returns to that 19th-century ‘landscape of the new' through glittering tableaux of the Parisian poet's life and work, and the art of his peers, from Ingres to Degas.” ―Boyd Tonkin, The Independent (London)

“Calasso has the 19th-century savant's light touch in his knowledge of hieroglyphs, Greek myths and Hindu texts, Turkish and Chinese culture and the ‘dandified' behaviour of the American Plains Indian. With chapters headed ‘The Natural Obscurity of Things' and ‘The Fleeting Sense of Modernity,' this well-illustrated volume is not a book for the faint-hearted. It is as red-blooded as art criticism gets, and a suitable encomium for the greatest of art critics.” ―Jad Adams, The Telegraph

“Let us lavish praise where praise is due: Roberto Calasso is the pre-eminent public intellectual of Western Europe, and perhaps the Western world. His extensive writings aim at nothing less than the recovery and reappropriation of the foundations of civilization. And he pursues his aim by reshaping and redirecting our vision toward the often obscure, but profoundly rich, synthesis of art, philosophy, literature and cultural theory that lies at the root of our identities . . . [In La Folie Baudelaire] he turns his formidable intellect to the birth of an era closer to home: the modern . . . [Calasso is] brilliant . . . pervasive in his studies . . . inventive in his narrative structure . . . Always surprising, never predictable, Calasso picks a progenitor of modernity that none of us would suspect . . . Charles Baudelaire, the Parisian enfant terrible, emblem of decadence and damnation to the status quo. Such eccentricity on Calasso's part allows "La Folie Baudelaire" to shine forth as his most accessible, satisfying book . . . to read Calasso's beautiful synthesis of the age in which Baudelaire flourished is to understand the poet as a Virgil to our Dante--exploring the labyrinthine depths of modernity's cult of endless images . . . For we moderns, as Calasso elegantly and authoritatively demonstrates, and as Baudelaire foretold: The future is now.” ―Arlice Davenport, The Wichita Eagle

“Don't expect anything so obvious as a thesis; what we get instead is a companionable guided tour of mid- and late 19th century Paris, loosely organized around Baudelaire, his associates and enthusiasms, and the idea . . . that what we like to think of as the modern sensibility (urban, alienated, etc.) first recognized itself in that time and place. Perhaps not surprisingly, more than a touch of the flaneur hovers over the proceedings. Rambling across decades and art forms, Calasso--a polymathic one-man genre whose previous books have soared in the loftiest realms where culture intersects with ritual and myth--finds room, this time around, for jokes about Belgium and digressions on mistresses and breasts.” ―Jeff Tompkins, PopMatters

“At his best, Calasso is a writer of sufficient force and grace not only to summon the gods, but to make them come. A brief biographical note to Calasso's latest book describes the publication as ‘the sixth panel' of ‘a work in progress.' Calasso has been laboring at this project for 25 years, and his work to date . . . constitutes a major critical accomplishment.” ―Algis Valiunas, The Weekly Standard

“[Calasso] has certainly managed to open a new road through the old landscape of literature.” ―John Banville, The New York Review of Books on Roberto Calasso

“[The Marriage of Cadmus and Harmony] is the kind of book one comes across only once or twice in one's lifetime . . . Is this, then, the work of a Mediterranean genius? Of a genius, that's certain. And it's all Calasso's own . . . I suggest you take a closer look at this book's author, for he, I think, is less mortal than most of us. His book certainly is.” ―Joseph Brodsky on Roberto Calasso

“Calasso is not only immensely learned; he is one of the most original thinkers and writers we have today.” ―Charles Simic on Roberto Calasso

“Roberto Calasso [is] an exceptionally accessible thinker, original and profound . . . [His] creative energy is active throughout [K.]. He claims to present Kafka's work as 'illuminated by its own light,' and succeeds in a unique way.” ―Muriel Spark, The Times Literary on Roberto Calasso

About the Author

Roberto Calasso, publisher of Adelphi in Milan, is the author of many books, among them The Ruin of Kasch, The Marriage of Cadmus and Harmony, Ka, K., and Tiepolo Pink, all parts of a work in progress of which La Folie Baudelaire is the sixth panel.

Alastair McEwen has translated almost ninety books of fiction and nonfiction and seven feature film scripts, as well as radio play adaptations, operative librettos, and many hundreds of articles for various magazines and newspapers. He has also translated some of Italy's finest writers (Calasso, Eco, Tabucchi, and many others). He lives and works in Milan.

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13 of 16 people found the following review helpful.
A Sainte-Beuve for Our Times
By Kevin Killian
Our book club decided to read this book for its debut meeting, and we met Saturday afternoon, each carrying a copy of Calasso--it is a strangely heavy book, with deep satiny paper that convey sort of well the dozens of period visuals from Ingres and Manet and Delacroix, et cetera, but lugging it around becomes a chore. In addition, the manner in which Calasso constructs his chronicle is, as others have testified, byzantine as a shaggy dog story but ten times as portentous. We had started the book hoping to read a biography of Baudelaire, but that was not to be. It is rather a book of emblems, each page turning inward to reveal another charming anecdote about life between the Empires, and the continual struggle of men to become number one in French Parnassus. At the center of them all, we find eventually, not Baudelaire, but Saunte0Beueve, the professional journalist for whom Calasso has nothing good to say, who wrote long articles on culture that apoeared every Monday morning for decades, who boasted of his election to the Academie Francaise and who relished his position as gatekeeper to culture.

To him Baudelaire was a rogue whose Paris Spleen and a few of the poems from Les Fleurs du Mal were works of genius, but on the whole, like Bartleby, he would prefer not to. Calasso bypasses the discussion for an extended side trip in which he tracks Sainte-Beuve's hilarious response to Flaubert's overheated flop Salammbo, the successor to Madame Bovary and different from it as night from day--well, actually, Calasso reveals, they are more or less the same book, one told in the modernist realism Saint-Beuve valued highly, and the other a novel of a civilization (ancient Carthage) which Flaubert retreated to in an attempt to keep his own interest in writing flagging, like the modernday pornaddict who must keep raising the stakes to feel any excitement whatsoever. Saint-Beuve spread out the attack over three long, delicious Monday articles and oh how Flaubert burned! When Baudelaire wrote privately to Sainte-Beuve to remonstrate, he took an unusual tactic to restore Flaubert's place as the first writer of France, but I mustn't spoil what all of us in the book club saw as the turning point of the story.

Indeed Calasso himself reminds me of Sainte-Beuve. he is definitely the man who knows everything, as my friend Brandon asserted approvingly last night at the ATA. He has every fact at his fingertips, and is especially eloquent on why Sainte-Beuve spoke of "Kamchatka" as the far-off, apocalyptic land on which Baudelaire laid his "folie," That is, through able deconstruction Calasso brings out all the edges and shadows with which educated French men of culture would have seen the terrain of KAmchatka, its position in regards to Asia and Russia, its culture and even its shape, and all this im the service of establishing Sainte-Beuve's own anxiety and perplexity about where, finally, to "place" Charles Baudelaire, the disturber of modern life. And Roberto Calasso's a little like that too. Though he seems like an pantomath, wise and assured, there are some storms he cannot weather.

6 of 12 people found the following review helpful.
A Sanctuary for Some
By Reece Thomas Harris
It is doubtful if you can find any ideas in this book. Rather, the book abounds with encounters which enhance or even build anew our mode of being precisely because the experience shatters our usual categories with which we accost things; and because of this vacuum we have new space to renew our ourselves. Such experiences, in the end, can make us alien to others as is the case for Bauderliare, Mallarme', yes, even Proust. So, should anyone ask, I could not say what this books is about, yet paradoxically it offers much fruit for those willing to pause in their too rapid reading and ponder as they read.. The text of this book is stretched on a warp of many startling quotations which in themselves might inspire us to yield to the "great temptation to recreate true life."--Proust, (p.275). These many quotations are difficult reading, but for me are the veritable heart of this book woven deftly together by Calasso's own text.

Sainte-Beuve (p.260) asserts Baudelaire built an outpost, a veritable Romantic Kamchatka which Sainte-Beuve christens as 'Baudelaire's folly.' The essential insight is that the inhabitants on this island outpost are in this world, but not of it. The have departed from the midst of those who live in the wide and shallow consciousness of the Many for this ``bizarre pavillion, a folly, high decorated, highly tormented, but graceful and mysterious. . .''---Reece Harris.

7 of 17 people found the following review helpful.
Steinerian chutzpah without a safety net
By Simon Barrett 'Il Penseroso'
Calasso says that everyone wants to put Baudelaire in the same category as themselves. I find him operatic verging on Grand Guignol, which isn't me at all. Calasso can be infuriating. There's a distinct element of mumbo-jumbo* about him, as indeed there is about Baudelaire himself, not to mention the entire Romantic movement (Baudelaire is a Romantic or he is nothing; I'm more of a Rimbaldian), but mercifully this is mainly about Baudelaire the art critic. Those who stay the course may learn much (it may help to be a Francophile first). At school, according to Calasso, the only thing Baudelaire was good at was Latin composition. 'All his poetry is as if translated from a dead, nonexistent tongue, blended with Virgil and Christian liturgy.' We don't have to agree to find this mighty suggestive. Sumptuously illustrated, but I fear more destined to be leafed through than read

* viz page 21: 'on countless occasions we sense Proust extending Baudelaire's progression and sonority'; no examples cited - and what on earth does 'extending progression' mean? It might be fairer to say that Baudelaire brought out the worst in Proust (not in his magnum opus, of course). On the other hand I look forward to Calasso's Proust book should he be contemplating such; it is impossible to write a bad book on Proust, I long ago concluded. Jonathan Franzen should probably read Proust and give up fiction. I cite Franzen because Freedom is the only ambitious modern American novel I've read

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