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A Globe and Mail Best Books of the Year 2011 Title

At the heart of human experience lies an obsession with the nature of death. Religion, for most of history, has provided an explanation for human life and a vision of what comes after it. But in the late nineteenth and early twentieth centuries, such beliefs came under relentless pressure as new ideas—from psychiatry to evolution to communism—seemed to suggest that our fate was now in our own hands: humans could cease to be animals, defeat death, and become immortal.

In The Immortalization Commission, the acclaimed political philosopher and critic John Gray takes a brilliant and frightening look at humankind’s dangerous striving toward a scientific version of immortality. Probing the parallel faiths of Bolshevik “God-builders,” who sought to reshape the planet and psychical researchers, who believed they had evidence of a nonreligious form of life after death, Gray raises fascinating questions about how such beliefs threaten the very nature of what it means to be human. He looks to philosophers, journalists, politicians, charlatans, and mass murderers who all felt driven by a specifically scientific and modern worldview and whose revolt against death resulted in a series of experiments that ravaged whole countries.

An urgent examination of Darwin’s post-religious legacy, The Immortalization Commission is an important work from “one of Britain’s leading public intellectuals” (The Wall Street Journal).

• Sales Rank: #1551583 in Books
• Published on: 2011-03-29
• Released on: 2011-03-29
• Original language: English
• Number of items: 1
• Dimensions: 7.71" h x .98" w x 5.42" l, .75 pounds
• Binding: Hardcover
• 288 pages

From Publishers Weekly
Man™s dream of immortality is a foolish, sinister nightmare, argues this gloomy, tendentious meditation on scientific hubris. Gray (Al Qaeda and What It Means to Be Modern), a professor of European thought at the London School of Economics, examines two oddly paired movements of deluded immortalists: the Victorian Society for Psychical Research sought scientific evidence of an afterlife in the œautomatic writing of mediums, and the œGod-builders, an elite circle of Bolsheviks (such as Maxim Gorky) who believed socialism could re-engineer humanity to abolish death. From these studies, Gray distills intriguing insights into Darwinism™s impact on philosophy and the similarities between religion and the scientific worldview; he finishes with a nakedly scornful, fatalistic attack on human efforts to avoid extinction, both individual (cryonic preservation) and collective (anti–global warming initiatives). The historical underpinnings of Gray™s argument are rickety, especially the confused God-builder section, which swirls pointlessly around the story of H.G. Wells and a beautiful Russian spy. His argument that Soviet atrocities flowed from a mad longing to transcend death is free-associated rather than reasoned, and his implicit yoking of dotty British psychics with Stalin™s executioners reveals little. (Apr.)
(c) Copyright PWxyz, LLC. All rights reserved.

Review
“Beautifully conceived and executed . . . Deftly blending philosophy and history, [The Immortalization Commission] rips along with the narrative drive of the most vivid fiction.” —Malcolm Jones, The Daily Beast  “A chilling reflection on the post-Darwinian world.”—Jill Lepore, The New Yorker “The British philosopher and freewheeling intellectual John Gray is in serious danger of making philosophy exciting and fun to read . . . Gray captures the hilarious audacity and absurdity of the search for immortality, one that could be conceived only by such charmingly quixotic creatures as human beings . . . A fascinating piece of intellectual history.”—Clancy Martin, The New York Times “John Gray is a connoisseur of human idiocy. In this brief, modest-seeming yet profound book he makes his most compelling plea yet for man to come to his senses and stop dreaming of immortality, for himself and for the earth.”—John Banville, The Guardian “Enthralling. . . John Gray's superb meditation on our desire for immortality makes for an enthralling read. ”—Richard Holloway, The Observer “An ­engrossing double-act play about scientific ­hubris.”—Thomas Meaney, The Wall Street Journal “A core strength of this engrossing book lies in his readiness to take absurd endeavours seriously and to consider morally complex individuals sympathetically.”—Marek Kohn, The Independent  “The author is undoubtedly one of the most important and insightful polemicists currently writing in English. Like most of Gray’s work, this book is filled with diverting anecdotes and ironic asides, yet swells to a powerful philosophical conclusion . . . An engaging additional chapter in its author’s long-running campaign to expose the quasi-religious and magical thinking that underpins our visions of progress.”—Stephen Cave, The Financial Times

About the Author

John Gray is the author of many critically acclaimed books, including Black Mass, Straw Dogs, and Al Qaeda and What It Means to Be Modern. A regular contributor to The New York Review of Books, he is Emeritus Professor of European Thought at the London School of Economics.

Most helpful customer reviews

28 of 29 people found the following review helpful.
There must be some kind of way out of here...
By Diziet
This is a fascinating extended essay on the nature of religion, science and death.

Gray takes as his starting point the publication of Darwin's 'The Origin of Species'. It is perhaps difficult now, even with the continuing furore in some quarters over the theory of evolution, to really comprehend the enormous impact that this had on Victorian society. Darwin situated human beings firmly in the animal kingdom. And animals die. They do not have immortal souls. As Gray says in the Foreword:

'Science had disclosed a world in which humans were no different from other animals in facing final oblivion when they died and eventual extinction as a species. That was the message of Darwinism, not fully accepted even by Darwin himself. For nearly everyone it was an intolerable vision, and since most had given up religion they turned to science for escape from the world that science had revealed.' (P 1)

Gray follows the results of this huge and probably final displacement of humanity from the centre of creation in two closely linked but radically different situations.

The first section, entitled 'Cross Correspondences', looks at how many in the English upper and upper-middle classes resorted to trying to develop psychic research in order to find a way of subverting or avoiding the conclusions forced on them by evolution theory.

In the second section, 'The God Builders', he looks at the more material (and murderous) attempts at transcending base humanity utilised in Lenin's and Stalin's Russia. He also draws fascinating links between these two apparently disparate approaches.

In the third and final section of the book, 'Sweet Mortality', Gray brings the threads together and considers current attempts to transcend our inevitable biological and evolutionary demise. He looks at both cryonics - the hope that deep frozen bodies may be revived at a later date once science has reached a sufficiently sophisticated level, and at Kurzweill's ideas of 'The Singularity', where computing power becomes so huge that humans may transcend their mortal bodies and live eternally in virtual worlds and virtual bodies.

However, this is not simply a book about a 'quest for immortality'. Gray uses the conflicting ideas and approaches as the basis for a critique of science itself. As he says in the Foreword:

'...it was the rejection of rationalism that gave birth to scientific enquiry. Ancient and medieval thinkers believed the world could be understood by applying first principles. Modern science begins when observation and experiment come first, and the results are accepted even when what they show seems to be impossible. In what might seem a paradox, scientific empiricism - reliance on actual experience rather than supposedly rational principles - has very often gone with an interest in magic.' (P 6)

The sections are filled with the biographical details of the main protagonists - and a fascinating (if unsavoury) bunch they were. The first section looks, in particular, at the Society for Psychical Research (SPR). Using mediums, automatic writing and so on, he relates how various attempts were made by the researchers to establish 'cross-correspondences'. Briefly, members of the SPR promised to attempt to communicate after they had died. These communications would be cross-referenced to try to 'prove' their validity.

However, Gray doesn't simply stop there - he attempts to unravel what the members of the SPR considered the afterlife might consist of. Not simply a 'heaven', would the afterlife be a dissolution of the individual into a 'god-mind', a universal whole, or would there still be individual consciousnesses and, if so, would these consciousnesses be the same as their previously living counterparts or would they in some way be better, more 'perfect'? In trying to answer these questions, Gray narrates, in some detail, the associations, friendships, affairs and lives of members of this English elite, from Arthur Balfour, H G Wells, Frederic Myers, Bruce Lockhart and Russian emigres such as the amazing Moura Budberg.

Moura Budberg also features heavily in the second section of the book. Russia certainly had its fair share of psychical researchers and spiritual thinkers as, along with Budberg, characters such as Gurdjieff and Ouspensky make appearances. But the main thrust of this part of the book is a consideration of how the Bolsheviks attempted to recreate humanity, to go beyond what they saw as the degenerate peasantry to create a New Man. Of course, the way to do this was to slaughter millions, pitilessly, remorselessly, but the aim was to transcend evolution in a thoroughly Modernist sense.

Again, there are detailed histories of several of the individuals involved - Lenin, Stalin, Gorky and many others. And there are many links between these people and their SPR counterparts in the West - H G Wells being the most obvious example. The title of the book also comes from this section - 'The Immortalization Commission' was the body set up to decide on how best to bring Lenin back to life or, failing that, how best to preserve him.

The final and shortest section of the book takes the themes developed previously and shows how they are still alive and well today - in the attempts at physical immortality through cryonics or a less material life in virtual realities. But more interesting than that, the section also includes Gray's thoughts on the relations between religion and science, implicit in the previous sections. For example:

'Enemies of religion think of it as an intellectual error, which humanity will eventually grow out of. It is hard to square this view with Darwin's science - why should religion be practically universal, if it has no evolutionary value? But as the evangelical zeal of contemporary atheists shows, it is not science that is at issue here. No form of human behaviour is more religious than the attempt to convert the world to unbelief, and none is more irrational, for belief has no particular importance in either science or religion.' (P 224)

Finally, Gray suggests:

'Science is like religion, an effort at transcendence that ends by accepting a world that is beyond understanding. All our enquiries come to rest in groundless facts. Just like faith, reason must at last submit; the final end of science is a revelation of the absurd.' (P 227)

There is so much more to this book that I have not been able to cover. I admit I found the biographical details a bit lengthy, but they serve a purpose. The final section, though, apart from providing a really interesting view of the relationship between religion and science, is also almost poetic and quite beautiful. It has made me reassess quite a few of my beliefs and assumptions.

5 of 5 people found the following review helpful.
another Gray gem
By Eliane Lundberg-Tanaka
Anyone who knows me knows that I have nary a bad word to say about anything Prof. Gray has published from "Straw Dogs" onward: I find his to be an incredibly lucid and relevant voice, which cuts through a suffocating miasma of contemporary cultural studies / philosophy writing. Unlike the majority of philosophical writers entrenched in the publish-or-perish academic environment, Gray's ideas themselves remain challenging and pertinent enough that he doesn't have to do hide them behind impenetrable walls of effusive verbiage and ephemeral jargon. What I especially like about Gray is that he treats all species of interesting thought as having critical value, not limiting himself to readings of the work by fellow researchers in his field: that is to say, J.G. Ballard (a regularly quoted Gray favorite) is treated in his writings as a cultural critic on par with, say, Bruno Latour. By sticking to his guns as such, he has even earned the respect of people much closer to this academic milieu I mention (e.g. Slavoj Zizek) and provides a tremendous inspiration for anyone who wishes to write on human nature without genuflecting before the small handful of "acceptable" Continental thinkers and theorists.

So, that said, this current book is no deviation from that standard of excellence. Gray states his case calmly and convincingly, and - as was done in both "Straw Dogs" and "Black Mass" - ends the often pessimistic ride with a surprisingly uplifting realization that mortality is not the curse it appears to be (of course, you'll have to read it in his far more erudite words to appreciate it, and I won't spoil it for you here.)

This book reads very much like a volume-length extension of a small episode in "Straw Dogs," wherein Gray cataloged a number of ridiculous beliefs among Soviet leadership dealing with perpetual progress and a fully-automated utopia. His discussion of the so-called "God builders" not only succeeds in showing how secular creeds have attempted to keep alive religious faith's promise of immortality, but shows the full extent to which bona fide religious imagery was rehabilitated in an atheistic culture (check, for example, the esoteric origins of the design of Lenin's tomb, as Gray describes it.) You're unlikely to find trenchant criticism of Marxist policy such as this anywhere else within the academic world- Gray unflinchingly states that "for Marx, the natural world had no intrinsic worth...only by being imprinted with human meaning could the earth have value," and this critique of short-sighted anthropocentrism is long overdue. Some of the books coming out of amusingly named "posthumanities" departments attempt to bring anthropocentrism down a notch while still supporting Marixan modes of thought, and Gray easily points out the hypocrisy inherent in embracing both the "otherness" of the natural world and an ideology that is totally inimical to it.

That said, illumination of Marxism's attempts at salvation is not the only thing on tap here, as the book deals a good deal with 19th-century British variants on trying to make consciousness survive physical death (in this case, at a time when the post-Darwin field of scientific naturalism was positing theistic belief as just another evolutionary mechanism, one which had no grounding in objective truth.) In fact, this comprises the first half of the book, building up chronologically to the "God Builders" episode. Gray's tour of "automatic writing" techniques, seances and other means of crossing death's threshold without actually dying, is tragic. Yet it makes us empathize with their practicioners rather than merely laughing at or mocking their folly. He is wise to remind us that these modes of paranormal experimentation are born out of things we all experience - the loss of loved ones - and that people adopting these practices are not a homogeneous mass of crazed individuals wishing to become as gods. A series of respectful period photographs of these individuals are included, seeming to reinforce Gray's empathy for them (this is the first title of his I know of that uses illustrations of any kind.)

All told, this book does not break that much new ground for Gray's thought, yet it provides a much more detailed illustration of ideas that he has touched on in the last decade. Readable, at times engrossing, and never inessential.

3 of 3 people found the following review helpful.
What Fools We Were
By Chews
Credit Darwin for using his head. Wary of the paranormal, he sent his son and T.H. Huxley to a séance to confirm his doubts about communicating with the dead. Darwin remained unconvinced after one such gathering, and Huxley and George Darwin came from theirs feeling duped. The séance was a sham and Spiritualism, to Darwin's great relief, posed no threat to scientific materialism. There were others, however, among them prominent men and women, who considered the afterlife a given and used scientific methods to prove man's immortality. It would take magic to support the claim and in the end those respectful of science admitted to have proved nothing.

The Immortalization Commission follows a dozen or so individuals associated with psychical research in Victorian England and resurrection science in Bolshevik Russia. In England, the Judeo-Christian belief in salvation was in doubt. Faith in science, however, urged a number of scholars to prove what religion had only promised: that the soul outlived the body in something like an afterlife. For Henry Sidgwick this meant ushering in a "universal well-being" that man had never known. Although he found Christianity anathema, his belief in theism remained steadfast. Only God made morality possible. There could be no justification for good social behavior without an omniscient being keeping score.

F.W.H. Myers, co-founder of the Society for Psychical Research with Sidgwick, made telepathy his life's work and automatic writing a means to reach the dead. Those participating in the cross-correspondences included Arthur Balfour, William James and Rudyard Kipling's sister, Alice Fleming. The research continued after his death. Despite numerous claims by mediums to have received messages from Myers, his close friend William James never heard from him again. They had had an agreement, after all, in that the first to die would somehow communicate with the survivor. Myer's so-called spiritual evolution came to nothing.

H.G. Wells is Gray's link between the English psychics and the Russian revolutionaries. Wells believed an intelligent minority would "rid humankind of all that was feeble and unlovely, so that what remained was practically a new species." The sci-fi writer's world view smacked of fascism, for in his New Republic "humanity must be shorn of everything weak and ugly." And yet it was Bolshevism, not Nazism, that attracted Wells. He shared a belief with his friend Maxim Gorky that "humans would become like gods." Gorky introduced him to Lenin, and from Lenin Wells met Stalin.

Lenin's burial reads like a Vladimir Voinovich satire, a project that seemed to attract Russia's damnedest fools. It spawned the Immortalization Commission whose aim was to resurrect Lenin by "defeating death through technology." Stalin had the corpse embalmed, which was embalmed again and again, then cooled by a top-of-the-line German refrigerator. In time decay set in: "...the lips were further apart, the nose was losing its shape, one hand was turning greenish-grey, the eyes were sinking in their sockets and the ears had crumpled." Despite efforts to restore him, Lenin began to rot. "Instead of opening the way to deathless humanity," writes Gray, "science could only create a lifeless dummy."

The Immortalization Commission is a thoroughly engaging book by the grumpy--although convincing--political philosopher, John Gray.

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? PDF Download Three Light-Years: A Novel, by Andrea Canobbio

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Cecilia and Claudio are doctors are the same hospital. They eat lunch together almost every day; they talk, sometimes even share secrets. Each is enmeshed in a complicated, painful relationship that has technically ended but isn't really over: she is newly separated, with two small children; he's stuck in the apartment building where he grew up, where his senile mother, not to mention his ex-wife and her new family, all still live. Cecilia and Claudio are attracted to each other: magnetically, powerfully. But life has taught them to treat that attraction with suspicion.

Then a chance encounter between Claudio and Cecilia's sister, Silvia, shifts the precarious balance of the relationship between the two colleagues. Claudio begins to recognize the damage caused by his wary stance toward everything around him. He has hidden a hunger for life and experience beneath a veneer of apathy, a mask that also conceals a deep well of anguish. And just when Cecilia comes to the realization that she loves Claudio and is ready to commit to a genuine relationship, fate steps in once again. The complicated tale is unraveled by the son born of this love triangle, a man attempting to understand both himself and his past.

In lucid, enchanting prose, supplely rendering into English by Anne Milano Appel, Andrea Canobbio's Three Light-Years sketches a fable of love poisoned by the indecision born of fear, laying bare the dangers of playing it safe when it comes to matters of the heart.

• Sales Rank: #990835 in Books
• Published on: 2014-07-01
• Released on: 2014-07-01
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 1.19" w x 5.78" l, 1.05 pounds
• Binding: Hardcover
• 368 pages

Review

“Andrea Canobbio's prize-winning novel, Three Light-Years, is an intimate and perceptive portrait of a triangle, not a couple, suspended in the more complex geometry of family . . . This is a novel about the stabbing fears of middle age . . . The first surprise is the narrator's identity. We learn early on he is the son Viberti will eventually have, conjuring the years before his birth. The second surprise is the utter breadth of the lives Canobbio portrays. And there is a third: each year of the three-year seduction is told twice, first from Viberti's point of view, then from Cecilia's, a trick that neatly reveals just how little they know of each other and how far apart they really are--light-years apart. Then Canobbio wisely has the narrator recount the clever culmination of the tale from Sylvia's point of view, thus completing a triple perspective, the three light-years. The unruffled, somewhat amused voice of Viberti's son, expertly rendered by translator Anne Milano Appel, makes everything seem possible. By resolving the intimate longings of the characters, though the result is undoubtedly messy, he allows us to believe we, too, might fulfill all our dreams. Who, then, is his mother? The question hangs unspoken, and many readers will guess the answer. No matter. The pleasure is in the telling in this eminently wise and satisfying book.” ―Mark Fried, Toronto Star

“These are fine character portraits, of people brought together and continuing in various orbits around one another--Cecilia is drawn to Claudio, but keeps him at a certain distance; withdrawn Claudio is head over heels in love but doesn't know how to act on it; Silvia's appearance adds yet another complicating twist to the whole mess . . . Canobbio's is an anything-but-conventional but quite convincing relationship novel, with his characters' realistic flaws openly displayed.” ―M. A. Orthofer, The Complete Review

“It's a complex and curious narrative structure . . . [and] it reveals much about the precarious nature of perception and the frightening fragility of love. A sad and melancholy tale, but also an exhilaratingly passionate one.” ―Bill Ott, Booklist

“In Three Light-Years, Andrea Canobbio's lush and meditative new book, a son traces the unlikely love triangle that leads to his eventual birth. It's wonderful to have another Canobbio novel available to the English-language reader.” ―Nathan Englander, author of What We Talk About When We Talk About Anne Frank

“Three Light-Years is a stunning novel that lives at the bright intersection of imagination and memory, where a son may reconstruct the mystery and wonder of his birth and his parents' lives while also entrancing the reader with promises of hope: for great love, for happiness, and for catharsis. The novel is far more than a love story; it is a meditation on the good surprises that even the most desperate lives hold. And it is a delight.” ―Ben Schrank, author of Love Is a Canoe

“Canobbio spans these lives with a prose style that reads as plain, without sudden jolts, that seems adapted to the rhythm that the characters of the book give their own lives. But this is only how it reads--because in fact a great deal of skill is needed to maintain such a constant pace and, above all, to also bind the reader to the text, using nothing but the pure force of language.” ―Roberto Ferrucci

“The tension builds--from placid it becomes frenzied. First we admire Canobbio as a painter of details, as a parser of the quotidian, as a sketcher of feelings and emotional states that we all recognize. And then we find ourselves entangled in a "how will it end" cliffhanger, and even if the final outcome is certain and predictable, that doesn't make the torment any less. Surprise is born from a communal place, and this is art . . . Leaving the thread of the plot in the hands of the narrator . . . Canobbio lends each protagonist the dignity of his or her own perspective, in alternating chapters . . . and directs the distribution and intersection of information with a subtle skill. But the real tour de force is in fact this strange ulterior narrator [the son that results from the love triangle at the novel's center], who must find things he already knows surprising, and must relive, through the eyes of others, the fact that he is at once the master and the product of this narrative universe . . . Without any evidence of stylistic rupture, the text is rife with cracks. In the mystery of time, realism has found a terrifying ally. If realism manages to capture this mystery, it remains on its feet; otherwise, it crumbles spectacularly. Those who read for more than just plot will find in Three Light-Years a kind of suspense centered entirely on this duel, the most difficult a novel of this genre can undertake. It's a duel that can't be won hands down, but only ever by the skin of your teeth--which is precisely the beauty of it.” ―Daniele Giglioli, La Lettura, Corriere della Sera

“It's the author's prose: sparkling, evocative, that descends into minute particulars in order to take the narrative's temperature, or to limn a character's personality, and then zooms back out into the macroscopic, the universal.” ―Grazia

“Canobbio's novel, written with a lucidity and a stylistic mastery that has few equals in our contemporary literature, seems to tell the story of a family. It seems to be the most traditional of realist novels, and in part, in certain respects, it is that too. Its plot is built of small events that grip the reader tightly until the last page, alongside an emotional investigation of stunning and ironic profundity. But, in truth, it is a desperate attempt to say "I," to ask the reader to approach the opening of the shell and look inside, after having admired its outside perfection. This is why the person telling the story conceals himself behind invention from the first . . . and yet continually peeks through the pages with brief insertions during which he gives himself voice, reclaims attention . . . These are cracks, these small interruptions during which the narration talks about himself, but they are also geysers that, in erupting, break the husk of form. And these are what give meaning to everything, negating the seductive lie of a family tale, invented to tie up all the loose ends. And we are there, admirers standing before these cracks, watching as everything that was buried beneath the earth rises up with a furious candor.” ―Andrea Bajani, Il Sole 24 Ore, Domenica

“Andrea Canobbio's new novel is a kind of emotional mystery novel: the story of a love triangle in which there are no forgone conclusions, and you want to race through page after page to find out how it all ends. And yet the quality of Canobbio's prose . . . gives so much pleasure that it would be a shame to waste it by reading too quickly . . . The impeccably woven narrative begins slowly and then becomes ever more urgent . . . Canobbio is very good at describing the emotional states of his protagonists and at describing their lives, punctuated by trivial daily habits.” ―Anna Folli, Gazzetta di Parma

“[Three Light-Years] confronts, with prose that is both limpid and compelling, with a narrative that is both direct and composed of concentric circles, one of the issues that most plagues our time: the inability to speak our emotions . . . Three Light-Years plumbs the depths of love, of friendship, of familial bonds, and of the equilibriums established between adults and children, with a lightness and a profundity that triumph, page after page. Pulling the reader inside the story, as if into a whirlpool, Andrea Canobbio's novel reveals itself to be one of the most convincing books by an Italian author to come out in the past few years.” ―Alessandro Mezzena Lona, Il Piccolo

About the Author

Andrea Canobbio was born in Turin, Italy, where he currently lives. An editor at the publishing house Einaudi, where he has headed the foreign fiction department since 1995, he is the author of The Natural Disorder of Things (FSG, 2006); two memoirs; and one collection of short stories. Three Light Years won Italy's prestigious Mondello Prize in 2013. Anne Milano Appel, PhD, is an award winning literary translator. Her latest translations from the Italian include Claudio Magris's Blindly, Goliarda Sapienza's The Art of Joy, and Giovanni Arpino's Scent of a Woman. Her work has been awarded the John Florio Prize for Italian Translation (2012) and the 32nd Northern California Book Award for translation in fiction (2013).

Most helpful customer reviews

2 of 2 people found the following review helpful.
How did my father ever cope?
By Stuart B. Rich
I read this novel because of a rave review by Francine Prose in The New York Review of Books and I'm glad I did. One forgets that it's fiction because it creates character so vividly and naturalistically. I started thinking, yes, life can be more improbable than fiction, but, wait, this IS fiction. The triangulation on which the crisis comes to depend never seems forced. Things just HAPPEN!

2 of 3 people found the following review helpful.
Love with all its ambiguities
By BD
Love with all its ambiguities. I don't normally go for love stories, but this one manages to be be romantic, funny, insightful and not at all sappy. The slow burn and longing in this novel reminds me of Ha Jin's Waiting. Andrea Canobbio writes extremely well about love--- for a man.

0 of 0 people found the following review helpful.
A constructed life story: memory or desire?
By Amazon Customer
Lovely writing; original, nuanced, and unexpected plot; carefully described characters and relationships. On the other hand, some of the transitions from past to present were awkwardly inserted...they almost seemed to be added in by someone different than the writer of the rest of the book! Odd somehow.

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A Novel of High-Stakes Romance and Betrayal, Set During the Race to Finish the World's Tallest Building

In Empire Rising, his extraordinary third book, Thomas Kelly tells a story of love and work, of intrigue and jealousy, with the narrative verve that led the Village Voice's reviewer to dub him "Dostoevsky with a hard hat and lead pipe."
As the novel opens, it is 1930-the Depression-and ground has just been broken for the Empire State Building. One of the thousands of men erecting the building high above the city is Michael Briody, an Irish immigrant torn between his desire to make a new life in America and his pledge to gather money and arms for the Irish republican cause. When he meets Grace Masterson, an alluring artist who is depicting the great skyscraper's ascent from her houseboat on the East River, Briody's life turns exhilarating-and dangerous, for Grace is also a paramour of Johnny Farrell, Mayor Jimmy Walker's liaison with Tammany Hall and the underworld.
Their heartbreaking love story-which takes place both in the immigrant neighborhoods of the Bronx and amid the swanky nightlife of the '21' Club--is also a chronicle of the city's rough passage from a working-class enclave to a world-class metropolis, and a vivid reimagining of the conflict that pitted the Tammany Hall political machine and its popular mayor against the boundlessly ambitious Franklin Delano Roosevelt.
Colin Harrison, in The New York Times Book Review, called Kelly's The Rackets "A well-paced, violent thriller, [and] an elegy for the city's old Irish working class." In Empire Rising, Kelly takes his work to a new level: telling of the story of the people who built the "eighth wonder of the world," he makes old New York the setting for a rich and unforgettable story.

• Sales Rank: #2184830 in Books
• Published on: 2005-02-16
• Released on: 2005-01-27
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.31" w x 6.00" l,
• Binding: Hardcover
• 400 pages

From Publishers Weekly
Starred Review. Construction was started on the Empire State Building on St. Patrick's Day, March 17, 1930. It was just as the Depression was beginning to squeeze America in its death grip and every job was sacred. Kelly, who created first-rate working-class heroes in Payback and The Rackets, takes a fascinating look at how New York City was run at the end of the Jazz Age—by bribe, kickback and political machination. The characters are tough and vengeful: Michael Briody, steelworker, WWI vet, IRA gunman; Johnny Farrell, a "narrowback" lawyer who functions as the mayor's bagman; Grace Masterson, a beautiful painter who lives on a houseboat on the East River, holds dark secrets and counts both Briody and Farrell as lovers; and Egan, the governor's dour henchman. Historical figures of the time round out the cast: FDR, the governor of New York, making sure that nothing will hinder him on the way to the White House; Mayor James J. (Jimmy) Walker, a dapper rogue and master practitioner of "honest graft"; Judge Joseph Force Crater, stooge of Tammany, destined to be eclipsed in a legendary way; and Al Smith, the "Happy Warrior," a political has-been now in charge of the construction of the world's tallest building. Kelly weaves a fascinating tale that captures the cadences and decadence of art deco New York, where desperate working-class have-nots and powerful elite swells collide violently in a nation on the brink of great change.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
"The Empire State Building will dominate the Manhattan skyline," all New Yorkers realize in 1930 as construction proceeds, but then, too, "nothing gets built in Gotham without a kickback." Thus is the basic premise of this, to borrow construction language, riveting novel evoking in authentic detail the underside of New York City politics during the era of Mayor Jimmy Walker. Kelly's story is basically the tale of a love triangle between Johnny Farrell, an important aide to the mayor; Johnny's artist girlfriend, Grace Masterson; and construction worker and part-time boxer Michael Briody. Each of these characters represents, without the flatness of type, a significant element of the fabric of New York City as the Empire State Building rises ethereally above the street-level realities of hard economic times and how big-city government works. Kelly successfully melds actual historical figures and fictional ones, but in the end, it is New York City itself that emerges as the central character here: a place that makes people the way they are. Brad Hooper
Copyright © American Library Association. All rights reserved

Review
"Thomas Kelly knows how to tell a story. Empire Rising is a vivid, evocative, enthralling tale of gangsters, pols, an enduring New York mystery, and the hard, joyful work of building the Empire State Building. This is historical fiction writing at its best." --Kevin Baker, author of Paradise Alley

"In Empire Rising Thomas Kelly looks backwards and forwards at the same time: he knows the value of who we once were and the possibility of what we might still become. At the heart of this audacious novel is a unique love story between two 1930's immigrants, a beautiful young artist and an ironworker, both so compellingly drawn that one almost forgets the scaffolds which hold them together: corruption, power, greed, art and desire. Great buildings, like great stories, are created layer upon layer. While the Empire State Building rises to dominate the New York skyline, Kelly gives vent to human loves and disappointments in this, an American story that will be recognized everywhere." --Colum McCann, author of Dancer and This Side of Brightness

"Empire Rising is, at bottom, a love story, told by one of my favorite authors: a writer of candor, grace, wit, and skill, who writes about the characters who make New York what it was and always will be: a place where the unique spirit of the Irish hovers over every sidewalk, building, street, and alleyway." --James McBride, author of The Color of Water

"Tom Kelly's labors in Empire Rising recall those he chronicles in the creation of New York City's signature skyscraper, piling mind over matter and then matter over mind, until we reach striking heights. It is where the old world met the New Deal, and was bloodied into something better. This is an honest book, observed by turns with a cold eye and a kind one, with a tough grip." --Edward Conlon, author of Blue Blood

"n0 Empire Rising is vivid, vibrant, and raw, a story about beauty and corruption, idealism and violence, as intricate as New York City itself." --Lauren Belfer, author of City of Light

"An audacious and compelling narrative by a master storyteller: tough, tender, and beautifully imagined, this intensely American tale is universal in its scope." --Joseph O'Connor, author of Star of the Sea

"No writer owns New York . . . [but] Thomas Kelly stakes his claim-on a group, Irish immigrant construction workers, and on a transaction that is central to the political geography of the city: the kickback . . . Compelling . . . The plots barrel along, the characters are wildly colorful-and there is dead-on authenticity to the dialogue and the atmospherics. There is also a bracing, and rare, appreciation for the sheer satisfaction of honest work . . . A big-hearted and admirably ambitious writer . . . Kelly takes lots of chances, drawing his characters broadly, jamming the plots with coincidence, violence and melodrama . . . Kelly's city is palpably alive an passionate." --Joe Klein, The New York Times Book Review

"Big, bold, bruising novels about the real world of work just don't come along that often. You have to go all the way back to the fiction of Theodore Dreiser to find the mold for this variety of book. And between Dreiser's novels and our own time you won't find all that many books that fit the bill until you get to the recent fiction of the relatively unknown New York writer Thomas Kelly. Kelly's latest novel, his third, takes us, in fact, back almost to the roots of realism as a style, when a certain heat steams up from the page as a wrier tells of things in strong nouns and verbs that demonstrate what makes the world go round . . . It's an engaging book in the grand old realistic tradition, a gripping piece of national history, a nicely felt love story, that takes us into the building sites and busy streets and nightclubs, the bedrooms and backrooms and shops and churches that make up the world of Jimmy Walker's New York, a city of rivets and bullets, kisses and payoffs, that becomes, because of Kelly's convincing storytelling manner, every city. He certainly shows us how it works." --Alan Cheuse, Chicago Tribune

"Empire Rising is Thomas Kelly's third novel, and his best. It's a great historical thriller filled with grit and atmosphere from the 1930s. It's also a brilliant love story about a building and a city . . . Empire Rising takes [Kelly's] talent to another level." --Margaret Cannon, The Globe and Mail

"Engaging."--Tom Walker, Denver Post

"New York in1930 shines through the pages with high resolution . . . Kelly reveals genuine talent." --Peter Campion, San Francisco Chronicle

"The poet laureate of hard-hatted working stiffs, Thomas Kelly serves up a tough-'n'-tender thriller." --Jonathan Miles, Men's Journal

"A tough urban thriller . . . with rich characters, expert pacing and pitch-perfect dialogue, Empire Rising ratchets Kelly's work up a notch." --Scott Stephens, The Plain Dealer

"A gifted writer . . . Kelly fills his story with a tapestry of characters with rich backgrounds, complex emotions and real motivations . . . Brilliant . . . Well crafted and meticulously thought out." --Ron Bernas, Detroit Free Press

"A satisfying slice of local historical fiction, the kind that makes you feel mildly educated and thoroughly thrilled." --William Georgiades, New York Post

"This is a thriller . . . complete with countless betrayals, a car chase and a dramatic rescue at a Long Island Gold Coast mansion." --Dan Cryer, Newsday

"A superior action novel and a great love story." --David Keymer, Library Journal (starred review)

"Colorful . . . Enjoyable . . . Fascinating." --Paige Newman, MSNBC.com

"An extraordinary thriller." --Esquire

"Epic . . . Ambitious . . . The erection of the Empire State Building is . . . a sort of prism through which the reader may view the sweeping changes occurring at the time." --Adam Dunn, CNN.com

"This fascinating and highly readable story of the people who built what is sometimes called the eighth wonder of the world is a fitting tribute to that time and place," --Judi Baxter, PW Daily

"Kelly weaves a fascinating tale that captures the cadences and decadence of art deco New York, where desperate working-class have-nots and powerful elite swells collide violently in a nation on the brink of great change." --Publishers Weekly (starred review)

"A knowledgeable, vigorously detailed portrayal of big-city political and fiscal skullduggery and corruption, featuring a generous host of brawling characters . . . Kelly's mastery of narrative drive holds the attention." --Kirkus Reviews

"[A] riveting novel evoking in authentic detail the underside of New York City politics . . . Kelly successfully melds actual historical figures and fictional one." --Brad Hooper, Booklist

Most helpful customer reviews

9 of 9 people found the following review helpful.
A Fine Historical Novel And Thomas Kelly's Best
By John Kwok
As a chronicler of the dark, gritty underworld of New York City's working-class labor, Thomas Kelly has definitely become its poet laureate in his novel "Empire Rising", among the finest novels I have read of Depression-Era New York City (It actually deserves 4.5 stars from me and I wish Amazon.com had the option of bestowing an additional half star.). This is a dramatic, vivid, and richly-textured, no-holds-bar examination of New York City in 1931, as seen through the eyes of recent Irish immigrant Michael Briody, who works by day building the Empire State Building, and then, by night as both a boxer and an unrepentant soldier of the Irish Republican Army. In New York City he soon meets another, more worldly, recent Irish immigrant, Grace Masterson, and falls in love with her, even though he knows that she is the "concubine" of powerful Tammany Hall leader Johnny Farrell. This is indeed far from a romantic look of the Empire State Building's construction, since Kelly depicts his characters being immersed in a dark, often bloody, underworld of Tammany Hall political intrigue, Irish-run organized crime, and Irish Republican Army strife. Without question, "Empire Rising" is not only Kelly's best work of fiction, but also among the finest I have seen from the latest generation of Irish-American writers residing here in New York City.

10 of 11 people found the following review helpful.
You Gotta Be Tough
By Dai-keag-ity
This is not the type of book I have a reputation for reading. It's a hard-core, bare-knuckles, get-to-the-top kind of fictional tale, set in Depression-era New York City, and it features among its fine cast of characters a number of real life personas, including future President Franklin Roosevelt, and New York's irrepressible "born for office" governor, Al Smith.

Empire Rising tells the story of New York City at all levels of society during this tough time, and uses the construction of the Empire State Building as a backdrop and metaphor. As Kelly pulls no punches in stating, it is the Irish, those first, second, and third generation rough-souled immigrants who make New York City function. Not only is it the Irish who run the city at both the street level and into the halls of power, but it is Irish working men who provide the backbone of the labor force that is building New York's most prized showpiece, the Empire State Building. (Think it's a coincidence that construction on the project began on Saint Patrick's Day?)

The character of Michael Briody, who has gone from a terrorist group's hitman to a soul in love with the dream that is the skyscraper he's struggling to see completed, is Kelly's best figure in this novel. He seems a very realistic individual, leagues removed from the stick-figure stereotypes so many other authors would have employed here in this sort of situation.

I enjoyed this novel, even if it was definitely at times a little cold and lacking in human kindness. I think it shines light onto what is both a forgotten and mysterious period in American history, and it also gives a reader an excellent plot that never slows or grows tiresome, and which reaches masterful heights in its climactic moments.

7 of 8 people found the following review helpful.
Has anybody here read Kelly........................
By Joe Flood
Holy Moly, this guy keeps getting better with every book. I'm a dyed in the wool Steinbeck, London,O'Hara reader, but I think Kelly is starting to slap those boys back a bit. My pantheon is reshuffling. As soon as my eyes hit the first page, I was sucked into this tremendous story. If you are a Real New Yorker, this is the baby to take a gander at.

Keep up the writing Mr. Kelly.

Jose` de Toluca

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@ Fee Download The New Economy: What It Is, How It Happened, and Why It Is Likely to Last, by Roger Alcaly

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How doing business is undergoing a major historic transformation--and why we’ve only begun our productivity upswing

America’s economic troubles have had a dramatic impact on how investors view markets and the businesses that drive them. And for now they have overshadowed a profound and ongoing revolution--still taking place after twenty-five years--in the way the economy operates. Just as in past economic revolutions, today’s "new economy" emerged from the combination of powerful new technologies--in this case, information and communications technologies--and the methods companies adopted in order to use those technologies effectively. The bubble in technology stocks, its collapse, and the recession that followed are part of a larger pattern of dramatic transformation of markets and businesses. And unlike the bureaucratic companies of the past, today’s leading firms are lean, flexible, entrepreneurial, and more productive—and the new ways in which they operate are still evolving. These trends are likely to continue for some time, and their effects are only beginning to be understood.

In The New Economy, Roger Alcaly describes how the economy has changed in response to new pressures and opportunities--created by new technologies, global competition, and innovations in world financial markets; he shows how the impact of these changes is real and substantial, and suggests why their biggest impact on the economy may be yet to come.

• Sales Rank: #7028596 in Books
• Published on: 2003-06-25
• Original language: English
• Number of items: 1
• Dimensions: 1.10" h x 6.32" w x 9.36" l,
• Binding: Hardcover
• 336 pages

From Publishers Weekly
The term "new economy" is shorthand for a wide range of changes in business and financial practices resulting from innovations in computers and communication. Before the Internet crash of 2000, many people argued the new economy was already here and would forever banish unpleasant things like recessions, inflation, stock market declines, boring jobs, bad customer service and authoritarian governments. New York Review of Books contributor Alcaly considers previous cycles of technological change and economic reaction, such as the invention of steam power and later electric power, the development of the internal combustion engine and adoption of mass production techniques in automobiles and steel. He argues that such changes do create new economies that are qualitatively better than the economies they replace, but more slowly and erratically than people expect at the time and with bigger problems along the way. Comparing innovations in semiconductors, software and communications technology with those of earlier periods suggests the traumas of the last few years, including the Internet boom and crash, are predictable growing pains. We will experience many of the advantages technophiles promised, says Alcaly, but it will take longer than the optimistic ones expected. This is thought-provoking stuff, but Alcaly doesn't defend this thesis systematically. Instead, the book's seven chapters are independent essays on different, narrow aspects of the question, some of which (like a history of the Federal Reserve and a chapter on junk bonds) are only tangentially related. Alcaly presents a wealth of interesting material, but doesn't integrate it into a satisfying whole.
Copyright 2003 Reed Business Information, Inc.

From Booklist
Alcaly, a hedge-fund manager and economist, presents the idea that the American economy is now in the early stages of superior productivity growth and prosperity, driven by pervasive new information and communications technologies and complementary changes in business practices. The last decades of the twentieth century marked the beginning of a period of innovation and revitalization whose impact is likely to be felt for at least another generation or longer. The economy has changed in response to new pressures and opportunities created by the new technologies, global competition, and innovations in world financial markets, including the development of the junk-bond market and the spread of hostile corporate takeovers. The author describes excesses, such as wild speculation, shady dealings, and unjustified pay, as the dark underside of important economic transformations, but these have not undermined the long-term prospects of the new economy. He believes such excesses are not likely to impede growth unless we sustain external calamities or there are inappropriate reactions by policy makers and investors. Mary Whaley
Copyright © American Library Association. All rights reserved

Review
"Stock markets occasionally go to the loony bin in both directions. The Internet-related bubble of the late 1990s has now been replaced by excessive pessimism. Roger Alcaly distinguishes fact from fiction about the New Economy and argues persuasively that we have just begun to see the effects of far reaching changes in technology and business practices. Investors and general readers alike will find Alcaly's important book a must-read to understand the historic transformation affecting business and the economy."
--Burton G. Malkiel, author of A Random Walk Down Wall Street

"A book of major importance, the first to describe the realities of the new economy. Alcaly states that the new economy began in 1995, and is only beginning--and he is right. Why? Because the book's strength lies in his excellent historical comparisons to comparable eras of profound economic and business transformation."
--Alfred D. Chandler, Jr., Isidor Strauss Professor of Business History, Emeritus, Harvard Business School


A book of major importance, the first to describe the realities of the new economy. Alcaly states that the new economy began in 1995, and is only beginning--and he is right. Why? Because the book''s strength lies in his excellent historical comparisons to comparable eras of profound economic and business transformation. (Alfred D. Chandler, Jr., Professor of Business History Emeritus, Harvard Busine )

Stock markets occasionally go to the loony bin in both directions. The Internet-related bubble of the late 1990s has now been replaced by excessive pessimism. Roger Alcaly distinguishes fact from fiction about the new economy and argues persuasively that we have just begun to see the effects of far-reaching changes in technology and business practices. Investors and general readers alike will find Alcaly''s important book a must-read in understanding the historic transformation affecting business and the economy. (Burton G. Malkiel, author of A Random Walk Down Wall Street )

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7 of 8 people found the following review helpful.
FROTHY CHEER-LEADING FOR THE POST-INDUSTRIAL STATE
By David N. Buckley
      It was common in the latter stages of the Great Bull Market of the Nineties to hear talk, especially among Wall Street types, about a "new economy". What exactly the phrase meant was unclear, but all were agreed, (including the Chief Gnome himself, Alan Greenspan), that it was "a good thing." Since those heady millennial days however, the economy has soured somewhat, and with gas prices rocketing past the $50-per-barrel mark, and jobs disappearing into the all-consuming global Black Hole affectionately called "Out-Sourcing", one hears considerably less talk these days about the glitzy "new" high-tech economy that was going to make us all rich.

But ... not everyone has given up.

Roger Alcaly, a hedge-fund manager in New York City, remains bullish!

He believes that there really IS a "new" economy, and he provides a three-step argument to prove his position.

First, he says, the existence of the "new" economy is revealed by the recent remarkable growth in productivity.

Second: he claims that this sudden surge is a (belated) result of the IT-revolution.

[IT = "Information Technology"; i.e., personal computers and the Internet].

And third: because the new economy is the product of a technological breakthrough leading to higher productivity, it is part-and-parcel of a capitalist pattern of technologically-driven growth which can be traced back at least as far as the First Industrial Revolution (1750 and after). This is why Alcaly babbles on so much (albeit unconvincingly) about Schumpetrian periods of "creative destruction."

Unfortunately, Alcaly's tri-partite thesis isn't tenable, and he himself gradually and grudgingly admits this before we've even finished the First Chapter!

First, about the recent surge in productivity growth: Alcaly admits "it's still too soon to know for sure whether a lasting new trend has been established, or how powerful it will be ..." (p. 34).

This leaves us, and him, on pretty thin ice. I mean, if the productivity growth is a mirage, where's our "new economy"?

[In fact, the productivity growth is largely the result of a new accounting procedure introduced by the Commerce Dept.'s Bureau of Economic Analyis! See page 40, and following.]

Second, the alleged connection between technology and growth (now or in the past) is not entirely self-evident. In fact, as Alcaly admits, "technological breakthroughs cannot be identified unambiguously, and some scholars reject the view that there have been a number of relatively discrete bursts of critically important innovations over the last two centuries." (p. 30) In other words, economic historians have long since dropped the simplistic notion that new gadgets "cause" economic growth. And Alcaly's own attempt to tie technological change to the business cycle (pp. 25-35) also comes a cropper! (Think about that! He provides TEN pages of evidence to DISPROVE his own position!)

So, before we've even come to the end of his FIRST chapter, Mr Alcaly's entire case for a "new economy" has collapsed! So much for the superior knowledge of Wall Streeters! (Now might be a good time to check your retirement portfolio!)

------------

That said, there really IS a new economy. We may characterize it as we will, but what it clearly is NOT, is a manufacturing economy. The "old" economy (Made In America) has long since disappeared, and will never return to these shores. In its place we have the Post-Industrial Economy. We don't make anything anymore; we flip burgers. We don't even earn enough to buy what we import; we have to borrow ... $2 billion per day ... from foreigners!

This "new" economy, unlike the old, is dedicated exclusively to improving the lot of the rich as it ignores the growing ranks of the poor. Because Economists have always been cheer-leaders for the Haves, we should perhaps not be surprised that Mr Alcaly finds this "new economy" so heady. But he might find it less exciting were he to acquaint himself with its real human costs. Ms Ehrenreich's Nickel and Dimed [ISBN: 0805063897] would be a good place to start.

4 of 4 people found the following review helpful.
Excellent analysis of the New Economy
By Abacus
Roger Alcaly, an economist, makes a strong case that information technology, like electricity before it, will support economic growth for decades. Making a parallel with electricity, he notes that for decades, industrialists would electrify only parts of their plants, but only to supplement the older steam engines. It wasn't until the 1920s (40 years after the discovery of electricity), when new immigration laws slowed the arrival of cheap labor, that U.S. industry plugged fully into the new electric technology and reaped the resulting prodcutivity gains.
Alcaly suggests that a similar lag is holding up the computer revolution. He argues that the full impact of the New Economy won't be felt until vast sectors upgrade their basic processes, transmitting data over the Internet between suppliers and customers.
In his broad survey of an economy in transition, Alcaly ranges from the equity markets to manufacturing and the Federal Reserve. He makes a solid case that a New Economy is upon us, even if its power is hard to measure and predict.

0 of 0 people found the following review helpful.
the Fed should defend the dollar through interest rates, operate as non-profit, and have no involvement in money creation
By Golden Lion
1. In 2008, the US economy has been growing at 3 percent, adding 2 million new jobs and inflation remains low at 2.7 percent.

2. The United States is the envy of the industrial world. The new economy is forty years in the making.

3. The average US worker productivity is the highest in the world and growing faster than any wealthy nation, including Japan

4. The United States is the low-cost provide of sophisticated goods where quality is more important than cheap labor.

5. The United States is experiencing an increase in exports of goods and services: computers, legal services, refrigeration, telecommunications, medical products and services, movie making technology, and military, agriculture.

6. US companies are investing in improved technology, robotics, enterprise software, and reengineering their company structure to work more lean. Information technology is giving a competitive advantage.

7. Turn around in the auto industry reflects a 10-year innovation infusion, union contraction, and cost saving process design. GM could escape bankruptcy and emerge as a lean machine, a machine that could change the world.

8. Americans see the US economy as an economic giant. The US exports over 300 billion barrels of oil a year. Tough oil exports are due to start and move the US into the number one oil exporter position.

9. The new economy is a recent phenomenon, driven by a bust in commodity prices, new technology, and massive financial structure. US living standards are the best in the world. China will take twenty years to catch US lifestyle standards.

10. US productivity will continue to grow 1.7% and weather recession pressures.

11. The US is producing more and better products each year.

12. A real estate boom in China would facilitate a new era of global Financial Debt collateralization. The US, 500 trillion dollar derivatives market would grow increasingly larger fueled by a new source of capital flows.

13. New forms of recreation are emerging, such as, the Segway Human transports all terrain. More Americans are enjoying the new medium of transportation and recreation.

14. Outside of any catastrophic event, it is unlikely that the US economic momentum will be hindered. Power law theory seems be pervasive and another sixty years of strong economic growth possible (Diddier). Potential financial catastrophic events in the derivatives market: CMO, CDS, CDO, and Municipal bonds or Financial collapse of Citigroup or Bank of America.

15. Federal Reserve intervention in 1987 and 1997 facilitated pressures that aided in the Stock market crash. The Fed cannot accurately estimate Stock valuations and cause economic stock crashes. How? Interest raising action by the Fed to curb the irrational exuberance associated with rapid price formed a shortage of capital, increased fear about the future cost of money, and trigger tightly networked group consensus through automatic risk systems rules that force massive simultaneous selling.

16. Fed Money supply policies balance inflation against unemployment rates. Fed policies often are riddled with fallacy: 1. Increased money supply does not allow create jobs 2. A lower interest rate does not always increase credit liquidity 3. Unemployment policies do not allows produce jobs.

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>> Free PDF Ideas of Order: A Close Reading of Shakespeare's Sonnets, by Neil L. Rudenstine

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Shakespeare's sonnets are the greatest single work of lyric poetry in English, as passionate and daring as any love poems we may ever encounter, and yet, they are often misunderstood. Ideas of Order: A Close Reading of Shakespeare's Sonnets reveals an underlying structure within the 154 poems that illuminates the entire work, and provides a guide―for first-time readers as well as scholars―that inspires a new understanding of this complex masterpiece. Elizabethan scholar and former Harvard University president Neil L. Rudenstine makes a compelling case for the existence of a dramatic arc within the work through an expert interpretation of distinct groups of sonnets in relationship to one another. The sonnets show us a poet in turmoil whose love for a young man―who returns his affections―is utterly transformative, binding him in such an irresistible way that it survives a number of infidelities. And the poet and the young man are drawn in to a cycle of lust and betrayal by a "dark lady," a woman with the "power to make love groan."
Rudenstine's reading unveils the relationship between major groups of poems: the expressions of love, the transgressions, the longings, the jealousies, and the reconciliations. This critical analysis is accompanied by the text of all of Shakespeare's sonnets. Accessible and thought-provoking, Ideas of Order is an invaluable companion to this cornerstone of literature.

• Sales Rank: #735084 in Books
• Published on: 2014-11-18
• Released on: 2014-11-18
• Original language: English
• Number of items: 1
• Dimensions: 9.28" h x .93" w x 6.25" l, .0 pounds
• Binding: Hardcover
• 256 pages

Review

“Ideas of Order is a superb guide to the preeminent sequence of lyric poems in the English language.Neil L. Rudenstine is a famously gifted close-reader, wonderfully alert to nuances of tone and meaning in each individual sonnet, but his great achievement in this book is to illuminate the irony, poignancy, and wisdom of Shakespeare's whole astonishing structure.” ―Stephen Greenblatt, author of The Swerve and Will in the World

“It would take a special skill . . . to bring this cycle of poems to life for modern readers, but Neil Rudenstine has done just that in Ideas of Order . . . Rudenstine, a professor of English and later president of Harvard University, offers sensible and engagingly written explications. ” ―Barton Swaim, The Wall Street Journal

“With Neil Rudenstine's extraordinarily perceptive and careful reading of Shakespeare's sonnets, we experience the immense pleasure of the poetry's drama, sequence, art, wit, and radical surprise-- and 'learn to read what silent love hath writ.' ” ―Jean Strouse, author of Morgan and Alice James

“With learning, sensitivity, and penetrating understanding, Neil Rudenstine has educed a credible, coherent narrative from Shakespeare's heterogeneous sonnet sequence, greatly enriching our experience of these incomparable poems. There is nothing in Shakespearean scholarship quite like it, and one can only hope that no one will henceforth teach--or read--Shakespeare's sonnets without relying on the insights of this engrossing study.” ―Walter Kaiser, Francis Lee Higginson Professor of English emeritus, Harvard University

“Neil Rudenstine, author of a powerful study of Sir Philip Sidney, has now written an engaging and lucidly presented overview of Shakespeare's sonnets.This book will attract and inform its intended audience, a wide swath of readers seeking an introduction to these poems.” ―Heather Dubrow, John D. Boyd, SJ Chair in the Poetic Imagination, Fordham University

“Inspiring and thoughtful.” ―Publishers Weekly

About the Author

Neil L. Rudenstine graduated from Princeton University, was a Rhodes Scholar at Oxford, earned his PhD in English Literature at Harvard, and remained on Harvard's faculty until 1968. After two decades as Professor, Dean, and Provost at Princeton, he was President of Harvard University from 1991 to 2001. He is currently a trustee of the Barnes Foundation and is chair of the boards of ARTstor, the New York Public Library, the Rockefeller Archive Center, as well as vice-chair of the board of the J. Paul Getty Trust. His several books include Sidney's Poetic Development; English Poetic Satire (with G.S. Rousseau); In Pursuit of the PhD (with W. G. Bowen); Pointing Our Thoughts; and The House of Barnes: The Man, The Collection, The Controversy. He lives in Princeton, NJ.

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9 of 12 people found the following review helpful.
Required reading for sonnet lovers.
By DoctorJoeE
Well done. Dr. Rudenstine makes the case that -- contrary to appearances -- the sonnets were not thrown together in haphazard order by Shakespeare (or Thomas Thorpe, depending on who you believe assembled them for publication). Rather, he argues, they were deliberately arranged in a very specific order; and in the same way that songs on a record album sometimes combine to tell a larger story, the sonnets combine into a pattern, with a larger message. I'm always a bit wary when a scholar postulates a pattern that has never been noticed before, since more often than not it will be a hallucination; (scholars tend to love patterns, and to abhor randomness) but Rudenstine's argument is convincing.

Briefly, he contends that the sonnets progressively develop Shakespeare's friendship with the mysterious "youth", and that the emotions he expresses in any particular sonnet cannot be properly understood without the context of the sonnets preceding and following it. No attempt is made (as such books often do) to solve the enduring sonnet mysteries, such as the identities of the youth, the dark lady, the rival poet, and the particularly mysterious "Mr. W.H.", to whom the first edition was dedicated. But that's okay, because unless someone invents a time machine, those unknowns will remain unknown anyway. For anyone who loves the sonnets and seeks to understand them better, this is pretty much required reading.

0 of 0 people found the following review helpful.
Exceeded all expectations. The author proceeds cautiously and says ...
By John Moore
Exceeded all expectations. The author proceeds cautiously and says nothing that cannot be demonstrated to be true. He dismisses all speculations and fantasies. Most satisfying.

0 of 0 people found the following review helpful.
Ideas of Order
By R.J.
Love this book! Very comprehensive study of The Sonnets. I enjoy it very much.

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## Fee Download The Queen's Bed: An Intimate History of Elizabeth's Court, by Anna Whitelock

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From the private world of a beloved English queen, a story of intimacy, royalty, espionage, rumor, and subterfuge

Queen Elizabeth I acceded to the throne in 1558, restoring the Protestant faith to England. At the heart of the new queen's court lay her bedchamber, closely guarded by the favored women who helped her dress, looked after her jewels, and shared her bed.
Elizabeth's private life was of public concern. Her bedfellows were witnesses to the face and body beneath the makeup and raiment, as well as to rumored dalliances with such figures as Earl Robert Dudley. Their presence was for security as well as propriety, as the kingdom was haunted by fears of assassination plots and other Catholic stratagems. Such was the significance of the queen's body: it represented the very British state itself.
In The Queen's Bed, the historian Anna Whitelock offers a revealing look at the Elizabethan court and the politics of intimacy. She dramatically reconstructs, for the first time, the queen's quarters and the women who patrolled them. It is a story of sex, gossip, conspiracy, and intrigue brought to life amid the colors, textures, smells, and routines of the royal court.
The women who attended the queen held the truth about her health, chastity, and fertility. They were her friends, confidantes, and spies―nobody knew her better. And until now, historians have overlooked them. The Queen's Bed is a revelatory, insightful look into their daily lives―the untold story of the queen laid bare.

• Sales Rank: #762414 in Books
• Published on: 2014-02-11
• Released on: 2014-02-11
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x 1.53" w x 6.41" l, 1.58 pounds
• Binding: Hardcover
• 480 pages

From Booklist
Whitelock delves deep into the court of Queen Elizabeth I—in fact, into the monarch’s very bedchamber, where she examines the lives, the roles, and the influence of her most favored ladies-in-waiting. Culled from the aristocracy and much more than glorified servants, these women bathed, clothed, and often shared a bed with the queen. In doing so, they bore witness to the political rivalries, social gambits, and personal scandals that perpetually surrounded Elizabeth. Charged with pampering and protecting the queen’s body, they also zealously guarded her secrets—often with very little thanks or consideration—in the fishbowl environment of the Elizabethan court. This intimate history of Elizabeth’s boudoir and the women who populated it approaches a popular biographical subject from an entirely fresh angle, providing an enlightening peek into her private persona. --Margaret Flanagan

Review

“Unquestionably [Elizabeth] is one of the most powerful women to have ever lived. So is it any wonder that this brilliant, vain, temperamental, wily woman still fascinates centuries later?. . . Elizabethan England was a ribald wondrous realm ruled by an extraordinary woman and Anna Whitelock brings it vividly to life in The Queen's Bed.” ―Robert Collison, Toronto Star

“As Anna Whitelock's The Queen's Bed proves, there is still a new and fascinating vantage from which to consider Elizabeth I. . .” ―Kathryn Harrison, New York Times Book Review

“[The Queen's Bed] is filled with fascinating details of life at her court, with eyewitness accounts from diaries, letters and pamphlets. . . a trove of interesting facts.” ―Moira Hodgson, Wall Street Journal

“Densely erudite, intriguing take on Queen Elizabeth I's very public private life. . .Especially striking is the author's chronicle of Elizabeth's relationships over the course of her long reign; she was never alone, and she had several (probably consummated) love affairs or infatuations, most notably with her beloved Lord Robert Dudley. . . Whitelock's deep reading into the primary sources of this period proves wonderfully satisfying. This chockablock, scholarly portrait invites further interest in this endlessly alluring queen.” ―Kirkus Reviews

“This intimate portrait of Elizabeth's private life, as refracted through her relationships with the ladies of her bedchamber, will engage any readers wishing for a more balanced portrait of Elizabeth the flawed human being, as opposed to simply another rehashing of the mythical representations of her as Gloriana.” ―Publishers Weekly

“Fascinating glimpses of Elizabeth I's life behind closed doors. . . [The Queen's Bed] is enriched by Anna Whitelock's eye for the curious and engaging detail.” ―TLS

“Anna Whitelock's skillful and detailed history will bring you closer than seems possible to this glittering, infuriating, fascinating woman.” ―Hilary Mantel

“Whitelock's fearless approach to Elizabeth is not unlike that of Essex. She, too, has burst into the bedroom and shown us the Queen in her most private state. This is an intimate history of the court and a brilliant history of intimacy.” ―Frances Wilson, The Mail on Sunday

“Whitelock makes sparkling use of the eye-witness testimonies of courtiers, who recorded their impressions of the Queen in letters as gossipy and vivid as any tweet or Facebook post . . . The charm of Anna Whitelock's portrait of the Queen and her times is that it shows the monarch and the woman, in all her power and pathos, through the eyes of the people who knew her best.” ―Jane Shilling, Daily Mail

“A great story, told with wit and verve.” ―John Gallagher, The Telegraph

“Engrossing and admirably researched . . . Taking us behind the closed doors of Elizabeth's bedchamber, Whitelock builds up a remarkably intimate portrait . . . [Her] excellent life of Queen Mary was published in 2009. With this dazzling portrait of Mary's successor, she takes her place among the foremost--and most enthrallingly readable--historians of the Tudors.” ―Miranda Seymour , The Sunday Times (London)

About the Author

Anna Whitelock received her PhD in history from Corpus Christi College, Cambridge, in 2004 with a thesis on the court of Mary I. Her articles and book reviews on various aspects of Tudor history have appeared in many publications, including The Guardian, The Times Literary Supplement, and BBC History. She has taught at Cambridge University and is now a lecturer in early modern history and the director of public history at Royal Holloway, University of London.

Most helpful customer reviews

67 of 69 people found the following review helpful.
Rehashed History
By takingadayoff
The Tudors are an endless source of entertainment and scholarship. I've spent many enjoyable hours reading about them. Anna Whitelock's new book is about the inner court of Elizabeth I, and as the British edition's title calls it, "Elizabeth's Bedfellows." As a new biography of Elizabeth, The Queen's Bed is good, a detailed and readable account. But as a history of the inner court, and in particular, Elizabeth's closest advisors and servants, it falls short.

I am tempted to excuse this failing due to the lack of source material that details the lives and actions of the women closest to Elizabeth. After all, women were often an afterthought in the 16th century -- who would have thought to write about servants, even those of the Queen? But as it happens, someone has already written a book on the topic and found quite a lot of information about the women of Elizabeth's privy chamber. Elizabeth's Women: Friends, Rivals, and Foes Who Shaped the Virgin Queen by Tracy Borman came out about four years ago. It tells a story of the upper class, well-educated women who populated Elizabeth's court and world. They were an influential and politically savvy group, and Elizabeth talked with them about policy and diplomacy. It was quite a revelation to me that these were not just servants who tended to the Queen's makeup and dress. They were intelligent and opinionated advisors who were often targeted by foreign diplomats for inside information.

The Queen's Bed is a fine book about Elizabeth, but if you were hoping for a little more information about the part the women of the Queen's privy chamber played, I'd have to point you toward Borman's book instead.

18 of 19 people found the following review helpful.
Great story and compelling history, but skip the Kindle edition
By Cavalry Scout
The Kindle edition of this book gets two stars because the publisher elected to omit all of the wonderful (and important to the story) photographs that are in the print edition. The book refers time and again to portraits of Elizabeth, and they're all there in glorious color right in the middle of the print version of this book. But nope, not on Kindle. Why do publishers keep doing this with their e-books? Do they think we're too dumb to notice that the pictures aren't there?

20 of 26 people found the following review helpful.
Fascinating Portrait of an Extraordinary Queen
By Eileen Pollock
I have never read a biography of Elizabeth I before, and rather than a rehash, I found this a superior work of scholarship and abundant research. The notes and bibliography prove that the author has done wide independent scholarly research.Each chapter captures your interest. The writing is on a high level and I have learned much I never knew of Elizabeth. The title of the Queen's Bed refers to the central theme of the book - England's need for an heir, which the Virgin Queen never provided.

Meanwhile you are given a fascinating backstage view of the world of Elizabeth and her entourage of ladies. The focus is not so much on the ladies who served Elizabeth, though they are given full coverage, as it is on the life of the Queen herself. The biography is full of intrigue, plottings, and above all, the towerng figure of Elizabeth.

As the first biography of Elizabeth I have read, this has proven to be a superior choice, and I recommend it to anyone who is not oversatiated with Elizabethan biography.

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