Sunday, March 29, 2015

* Free Ebook Fashionistas, by Lynn Messina

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Fashionistas, by Lynn Messina

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Fashionistas, by Lynn Messina

The naked truth behind the glitz and glamour of the glossies is exposed in this laugh-out-loud tale of fun, fashion, friendship and flirtation.

  • Sales Rank: #6757802 in Books
  • Published on: 2005-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .75" w x 5.13" l,
  • Binding: Paperback
  • 286 pages

From Publishers Weekly
An attempted putsch at glossy Fashionista magazine is the wickedly entertaining subject of Messina's debut novel. Smart, frustrated Vig Morgan is toiling as an associate editor ("A trend needs three examples to be declared-two might be a coincidence-and I frequently have to dig deep to find the third") under the tyrannical rule of editor-in-chief Jane McNeill. When a charismatic new editorial director, Marguerite, arrives on the scene, Vig and other lowly staffers come up with a bold and unlikely strategy to depose Jane. The plan is to get Fashionista to feature controversial artist Gavin Marshall, who outfits Jesus statues in Chanel and Dior. Readers will be incensed, advertisers alienated and Jane fired, the underlings reason. Vig's duty is to manipulate the misanthropic events editor, Alex Keller, whom no one has ever seen, into putting snapshots from Gavin's gallery opening in the magazine's events section. A visit to Alex's house reveals he is not the "wart-faced troll" Vig imagined, but a handsome young man who allows his Machiavellian secretary to do his job while he secretly goes to architecture school. Vig blackmails Alex; commiserates with her friend Maya over cocktails in swanky hotel bars; watches the catfights between Marguerite and Jane, who turn out to be old enemies (they were up-and-coming co-editors until Jane had the INS deport Marguerite back to Australia); and becomes increasingly smitten with Alex. The clever, single New York-publishing-type protagonist is standard chick lit fare, but Vig is refreshingly free from neurotic body obsessions and boyfriend angst. Messina's prose is witty and assured (she's read her Austen, her Wharton, her Noel Coward), and her novel is an irresistible frolic.
Copyright 2003 Reed Business Information, Inc.

From Booklist
Working at the stylish celebrity magazine Fashionista isn't all it's cracked up to be, as associate editor Vig Morgan knows. The editor-in-chief, Jane, is a tyrant, so when three of Vig's coworkers pull her into the bathroom for a secret meeting to discuss their plot to overthrow Jane, Vig is tempted by the idea. The women have decided to trick Jane into covering a controversial art show featuring statues of Jesus in designer dresses, and are hoping the ensuing outcry will topple Jane. Encouraged by her coconspirators, Vig decides to approach Alex Keller, the elusive and hostile events editor, whom she has never even laid eyes on. When she does, she's surprised to find him attractive and decidedly friendly, especially when she discovers the secret behind his surly work demeanor. As the plan progresses, Vig begins to doubt its wisdom once it becomes apparent that a rival editor is just as bad as Jane. Messina's tale is a hip and funny parody of trendy magazines and the people who toil at them. Kristine Huntley
Copyright © American Library Association. All rights reserved

Review
Delightfully witty. -- New York Daily News

Fashionistas has genuine style.... Forget about simply telling the boss to go to hell; Messina's accomplished something funnier and darker. -- Time Out New York

Messina's tale is a hip and funny parody of trendy magazines and the people who toil at them. -- Booklist

Well-written, funny and sharp. -- Pittsburgh Post-Gazette

Most helpful customer reviews

2 of 2 people found the following review helpful.
All is Fair in Fashion & War!
By Silmarwen
Vig Morgan finally worked her way out of the assistant-for-the-...-from-hell position for the chief editor, Jane McNeill, only to find herself one of many associate editors with no power and no hope of a promotion. Vig isn't like the other editors anyway. For one thing, she really could care less about who wore what where and what the latest trend is. She knows that the readers of Fashionista, the magazine where she works, are ready for something with a little more edge, a little more meat, but Jane is just not interested in new and fresh ideas. Vig was hopelessly stuck in what she thought would be her dream job with no real future until Marguerite, a new editor arrived. Turns out Jane and Marguerite are bitter enemies from back in the day when they were both underlings at their first major magazine job. Vig quickly takes a shine to Marguerite and her more progressive thinking and cannot stop herself from wondering what working at Fashionista would be like if Marguerite was the chief editor instead of Jane. Then the plot thickens...
Vig's neighbor in the next cubicle over has developed a plan to depose Jane, which would ensure Marguerite's chief editor status. All they need to do is persuade Alex Keller, the mysterious events editor, to run a huge spread on Gavin Marshall, the new artist who dresses statues of Jesus in Christian Dior. There will be a public outcry over Fashionista's bad taste in running the story and Jane McNeill will be fired. And Vig is the lynchpin. The other girls need her to make sure this plan goes through. And crazily enough, Vig finds herself drawn into the game...
I thought that this was an absolute riot. I loved reading this book! It was so funny and was really fast paced so that you felt like you were on this breakneck pace and would never be able to slow down again. In fact, sometimes it was so fast paced that I missed out on little details and personalities, but its not like this was meant to be a character study or anything. Vig is a great heroine who finds herself swept up in something bigger than herself and discovers that things are not always what they seem. The ending was a real surprise and just leaves you stunned at the end. This book was almost five stars, but it was just a little too short on personality development and ended just a little too abruptly. Still, this is a fun, fast "chick flick in a book" read that I think almost everyone would enjoy.

0 of 2 people found the following review helpful.
Poorly made Knock Off of The Devil Wears Prada
By TReaderKindle
I have never been so thorougly disappointed in a book! The character of Vig has absolutely no substance and I couldn't even get halfway through this book. Normally I can get through a book in two days with my commuting, so I kept waiting for something remotely funny or even remotely interesting as I turned the pages, but alas - this book didn't do it for me. One thing this did do for me is put me to sleep on the train, so it helped with my cat naps on my way to and from work! I was so disinterested, I left it on the train for someone else to catch a few zzzzzzzzzzz's.

8 of 8 people found the following review helpful.
Fashionable!
By E. A Solinas
"Fashionista" is little more and little less than your average fluffy chick-lit book: A single smart gal in a job-from-hell, some quirky coworkers and plenty of witty little observations about whatever business Single Smart Gal is in. It's a guilty pleasure with a literate twist and a likably wry main character.

Glossy magazine Fashionista is like "Seinfeld" -- it's about nothing. All they do is retread celebrity fashion of the moment, check out celebrity fashion of the past, and just about anything vapid involving celebrities. (Seeing a trend here?) Vig Morgan got involved in this magazine for the glamour, but finds that it's sadly lacking. Iron-rod editor-in-chief Jane McNeill is intent on keeping it vapid and celebrity-driven, even though her staff yearns to give the mag a little substance.

Then a rebellion starts brewing in the ranks. Vig finds herself turned into the linchpin of a conspiracy to get controversial fashion artist Gavin Marshall and his Gilding the Lily (or, to be blunter, "Jesus in Drag" -- Jesus statues in designer women's garb) exhibit into the magazine. But will the uproar be enough to overturn Jane?

Ever since the publication of "The Nanny Diaries," there have been a slew of my-job-is-hell-and-my-boss-is-a-demon books. "Fashionistas" manages to avoid the pitfalls of most books like that. The biggest pit that it DOES fall into is the not-a-relationship that Vig has with the mysterious Alex Keller -- it really adds nothing to the book, and just seems to take up pages that could be devoted to catty power struggles.

Those catty power struggles are what make "Fashionista" so delicious at times. Vig's deadpan recounting of the quirky workplace characters is fun to read. While their oddities sometimes strain believability, they always manage to seem like people who could actually exist. And Messina does a decent job of lampooning the art world (Jesus statues with women's designer clothes), the fashion world, and magazines in general. Since she herself writes for magazines, it somehow doesn't seem surprising.

Vig actually seems like a smart, interesting female lead. She doesn't whine constantly about her weight, her boyfriend, and grimly takes it in stride when she has to cover Cate Blanchett's "curly" phase. Sort-of-boyfriend Alex is a nonentity, and so are quite a few of Vig's coworkers. Maya is a good sidekick for Vig: She's an emotional mess with unpublished novels, a nasty ex, and many stages of grief.

Lynn Messina's take on the fashion world is a nice beach-read. Or if you don't have a beach handy, then "Fashionista" is merely a pleasant light read with plenty of cattiness, fashion and inter-magazine power struggles.

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Wednesday, March 25, 2015

!! PDF Ebook The Courage for Truth: The Letters of Thomas Merton to Writers (The Thomas Merton letters series), by Thomas Merton

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The Courage for Truth: The Letters of Thomas Merton to Writers (The Thomas Merton letters series), by Thomas Merton

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The Courage for Truth: The Letters of Thomas Merton to Writers (The Thomas Merton letters series), by Thomas Merton

From 1948, when he wrote his first letters to Evelyn Waugh, who was editing The Seven Storey Mountain, until his death in 1968, Merton corresponded with writers around the world, developing an ever-widening circle of friends. Here collected in the fourth volume of Merton's correspondence are his letters to Czeslaw Milosz, Henry Miller, Walker Percy, Boris Pasternak, and others.

  • Sales Rank: #1780785 in Books
  • Published on: 1993-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.50" w x 1.25" l,
  • Binding: Hardcover
  • 314 pages

Amazon.com Review
Though he lived in an enclosed order, Thomas Merton was the most sociable of monks by mail. His first letter in this ever-surprising volume is to Evelyn Waugh, who in 1948 was editing The Seven Storey Mountain for English publication. Recounting how his work runs a gantlet of religious censors before being further altered by his publishers, Merton adds, "And after about four years a book appears in print." Hence, he pleads, "I need criticism the way a man dying of thirst needs water." The paradoxes of his life are all here: his great faith, his frustration with earthly authority, his obligation to honesty, and his essential sophistication. This is the man who "read Decline and Fall and Vile Bodies over more than any other book except for Ulysses: I mean before coming here."

The Courage for Truth includes 20 years of Merton's correspondence with fellow writers, among them Czeslaw Milosz, Boris Pasternak, James Baldwin, and even Henry Miller. Over time Merton's order gave him increasing intellectual and political leeway--though never quite enough. In one letter, he assures Milosz: "You can say nothing about the Church that can shock me. If I stay with the Church it is out of a disillusioned love, and with a realization that I myself could not be happy outside, though I have no guarantee of being happy inside either. In effect, my 'happiness' does not depend on any institution or establishment. As for you, you are part of my 'Church' of friends who are in many ways more important to me than the institution."

From Publishers Weekly
Famed Trappist monk Thomas Merton corresponded with an extraordinary range of writers, among them Evelyn Waugh, Henry Miller, Jacques Maritain, Walker Percy and William Carlos Williams. He spoke out boldly against political oppression, social injustice, racism and nuclear weapons, and expressed solidarity with Boris Pasternak, Czeslaw Milosz and James Baldwin. His letters to Nicaraguan poet Ernesto Cardenal and to Argentine feminist Victoria Ocampo reflect his deep love of Latin American culture. Spanning the years from 1948 to Merton's death in 1968, this fourth volume of his correspondence shows the crystallization of his belief that speaking the truth is an obligation which ultimately brings persons of integrity into confrontation with power structures and vested interests. Highly articulate and quietly inspirational, these letters also testify to Merton's conviction that contemplation is the source from which all action should flow. Bochen is secretary of the International Thomas Merton Society.
Copyright 1993 Reed Business Information, Inc.

From Kirkus Reviews
The fourth volume of Merton's correspondence, complementing The Hidden Ground of Love, 1985 (letters on religion and society), The Road to Joy, 1989 (letters to friends), and The School of Charity, 1990 (letters on monastic spirituality). It's now apparent that Merton, already celebrated as an autobiographer and Christian contemplative, was also one of the great American letter-writers of the century. His range is as vast as his adopted nation (he was born in France): God, jazz, civil rights, atomic weaponry, obedience, rebellion, etc. Ably edited by Bochen (Religious Studies/Nazareth College of Rochester), this collection consists of letters to other writers; the contents all postdate Merton's bestselling literary debut, The Seven Storey Mountain (1948). The first epistles, in fact, are addressed to Evelyn Waugh, who was assigned the task of trimming Mountain for British publication. Here, Merton is the eager apprentice at the mentor's feet (``I need criticism the way a man dying of thirst needs water''), but not above passing on clever ideas for novels or urging Waugh to recite the rosary. Next comes a compilation of letters to three Christian writers: Jacques Maritain, with whom Merton discusses the joys of the hermit life; Czeslaw Milosz, who questions the value of political action; and Boris Pasternak, to whom Merton reveals some dreams. A flurry of letters to Latin American writers, most of them obscure--Ernesto Cardenal, once a novice monk under Merton's guidance, is a notable exception-- invites glossing-over. The great grab bag comes last: missives to American correspondents like James Baldwin, Walker Percy, William Carlos Williams, and Henry Miller (the two balding guys chuckle over their physical likeness). Less jocular than The Road to Joy, less profound than The School of Charity--but, for all that, a well-rounded monument to a well-rounded man. -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

15 of 17 people found the following review helpful.
Thanking God For Three Cent Stamps
By Thomas J. Burns
This is definitely not a Thomas Merton primer. It is the fourth in a series of collected correspondences, with this particular volume devoted to exchanges between the cloistered Catholic monk and man of letters [literally and figuratively] and a bevy of international writers, some famous, some obscure. It strikes me that this is a work for a rather limited readership. There is in truth very little exchanged in these letters about the art of writing per se and more about the meaning of the lives and trials of the writers themselves. Consequently, one would need to know a good deal about Merton for these letters to make sense, nor would it hurt to have a passing understanding of the place of Evelyn Waugh, Jacques Maritain, Ernesto Cardenal, Boris Pasternak, and Czeslaw Milosz, to cite some of the Merton correspondents.
Those who have read Merton's seven volume journal will not be surprised that these letters reveal to some degree Merton's double life: the loyal churchman who observes monastic rubrics to the letter while questioning the very credibility of visible church structure and its coziness with American pragmatism. There is a surprisingly lively exchange between Merton and the poet Clayton Eshleman, the one correspondent in this volume who seems to have put the monk on the defensive about his inner contradictions.
The majority of the letters are addressed to South American poets, particularly Ernesto Cardenal, who had been a novice under Merton at Gethsemanae. Merton, who experienced a religious conversion of sorts in Cuba before entering the Trappists, enjoyed a romantic ideal of life south of the United States, and his interest in Hispanic poetry and authors strikes the reader as part escapist and part anti-capitalist. One cannot help but smile at his frequently professed desire to join Cardenal's experimental island community, Our Lady of Solentiname, when in his journal he expresses near horror at the prospect of living in the jungle of South Carolina [Mepkin Abbey] where he would die among snakes and alligators.
Generally speaking, Merton's letters here serve three purposes. First, they allowed him to vent feelings and frustrations that the writer believed would be misunderstood or outright harmful if expressed in the context of his monastery. Or put another way, his literary correspondences proved to him that he was not swallowed whole by the monastic mystique. Second, Merton's correspondences to writers-many agnostic or of undefined religious persuasion-met his need to believe that his monastic secluded existence served some sort of spiritual and secular reform mission. As much as he denied it, Merton did indeed question the relevance of a purely solitary contemplative life in a powerful country, and he desperately needed to establish solidarity with those behind the Iron Curtain and under repressive political regimes. I believe Merton to be sincere in this regard, though on paper the sentiment appears fawning at times and he sounds like the classic Cadillac liberal.
And finally, Merton wrote letters to other writers because "Amazon.com" had not yet been invented. From his mountain hideaway Merton conducted a book and poetry exchange operation that actually provokes outright laughter. Consider that his mail was censored and sometimes withheld without his knowledge by superiors, that he wrote to countries with irregular postal service, that he did have access to several publishing houses, that some of his correspondents were as unfocused as he was, and that Xerox machines were not yet in general use. It is quite possible there are monks in heaven who can honestly claim that their life's work consisted of sealing envelopes and mimeographing for Father Louis. That one of Merton's monastery responsibilities included reforesting is truly a sign of God's sense of humor.

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Thursday, March 19, 2015

? Get Free Ebook The World Is Flat [Updated and Expanded]: A Brief History of the Twenty-first Century, by Thomas L. Friedman

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The World Is Flat [Updated and Expanded]: A Brief History of the Twenty-first Century, by Thomas L. Friedman

The World Is Flat is Thomas L. Friedman's account of the great changes taking place in our time, as lightning-swift advances in technology and communications put people all over the globe in touch as never before--creating an explosion of wealth in India and China, and challenging the rest of us to run even faster just to stay in place. This updated and expanded edition features more than a hundred pages of fresh reporting and commentary, drawn from Friedman's travels around the world and across the American heartland--from anyplace where the flattening of the world is being felt.
In The World Is Flat, Friedman at once shows "how and why globalization has now shifted into warp drive" (Robert Wright, Slate) and brilliantly demystifies the new flat world for readers, allowing them to make sense of the often bewildering scene unfolding before their eyes. With his inimitable ability to translate complex foreign policy and economic issues, he explains how the flattening of the world happened at the dawn of the twenty-first century; what it means to countries, companies, communities, and individuals; how governments and societies can, and must, adapt; and why terrorists want to stand in the way. More than ever, The World Is Flat is an essential update on globalization, its successes and discontents, powerfully illuminated by one of our most respected journalists.

  • Sales Rank: #137569 in Books
  • Brand: Farrar, Straus and Giroux
  • Published on: 2006-04-18
  • Released on: 2006-04-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.63" w x 6.25" l,
  • Binding: Hardcover
  • 616 pages
Features
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Amazon.com Review
Updated Edition: Thomas L. Friedman is not so much a futurist, which he is sometimes called, as a presentist. His aim in The World Is Flat, as in his earlier, influential Lexus and the Olive Tree, is not to give you a speculative preview of the wonders that are sure to come in your lifetime, but rather to get you caught up on the wonders that are already here. The world isn't going to be flat, it is flat, which gives Friedman's breathless narrative much of its urgency, and which also saves it from the Epcot-style polyester sheen that futurists--the optimistic ones at least--are inevitably prey to.

What Friedman means by "flat" is "connected": the lowering of trade and political barriers and the exponential technical advances of the digital revolution that have made it possible to do business, or almost anything else, instantaneously with billions of other people across the planet. This in itself should not be news to anyone. But the news that Friedman has to deliver is that just when we stopped paying attention to these developments--when the dot-com bust turned interest away from the business and technology pages and when 9/11 and the Iraq War turned all eyes toward the Middle East--is when they actually began to accelerate. Globalization 3.0, as he calls it, is driven not by major corporations or giant trade organizations like the World Bank, but by individuals: desktop freelancers and innovative startups all over the world (but especially in India and China) who can compete--and win--not just for low-wage manufacturing and information labor but, increasingly, for the highest-end research and design work as well. (He doesn't forget the "mutant supply chains" like Al-Qaeda that let the small act big in more destructive ways.)

Friedman has embraced this flat world in his own work, continuing to report on his story after his book's release and releasing an unprecedented hardcover update of the book a year later with 100 pages of revised and expanded material. What's changed in a year? Some of the sections that opened eyes in the first edition--on China and India, for example, and the global supply chain--are largely unaltered. Instead, Friedman has more to say about what he now calls "uploading," the direct-from-the-bottom creation of culture, knowledge, and innovation through blogging, podcasts, and open-source software. And in response to the pleas of many of his readers about how to survive the new flat world, he makes specific recommendations about the technical and creative training he thinks will be required to compete in the "New Middle" class. As before, Friedman tells his story with the catchy slogans and globe-hopping anecdotes that readers of his earlier books and his New York Times columns know well, and he holds to a stern sort of optimism. He wants to tell you how exciting this new world is, but he also wants you to know you're going to be trampled if you don't keep up with it. A year later, one can sense his rising impatience that our popular culture, and our political leaders, are not helping us keep pace. --Tom Nissley

Where Were You When the World Went Flat?

Thomas L. Friedman's reporter's curiosity and his ability to recognize the patterns behind the most complex global developments have made him one of the most entertaining and authoritative sources for information about the wider world we live in, both as the foreign affairs columnist for the New York Times and as the author of landmark books like From Beirut to Jerusalem and The Lexus and the Olive Tree. They also make him an endlessly fascinating conversation partner, and we've now had the chance to talk to him about The World Is Flat twice. Read our original interview with him following the publication of the first edition of The World Is Flat to learn why there's almost no one from Washington, D.C., listed in the index of a book about the global economy, and what his one-plank platform for president would be. (Hint: his bumper stickers would say, "Can You Hear Me Now?")

And now you can listen to our second interview, in which he talks about the updates he's made in "The World Is Flat 2.0," including his response to parents who said to him, "Great, Mr. Friedman, I'm glad you told us the world is flat. Now what do I tell my kids?"

The Essential Tom Friedman
From Beirut to Jerusalem
The Lexus and the Olive Tree
Longitudes and Attitudes More on Globalization and Development


China, Inc. by Ted Fishman
Three Billion New Capitalists by Clyde Prestowitz
The End of Poverty by Jeffrey Sachs
Globalization and Its Discontents by Joseph Stiglitz
The Travels of a T-Shirt in the Global Economy by Pietra Rivoli
The Mystery of Capital by Hernando de Soto

From the Back Cover
"One mark of a great book is that it makes you see things in a new way, and Mr. Friedman certainly succeeds in that goal," the Nobel laureate Joseph E. Stiglitz wrote in The New York Times, reviewing The World Is Flat in 2005. For this updated and expanded edition, Friedman has seen his own book in a new way, bringing fresh stories and insights to help us understand the flattening of the world. New material includes:

• The reasons why the flattening of the world "will be seen in time as one of those fundamental shifts or inflection points, like Gutenberg's invention of the printing press, the rise of the nation-state, or the Industrial Revolution"

• An explanation of "uploading" as one of the ten forces that are flattening the world, as blogging, open-source software, pooled knowledge projects like Wikipedia, and podcasting enable individuals to bring their experiences and opinions to the whole world

• A mapping of the New Middle--the places and spaces in the flat world where
middle-class jobs will be found--and portraits of the character types who will find success as New Middlers

•An account of the qualities American parents and teachers need to cultivate in young people so that they will be able to thrive in the flat world

•A call for a government-led "geo-green" strategy to preserve the environment and natural resources

•An account of the "globalization of the local": how the flattening of the world is actually strengthening local and regional identities rather than homogenizing the world

About the Author
Thomas L. Friedman has won the Pulitzer Prize three times for his work at The New York Times, where he serves as the foreign affairs columnist. He is the author of three previous books, all of them bestsellers: From Beirut to Jerusalem, winner of the National Book Award for nonfiction; The Lexus and the Olive Tree: Understanding Globalization; and Longitudes and Attitudes: Exploring the World After September 11. In 2005 The World Is Flat was given the first Financial Times and Goldman Sachs Business Book of the Year Award, and Friedman was named one of America's Best Leaders by U.S. News & World Report. He lives in Bethesda, Maryland, with his family.

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242 of 266 people found the following review helpful.
Why should we read this?
By Ralph Bradley
Tom Friedman is a well connected journalist. His columns appear on the op-ed pages of the New York Times and his previous works LONGITUDES AND ATTITUDES and THE LEXUS AND THE OLIVE TREE are part of the "conventional wisdom" of most American decision makers. This new book, THE WORLD IS FLAT will also find its way into the "conventional wisdom." Unfortunately, it is at best a misdiagnosis of the factors that have lead to the ability to substitute labor across geographical boundaries. However, although it is as wrong as could be, many of our power elites will read or hear of this, and will base their decisions on the assumption that this book contains the truth. The reason that you should read it is that it is conventional wisdom and you are perhaps better off understanding this and how it is wrong.

Friedman's explanation is a simple one - the world has transformed from a three dimensional phenomenon, a sphere, to a two dimensional flat plane where there are no entry barriers into the labor market. So, a radiologist in Boston can be easily substituted for a radiologist in Bangalore. Oh, how it would be nice if it were this simple. But alas it is not. Friedman, I believe, is well intentioned, but he mistakenly believes that he can find the truth through anecdotes. So, his empirical evidence comes from stories of things that he does not understand instead of the use of reliable demographic and economic databases.

He believes that 10 exogenous forces can explain how "the world became flat." While doing this, he solely looks at the labor market and ignores the effects of the consumer, monetary, raw material/energy, and fixed investment markets. He cannot distinguish between a symptom and a cause. These 10 forces that he claims changed the labor markets are not causes but merely symptoms.

Friedman is a name dropper par excellence, and rubs elbows with the elite. Unfortunately for him, he cannot detect competence or incompetence. One reason that this book will not age well is that when he wrote it in 2004 he was rubbing elbows with the incompetent elites such as Carly Fiorina who botched the merger between Compaq and Hewlett Packard and Nobuyuki Idei, the incompetent chairman of Sony. He praises these folks to win their favor, but reading this in 2005, demonstrates how little he knows.

A major problem that Friedman ignores is the inability of any government to impartially referee our global economy. No country has good corporate governance laws, and the US is becoming increasing unable to protect both intellectual and physical property rights. This problem creates new barriers and instead of flattening the world, it adds new walls and new traps. Poor corporate governance promotes crony capitalism and not the meritocracy capitalism that Friedman thinks it is supporting. Just look at the disconnect between executive pay and performance as evidence that many incompetent corporate chieftains are keeping their jobs and continuing to make poor decisions. American law is ineffective, the inability to sentence Health South's Scrushy shows that Sarbanes Oxley is not working, and the inability to put Ken Lay, Michael Eisner, and Michael Ovitz in prison shows how little protection the share holders have. Things are worse in China, India, and Japan where "transparency" is not even a part of the vocabulary.

The book is filled with inconsistency. It derides the inflexibility of the European welfare state, but calls for an American safety net to protect those from globalization. He calls for the enactment of "Hillary care" but cannot explain the reason that it failed passage in 1993. He praise the Asian "rote learning" systems, but later on calls on American youth to think unconventionally. He is calling on the federal government to do contradictory things such as keep minimum wages and promote market efficiency.

America's increasing indebtedness is not given one sentence in this book. Not only are jobs being exported to Southeast Asia, but claims and control on American assets are also being transferred. Increasingly, the important capital allocations in America will be directed by foreign executives who will be even less accountable than the Bernie Ebbers and the Ken Lays.

In short, Friedman is not qualified to write on this topic, but like the incompetent overpaid executive that he hangs with, he will be over paid and over read. At best, we might be able to profit if we understand how this "conventional wisdom" is wrong and then short sell the companies whose leaders make bad decisions based on this wrong analysis.

1412 of 1587 people found the following review helpful.
Competing in a shrinking world
By John Zxerce
I'd forgotten the pleasure reading good prose brings. Friedman not only writes well, but does so on an important subject- globalization. He states, "It is now possible for more people than ever to collaborate and compete in real time with more people on more different kinds of work from more different corners of the planet and on a more equal footing than at any previous time in the history of the world."

He claims, "When the world is flat, you can innovate without having to emigrate". But, how did the world `become flat'? Friedman suggest the trigger events were the collapse of communism, the dot-com bubble resulting in overinvestment in fiber-optic telecommunications, and the subsequent out-sourcing of engineers enlisted to fix the perceived Y2K problem.

Those events created an environment where products, services, and labor are cheaper. However, the West is now losing its strong-hold on economic dominance. Depending on if viewed from the eyes of a consumer or a producer - that's either good or bad, or a combination of both.

What is more sobering is Friedman's elaboration on Bill Gates' statement, "When I compare our high schools to what I see when I'm traveling abroad, I am terrified for our work force of tomorrow. In math and science, our fourth graders are among the top students in the world. By eighth grade, they're in the middle of the pack. By 12th grade, U.S. students are scoring near the bottom of all industrialized nations. . . . The percentage of a population with a college degree is important, but so are sheer numbers. In 2001, India graduated almost a million more students from college than the United States did. China graduates twice as many students with bachelor's degrees as the U.S., and they have six times as many graduates majoring in engineering. In the international competition to have the biggest and best supply of knowledge workers, America is falling behind."

Friedman sounds the alarm with a call for diligence and fortitude - academically, politically, and economically. He sees a dangerous complacency, from Washington down through the public school system. Students are no longer motivated. "In China today, Bill Gates is Britney Spears. In America today, Britney Spears is Britney Spears -- and that is our problem."

Questions I wish Friedman had explored in further detail are:

1. When should countries do what benefits the global economy, and when should they look out for their own interests? (protectionism, tariffs, quotas, etc.)

2. What will a `flat world' mean to the world's poor? (those living in Haiti, Angola, Kazakhstan, etc.)

3. What cultural values (or absence thereof) are contributing to the West's loss of productivity, education, and excellence? (morality, truth, religion, meaning, hope?)

4. How will further globalization effect cultural distinctions? (Are we heading towards a universal melting pot?)

5. What will a `flat world' mean environmentally - particularly for those countries on the verge of an economic explosion?

426 of 487 people found the following review helpful.
Well-written but based on an oversimplified and factually inaccurate premise
By P. Petersen
An enlightening essay on the nature of the business world and how the global interconnectedness and outsourcing has leveled the playing field. Completely wrong, and based on an oversimplified and factually inaccurate premise, but well-written and enlightening. In Friedman's "flat" world, it's possible for a call center in India to take orders which then get processed by a shipping service in Indiana which forwards the order to a warehouse in Oakland that stores merchandise made from parts made in Taiwan and assembled in Malaysia. All this is written in such a way as to make the Corporate Executives of the world look like the good guys for somehow coming up with a win-win scenario whereby they bring jobs to third-world countries, at the same time saving themselves money while increasing their productivity and efficiency - a fine premise in the ideal, but hopelessly impractical on several realistic human levels.

The book is very well-written, but Friedman fails to take into account the realities surrounding the fact that in order for such a system to work with any kind of sustainability it needs to create jobs to replace the ones that have been outsourced. Friedman's answer to this is that creativity and inventiveness will take the place of the grunt-work that's been outsourced, an idea that looks good on paper but fails to consider that our society's most financially successful businesses have never invented or innovated anything, instead relying on finding new ways to produce an existing product in a way that's cheaper and faster than their nearest competitor - thus fostering an environment that's not very conducive to innovation. The developers of new technology rarely if ever are the ones to reap the majority of financial benefit from its sale. One cannot, therefore, draw any sort of connection whatsoever from the outsourcing of jobs to the creation of new ones through innovation. If anything, the opposite is true.

Friedman also fails to mention some fairly major flaws in human nature, including things like greed, laziness, and the tendency to make decisions based on emotion and loyalty rather than logic or practicality. There's also this pesky need for workers to continue to be able to support their families on ever-decreasing wages; the need to eat sort of gets in the way of his nice, neat little theory of how wonderfully global the new technology is. In Friedman's ideal world, the world's CEO's would all outsource their labor to countries where labor is cheaper and use the money they saved to create better, higher-paying jobs for all those displaced workers here stateside. Meanwhile, the third world countries would all use their new income from the influx of manufacturing jobs to improve their own standard of living. But this is oversimplified to the point of being absurd -- the CEO's are outsourcing their labor and pocketing the savings while they lay off the workers. The workers aren't going back to school to learn new, higher-paying careers (a Welder's not going to necessarily be able to go back and get a degree in Software Engineering just because that's what jobs are available anyway because he can't afford to go back and be a full-time student for 4 years while he's trying to support his family. The CEO's aren't paying for the re-education of their displaced workforce, instead they're buying homes in the Caribbean and outsourcing their HQ to the Cayman Islands so they don't have to pay taxes. Meanwhile, those third world countries are experiencing no recognizable increase in their standard of living, and they won't anytime soon -- the reason labor is so cheap in those countries is because their governments don't require employers to pay health benefits or any other kind of benefits. If employers paid for their employees to have a higher standard of living, the cost of doing business would increase no matter what country they're in. And since the sole reason corporations are outsourcing is to lower the overhead by using cheap labor, it doesn't make any sense for them to increase their cost of labor by paying for the same things they're required to pay for with American workers. Heck, we can't even get Wal-mart to pay worker's health benefits in this country, how can we expect them to pay for any such benefits in their cheap labor abroad. Really the only winners in this mess are the guys in the top echelons of the corporations, for whose often-unethical policies toward workers Mr. Friedman seems to come across more an apologist than an objective journalist.

Also, I've never heard anyone mention Bill Gates so many times and in such favorable terms in the course of a book on global economics; according to Friedman's revisionist version, it was Gates who invented the personal computer; Windows was the first and only user-friendly operating system according to this author. Case in point: there is a passage in the book that alludes to Microsoft's far-reaching vision regarding the internet and e-commerce. The truth is, Microsoft was caught completely off guard by the advancement of the Internet - Windows 3.0 had very little built-in networking capability; they had to release a special version called Windows for Workgroups when it was discovered that networks were starting to become status quo; The first release of Windows 95 had no built-in internet connectivity, and no web browser was included until Netscape came along, at which point Microsoft had to hurry up and figure out how to make their operating system work on the internet. Gates was even on record back then as saying that he didn't think the internet would ever really amount to much as far as how it would affect the way people used computers. But according to Friedman, Bill Gates was a far-reaching visionary who singlehandedly created the internet, e-commerce, and everything else we take for granted today. That should give you some idea as to the factual inaccuracies that permeate the book. For a more accurate background on the history of computers and the Internet, readers should buy a copy of In The Beginning Was The Command Line, by Neal Stephenson.

Near the end of the book, Friedman plays the 9/11 card. In a moment of wild speculation, he actually blames the terrorist attacks on the fact that the terrorists were from poor countries and were jealous of the prosperity that the Western World has had through globalization, and he puts forth the theory that if these people had had a McDonalds in their town and a couple of factories making Gap clothing, they wouldn't've become terrorists. Except that most of the terrorists were from Saudi Arabia, one of the richest countries in the world, a country that practically has a stranglehold on the world's corporate economy already. The terrorist attacks of 9/11 had nothing to do with corporate globalization and everything to do with the past 20 years of US foreign policy in the middle east. But hooray for us, we've got globalization, and if those poor terrorists over there had globalization too, maybe they wouldn't be terrorists. Puh-lease.

I have heard it said by others that Friedman's book looks at the overall "big picture" of globalization and not the individual details. However, as the saying goes, "the devil is in the details." Friedman's extoling of the virtues of globalization fails to take into account several key factors which, when considered, paint the globalization picture in an entirely different light. Clearly Friedman's vision of a flat earth won't come true until we solve the paradox of how to make humans into a race of mindless, overachieving, underpaid automatons who still somehow manage to think creatively enough to constantly invent enough new technology to create new jobs at the same rate as the old jobs are being outsourced.

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Tuesday, March 17, 2015

** Download Lose Your Mother: A Journey Along the Atlantic Slave Route, by Saidiya Hartman

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Lose Your Mother: A Journey Along the Atlantic Slave Route, by Saidiya Hartman

Lose Your Mother: A Journey Along the Atlantic Slave Route, by Saidiya Hartman



Lose Your Mother: A Journey Along the Atlantic Slave Route, by Saidiya Hartman

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Lose Your Mother: A Journey Along the Atlantic Slave Route, by Saidiya Hartman

In Lose Your Mother, Saidiya Hartman journeys along a slave route in Ghana, following the trail of captives from the hinterland to the Atlantic coast. She retraces the history of the Atlantic slave trade from the fifteenth to the twentieth century and reckons with the blank slate of her own genealogy.


There were no survivors of Hartman's lineage, nor far-flung relatives in Ghana of whom she had come in search. She traveled to Ghana in search of strangers. The most universal definition of the slave is a stranger--torn from kin and country. To lose your mother is to suffer the loss of kin, to forget your past, and to inhabit the world as a stranger. As both the offspring of slaves and an American in Africa, Hartman, too, was a stranger. Her reflections on history and memory unfold as an intimate encounter with places--a holding cell, a slave market, a walled town built
to repel slave raiders--and with people: an Akan prince who granted the Portuguese permission to build the first permanent trading fort in West Africa; an adolescent boy who was kidnapped while playing; a fourteen-year-old girl who was murdered aboard a slave ship.


Eloquent, thoughtful, and deeply affecting, Lose Your Mother is a powerful meditation on history, memory, and the Atlantic slave trade.

  • Sales Rank: #1127126 in Books
  • Published on: 2007-01-09
  • Released on: 2007-01-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.42" h x 1.17" w x 6.30" l,
  • Binding: Hardcover
  • 288 pages

From Publishers Weekly
Starred Review. In this rousing narrative, Berkeley professor Hartman traces first-hand the progress of her ancestors-forced migrants from the Gold Coast-in order to illuminate the history of the Atlantic slave trade. Chronicling her time in Ghana following the overland slave route from the hinterland to the Atlantic, Hartman admits early on to a naïve search for her identity: "Secretly I wanted to belong somewhere or, at least, I wanted a convenient explanation of why I felt like a stranger." Fortunately, Hartman eschews the simplification of such a quest, finding that Africa's American expatriates often find themselves more lost than when they started. Instead, Hartman channels her longing into facing tough questions, nagging self-doubt and the horrors of the Middle Passage in a fascinating, beautifully told history of those millions whose own histories were revoked in "the process by which lives were destroyed and slaves born." Shifting between past and present, Hartman also considers the "afterlife of slavery," revealing Africa-and, through her transitive experience, America-as yet unhealed by de-colonization and abolition, but showing signs of hope. Hartman's mix of history and memoir has the feel of a good novel, told with charm and passion, and should reach out to anyone contemplating the meaning of identity, belonging and homeland.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Hartman journeys along the route taken by captured slaves from the interior of what is now Ghana to the Atlantic coast. With no specific trail to follow from her own lineage, Hartman views her search as a coming to terms with her status as stranger and wanderer in the African diaspora. She meets African American expatriates who have been living in Ghana for 20 years, not fully integrated in Africa but alienated from America. She also meets Ghanians who deride or exploit the desperate longing they see in the throngs of black Americans who visit the slave castles each year. She explores the perspective on slaves and slavery held by Africans versus the African American view and how those perspectives affect diasporan efforts to reconnect and to reckon with history. Reflecting on the complex history of slavery, Hartman integrates memories of her own family's journey to become African Americans from the Middle Passage through the Caribbean to the U.S. An eloquent and thoughtful look at the Atlantic slave trade and its resounding impact on the African American psyche. Vanessa Bush
Copyright © American Library Association. All rights reserved

Review
"LOSE YOUR MOTHER is wider and deeper than Alex Haley's landmark ROOTS, much less sentimental and incredibly smart. It reads like a cross between Bruce Chatwin and Toni Morrison, top-notch travel-writing and scintillating prose and soul. Hartman makes the Middle Passage more personal than heretofore imaginable both for Africans and African Americans. In so doing Hartman goes a long way toward healing an unhealable hurt. Absolutely searing. This book is destined to be a landmark all its own. Probably the most meaningful book I've read this year."  --Randall Kenan, author of A Visitation of Spirits

"Combining the depth and breadth of a scholar of slavery with the imagination and linguistic facility of a novelist, Saidiya Hartman has written a most poignant meditation on the ironies of black identity in a postmodern, multicultural world. Hartman has found a most compelling narrative voice that enables the dreaded Middle Passage and the tomb of slavery to speak to a new generation of readers. This is a memoir about loss, alienation, and estrangement, but also, ultimately, about the power of art to remember. Lose Your Mother is a magnificent achievement." --Henry Louis Gates Jr., Alphonse Fletcher University Professor, Harvard University

"Lose Your Mother is a profound utterance of humanity, an innovative and compelling re-narrativization of terror by a scholar of extraordinary subtlety of vision, insight and empathy."  -Hazel V. Carby, Charles C. & Dorathea S. Dilley Professor of African American Studies, Yale University

"Hartman moves beyond archives and attempts to hear the voices of ghosts. Lose Your Mother is one of those landmark texts that succeeds at remembering the horrors of the Middle Passage and the historical legacy that experience left on both sides of the Atlantic."  -Robin D.G. Kelley, author of Freedom Dreams: The Black Radical Imagination

"Lose Your Mother is a radiant book that takes readers through much which feels beyond imaginative confrontation. Saidiya Hartman's words and thinking are unflinching, true, and beautiful, and only she could have written this extraordinary book." --Elizabeth Alexander, Professor of African-American Studies, Yale University

Most helpful customer reviews

0 of 0 people found the following review helpful.
Brilliant one.
By anĨuk
I am only half way through the book but since the very first pages I have found it difficult to put Loose Your Mother down. Captivating, brilliant, and necessary.

0 of 0 people found the following review helpful.
Five Stars
By DLTS - HCC
Excellent

27 of 29 people found the following review helpful.
Roots 2.0
By Robert W. Kellemen
What "Roots" was to the Boomer Generation, "Lose Your Mother" could and should be to the Generation Next. Saidiay Hartman's writing styles fits perfectly for a generation that longs for and loves narrative, story, and first-hand journal accounts.

However, no one should thus assume that Hartman's writing lacks research credibility for she brilliantly weaves both rousing narrative and copious research to portray a powerful picture of one of history's ugliest stories: Middle Passage. She provides a fresh account of ancient wounds.

Hartman's book can and should make a renewed contribution to the healing of past hurts which still linger deep. Her passionate style and scholarly depth can help a nation move beyond suffering to healing hope.

Reviewer: Bob Kellemen, Ph.D., is the author of Beyond the Suffering: Embracing the Legacy of African American Soul Care and Spiritual Direction , Soul Physicians, and Spiritual Friends.

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The Volcano Lover, by Susan Sontag

A romance set in eighteenth-century Naples follows the fortunes of a British ambassador, the ravishing woman he marries, and the young British admiral with whom she falls in love. By the author of The Way We Live Now. 50,000 first printing. $50,000 ad/promo.

  • Sales Rank: #1371955 in Books
  • Published on: 1992-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 6.25" w x 1.25" l,
  • Binding: Hardcover
  • 419 pages

From Publishers Weekly
It should be no surprise that Sontag's (The Way We Live Now) excursion into the realm of historical/romance novels serves a more rigorous agenda than merely fictionalizing the lives of Sir William Hamilton; his wife, Emma; and her lover, Lord Nelson. The narrative illuminates larger themes: the venality and hypocrisy of many of the pillars of 18th-century society; the perennial status of women as an underclass; the subservience of ethics to political expediency; the greed that often fuels a patron of the arts. These and other issues are examined in cool, ironic prose that does not disguise the author's indignation. Sontag's unconventional look at one of history's most famous amorous triangles offers revisionist portraits of her three protagonists. Hamilton, known as the Cavaliere in his post as British envoy to the Kingdom of the Two Sicilies, subverts his emotions into an obsessive urge to collect antiquities--until he becomes infatuated with Emma. Nelson is guilty of callously cruel and unprofessional behavior as a result of his infatuation with Lady Hamilton. Only she acquits herself relatively well; though she is vulgar and ostentatious, Emma has humanitarian instincts the others lack. The novel is a brilliant portrait of an age, the bloody epoch in which the Bourbon monarchs of the Kingdom of Naples--aided by the infamous Baron Scarpia of Tosca fame--took violent revenge on the revolutionaries and intellectuals who supported the insurrection of 1799. A master of descriptive detail, Sontag creates vivid pictures of an erupting Vesuvius; deadly storms at sea; the excesses of a pillaging, murderous mob. She also interjects herself into the narrative, a piquant but sometimes jarring technique. The ending, in which various characters summarize the novel's events, seems gratuitous, but it allows Sontag to drive her message home. The last line reads: "They thought they were civilized. They were despicable. Damn them all." (Aug.) .
Copyright 1992 Reed Business Information, Inc.

From Library Journal
The astringently intellectual Sontag here turns to lush historical romance based on the real-life triangle of Sir William Hamilton, his wife Emma, and Lord Nelson. The English ambassador to the Kingdom of the Two Sicilies in the late 1700s, the Cavaliere is an exacting collector of antiquities and a frequent visitor to Mount Vesuvius. When his devoted wife Catherine dies, he becomes enamored of his nephew's beautiful if vulgar mistress. Emma gladly marries her benefactor but finds real love when heroic Lord Nelson visits Naples. The story starts slowly, and the Cavaliere's relation as collector to the collected Emma seems too obvious. But as Sontag warms to her subject, the novel becomes rich, expansive, and highly entertaining, right down to the slambang final chapters whose rapidly shifting voices suddenly provide new perspective. Hardly digressions, Sontag's many aesthetic speculations wonderfully enhance the plot. A fine novel of ideas, this is sure to please venturesome readers of historical romance as well. Previewed in Prepub Alert, LJ 4/15/92.
-Barbara Hoffert, "Library Journal"
Copyright 1992 Reed Business Information, Inc.

From Kirkus Reviews
The first novel in over 20 years by America's preeminent belletrist is a historical tour de force. This tale of 18th-century romance and revolution is certain to charm readers who enjoy the postmodern potboilers of Umberto Eco and A.S. Byatt. After a pretentious prologue about her role as author, Sontag dives into the grand drama of the English nobleman William Hamilton, ambassador to the Kingdom of Two Sicilies, the Bourbon monarchy based in Naples. ``Il Cavaliere,'' as he's called by his hosts, fancies himself ``an envoy of decorum and reason'' to the grotesque King. Where Sir William delights in collecting art and artifacts, and exploring the great volcano at Vesuvius, the fat King devotes himself to gluttony and impregnating his ambitious wife. After the Cavaliere's frail wife dies at age 44, the melancholic ambassador returns to England, where he grows infatuated with his nephew's mistress, a stunning beauty from the lower classes who mixes charm with vulgarity. Seeking a wealthy wife, the nephew passes his mistress to his uncle, now back in Naples. And soon follows a scandalous marriage between the 56-year- old ambassador and the 20-year-old lady of dubious virtue. A quick study, as well as a much-painted subject, Lady Emma Hamilton becomes the toast of Naples and the Queen's confidante. Her fall into infamy begins when she meets the hero of the age, Lord Nelson, ``the saviour of the royalist cause.'' In outline, this seems little more than the Vivien Leigh melodrama That Hamilton Woman. But Sontag adds such historical texture to her saga of sexual intrigue that it all comes to sordid life, full of passion and politics. Her warts-and-all version of history relies on a profound imagining of each character's point of view. At once heady and heartfelt, this is Sontag's best bid for a popular audience. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

51 of 55 people found the following review helpful.
vindicating the enlightenment...one vain feeling at a time.
By E. G. Tolon
In The Volcano Lover, Susan Sontag writes beautifully about people she eventually condemns. Not that they have done anything wrong, they are the privileged aristrocracy of the late 18th century. They are absorbed by love, art and by their professional duties. They live beautiful, active, somewhat intelligent lives. Page after page, we live and grow with them. But then there's the world around them. It appears in the form of the distant and then not so distant French Revolution, which swells in the background trying to break into a story that is fundamentally intimate and personal. Or is it really? As our heroes leisurely love, celebrate and keep busy, drawing us into their own self absorbtion, thousands get killed and butchered because they dreamt a better world. A real nuisance if you ask our characters. Lord Hamilton is in love with a volcano but completely bypasses,as we do, the much more relevant, violent and deadly force of the political upheaval. Susan Sontag's The Volcano Lover is ultimately a beautiful story of people who don't care. How normal they are. How they fool us into thinking them deep and interesting. So much that by the end of the book, the realization comes as a shock. They were vain, reactionary, at best irrelevant like Emma. They missed the point. A wonderful tour de force.

0 of 0 people found the following review helpful.
Stylistically odd, with a confused timeline, jumping into ...
By Daniel Porter
Stylistically odd, with a confused timeline, jumping into the present with comments, not using the characters actual names although all are well known in history.

19 of 23 people found the following review helpful.
Self-Portrait in a Concave Mirror
By Doug Anderson
For readers of Sontag's most celebrated essay collections it was obvious that the most intimate connection of her early writing life was with the ideas of the great European thinkers and film makers (Walter Benjamin, Roland Barthes, Jean Luc Godard). She was more political than the decidedly apolitical Roland Barthes but her essays were never part of a larger political project either perhaps because like Walter Benjamin she wanted to believe but perhaps never really did believe that art and politics really made much of an impression on each other. The only place art and politics did seem to come into contact was when one of those rare individuals who were interested in both tried to understand what the nature of that connection might be. And when one of those rare individuals did try to describe the connection between these two apparently disparate realms what resulted was a melancholy realization that when it came to politics/history art really did not count for much. Only in the essay form itself does it seem that art and politics are mutually dependent realms and that individuals (and not impersonal forces like class or national interest) shape history.

What I suspect Sontag is doing in The Volcano Lovers is trying to negotiate that connection between art and politics/history in a form other than the essay, but the result is not particularly riveting, or, for that matter, in any way engaging either as a piece of cultural history or as a piece of cultural criticism as each of the characters come across as either curiously self-involved (Goethe, Lord Nelson) or self-detached (Sir William Hamilton). In fact few characters in the history of literature have been as detached from the events of their own life as Sontag's main character, Sir William Hamilton. Self-detachment could potentially make for an interesting topic for a novel but Sontag just doesn't make it interesting enough and most readers, I suspect, will put this novel down before they get very far. What is most disappointing about this novel is that in her essays Sontag is particularly good at giving quick biographical sketches of her favorite thinkers in which she sums up the connection between the life and the body of work, but in this novel it becomes clear from very early on that not one of the characters in The Volcano Lovers are really capable of holding her attention in the way that Walter Benjamin or Roland Barthes held her attention in the essays and so the novel just feels like an exercise, an endurance challenge. This problem is exacerbated by the fact that the first half of the novel is really a long meditation on the nature of collecting and Sontag's sentences sound like essay sentences. Granted Sontag understands the collector's impulse better than anyone (with the possible exception of Benjamin) and while this kind of meditation can be very exciting in a 15 page essay, this kind of meditation just gets tedious in a 400+ page novel. Unless you are a self-detached and sexless collector yourself, Sir William Hamilton just isn't a character you will want to spend 400 pages thinking about. At the end of the novel, when the female characters are finally allowed to speak for themselves, it would seem that (at least one of them) shares this sentiment as well--Sir William Hamilton in their eyes is a tedious bore--but it takes a long, long, long time before she is allowed to say so. For some this payoff might be enough to forgive the tedium of the first half but for me it wasn't.

The tone of the novel is one of melancholy. And the ultimate revelation, if the tedious accumulation of data that The Volcano Lovers affords can be called a revelation, is that we are all pawns of history but that some of us see this more clearly than others. In Sontag's eyes Goethe and Lord Nelson come across as egotists who see themselves in larger than life terms and next to them we might be more inclined to sympathize with the relatively humble William Hamilton who accepts the relatively small and inconsequential role that history has assigned him. At one time he may have wished for a larger role in history but really its obvious that he's living a life that suits his temperament pefectly. The mystery of the novel for me is whether Sontag's intention in writing it was to demystify the great man theory of history (and art) or to demystify the novel itself. Most novels, or at least most exciting novels, show characters caught up in historical changes and the exictement is following the characters as they negotiate those changes within society and within themselves but here Sontag chooses as her focus a man who because of his elite status is relatively immune from social and psychological change and thus the drama and conflict that usually pervades a novel is for the most part simply absent. Without that drama/conflict of character and context the novel just feels like a spent force. Like Sir William Hamilton this novel is curiously barren. The only thing in the external world that catches Sir William's attention or excites him is the volcano itself which puts all human action into perspective and is thus perhaps a great source of solace for this man who has never assigned much meaning to anything that takes place in the human world or even to his own life. To such a detached person as Sir William no merely historical change can really make that much difference anyway, but the volcano fascinates because of its potential to wipe out everything once and for all. And a death wish is really what seems to be the prime motivator here.

In short this is a novel about a man who is disappointed in the world and aware of the futility of human passions and as a result cultivates only one pastime: collecting (which is not so much a way of assembling an alternative/ideal world, as Sontag states, but of treating this one as if it were already dead). Most likely Sontag is examining her own life while examining this character but if that is so one wishes this were a more sympathetic self-portrait.

Note: In her last published essay Sontag wrote about another pair of novels that took place around a volcano: Verne's Journey to the Center of the Earth & Laxness' Under the Glacier. It seems Sontag was examining her own mortality as well as her own fascination with art (and whether art is just some kind of solace for the eternally solitary & melancholy reader/writer). This essay can be found in the Sunday, February 20th 2005 edition of the New York Times.

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Sunday, March 15, 2015

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Trick or Treat, Pout-Pout Fish (A Pout-Pout Fish Mini Adventure), by Deborah Diesen

A short and sweet mini-adventure especially created to introduce the youngest guppies to the popular Pout-Pout Fish.

It's Halloween under the sea! Mr. Fish is wearing his costume, but what is he dressed as? A goblin? An astronaut in space? A pirate at the helm of the spooky submarine? Tiny tots will love swimming along with Mr. Fish as he turns little pouts into big smiles.

With just one line of text per page, this simple, twelve-page board book will send Debbie Diesen and Dan Hanna's much loved Pout-Pout Fish flippering and swishing into the hearts and minds of very young children.

  • Sales Rank: #1095 in Books
  • Published on: 2016-08-09
  • Released on: 2016-08-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.36" h x .31" w x 6.50" l, .0 pounds
  • Binding: Board book
  • 12 pages

Review
“While Mr. Fish’s existing fans will best appreciate this story, Diesen’s lively rhymes and Hannah’s wittily detailed art make this an entertaining outing for newcomers, too.” ―Publishers Weekly

About the Author

Deborah Diesen currently works for a small nonprofit organization and has also worked as a reference librarian and a bookseller. She lives in Grand Ledge, Michigan. Dan Hanna has over ten years' experience in the animation industry, and his work has appeared on BBC America and the Cartoon Network. He lives in Oxnard, California.

Dan Hanna has over ten years’ experience in the animation industry, and his work has appeared on BBC America and the Cartoon Network. He lives in Santa Barbara, California. He is the illustrator of the Pout-Pout Fish books.

Most helpful customer reviews

0 of 0 people found the following review helpful.
He loves it
By Loye L. Redding
my grandson loves it but it is so short

0 of 0 people found the following review helpful.
This is my 11 month old sons favorite book currently
By Joel Thompson
This is my 11 month old sons favorite book currently. I like that this one is shorter because it holds his attention compared to the longer original. He giggles at the fish being dressed up and brings it to me over and over again. I look forward to buying more of the shorter versions of
pout pout fish!

3 of 3 people found the following review helpful.
Lackluster
By MP
As always, the illustrations are fun and well done. However, the story is short and lackluster. Our 2 year old was bored half way through it. There's only a few words on each page and there's no 'story line'. Oh well, we will read it a few times and give it away. I'll definitely be more cautious of my next Pout Pout Fish purchase.

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