Saturday, August 2, 2014

>> PDF Ebook The Impact of the Gene: From Mendel's Peas to Designer Babies, by Colin Tudge

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The Impact of the Gene: From Mendel's Peas to Designer Babies, by Colin Tudge



The Impact of the Gene: From Mendel's Peas to Designer Babies, by Colin Tudge

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The Impact of the Gene: From Mendel's Peas to Designer Babies, by Colin Tudge

In the mid-nineteenth century, a Moravian friar made a discovery that was to shape not only the future of science but also that of the human race. With his deceptively simple experiments on peas in a monastery garden in Brno, Gregor Mendel was the first to establish the basic laws of heredity, laws from which the principles of modern genetics can be drawn. In this fascinating account, acclaimed science writer Colin Tudge traces the influence on science of Mendel's extraordinary ideas, from the 1850s to the present day, and goes on to ask what might happen in this century and beyond.

The science of genetics holds the key to an enhanced understanding of the human makeup and allows for new ways of approaching such issues as the prevention of hereditary diseases and the effective conservation of endangered species. But genetic technologies are also instruments of tremendous power, and with this constantly expanding knowledge comes the responsibility of using it wisely. Cloning, genetically engineered crops, the research and results of the Human Genome Project, and the possibility of "designer babies" continue to force challenging choices on society. In The Impact of the Gene Colin Tudge provides new and vital insights into the ethics of modern genetics and raises the question of what criteria we must use with regard to this extraordinary and unprecedented power.

A comprehensive and entertaining work that combines scientific history with a compelling discussion of the future trends of genetic technologies, The Impact of the Gene examines how the ideas that underpin the spectrum of all genetic issues are interrelated, and proposes that with a basic understanding of Gregor Mendel's theories and discoveries, all modern genetics falls easily into place. From a monastery garden in Brno to the laboratories of the twenty-first century and beyond, The Impact of the Gene provides a vital overview of the science of genetics.

  • Sales Rank: #1506970 in Books
  • Published on: 2000-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.29" h x 5.76" w x 8.56" l,
  • Binding: Hardcover
  • 375 pages

From Publishers Weekly
Just as A.N. Whitehead famously argued that "all moral philosophy is footnotes to Plato," Tudge (The Second Creation), a research fellow at the Centre for Philosophy at the London School of Economics, argues that "all genetics is footnotes to Mendel," taking us from the 19th-century Moravian friar's monastery garden to headline makers like the Human Genome Project and Dolly, the instant sheep. The comparison is doubly appropriate given how heavily the moral question hangs on Tudge's narratives as he endeavors to put the public's fears about cloning and other issues to rest. His discussions of evolutionary psychology the study of the genetic roots of human behavior, which today bears the taint of Herbert Spencer's social Darwinism and of eugenics are careful and reasonable, as is his handling of the controversial idea of "designer babies." Tudge invokes the concept of noblesse oblige, arguing that moral responsibility grows in direct proportion to power over life. Throughout, his attitude is "cautious optimism." Tudge has great facility as a popularizer, here breezily showing how Von Neumann's game theory was the only kind of math that could come to the aid of Darwinism, there speculating about the relative stability of the gene pool as a whole: "people who cannot outsmart New York lawyers do not fade into oblivion." While perhaps a little too credulous of the evolutionary psychology gospel for some readers, and not alarmist enough for others, Tudge's account will draw in and satisfy the curious neophyte, if not the embroiled activist or random browser.

Copyright 2001 Cahners Business Information, Inc.

From Library Journal
Noted science writer Tudge (The Variety of Life, an LJ Best Book) writes a particularly interesting narrative on the development of genetics from Gregor Mendel's 19th-century pea experiments to the present. He devotes the first third of his book to Mendel and the foundations of genetics; the rest of the text covers all further scientific and technological developments in the field and their social context. One of the book's greatest strengths is that Tudge manages to weave the contributions of hundreds of scientists into a story that is coherent, logical, and readable. He also tackles the social implications of genetics (e.g., "designer babies") and offers thoughtful and persuasive discussions of difficult topics such as evolutionary psychology. Tudge's study is accessible to the educated lay reader, while the detailed historical account will appeal to academics. Highly recommended for all public and academic libraries. Marianne Stowell Bracke, Univ. of Arizona
Copyright 2001 Reed Business Information, Inc.

From Booklist
British science writer Tudge is a refined and engaging prose stylist as well as a master synthesizer of enormous amounts of complex and controversial material. In the wake of his majestic overview of biodiversity, The Variety of Life [BKL My 15 00], Tudge focuses on genetics in a lively tribute to Gregor Mendel and a fresh chronicling of the effort to connect Mendel's elegant experiments and discoveries to Darwin's inspired observations. Once molecular biology was added to the mix, neo-Darwinism, "one of the great intellectual triumphs of the twentieth century," was born, and so were myriad ethical conundrums associated with genetic engineering, including the specter of "designer babies." Tudge's supple elucidation of the mechanics of genetics and his thorough explanation of the not-well-understood field of evolutionary psychology are invaluable; his linking of so-called pure science to social, moral, and emotional realities is invigorating, and his dedication to elevating the public's scientific literacy in the belief that such knowledge is essential to keeping science humane and responsible is admirable and inspiring. Donna Seaman
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

2 of 2 people found the following review helpful.
The ideal companion to primers of genetics...
By Dario Ventra
I so much enjoyed this book that I thought I'd drop a quick review to inspire other readers...
This is probably not the best way to take one's first step into genetics, as far as the biological and technical nuts and bolts of the subject are concerned. Yet, if I were a professor, I'd make this a required reading to all students of genetics in order for them to be further introduced to the historical and ethical sides of the matter...
Starting with Mendel's biography and scientific breakthroughs, Tudge offers a guided tour through the early, pioneering days of modern biology, explains the very basics of Mendelian and molecular genetics, then swiftly moves on to discuss several important aspects, consequences and moral and practical responsibilities derived from our present advanced and advancing knowledge of biological heredity.
I think readers with no firm foundation of genetics and evolutionary theory wouldn't grasp the basics so easily from the quick overview by the author, agile and clear though it is. Any other biology textbook will obviously fill such a bill much better...
But the book's absolute forte lies both in the introductory historical perspective and in the following essays on wildlife conservation, evolutionary psychology, genetic bio-engineering and philosophy of science (better still, philosophy after the science!).
Tudge has drawn his own conclusions, and one may or may not agree with him in some respects, especially in his last chapter... But he treats many issues in a clear, informed and scientifically sensible way, and those are exactly the issues all too often hyped up or simplistically downplayed by the media and by columnists who babble on and on, all too often unaware of what exactly they're talking about, and thus unable to convey any meaningful insights to their audiences but doubts, diffidence or, even worse, passive indifference before something apparently, but mistakenly, beyond their grasp.
The principles that lie at the basis of some modern or future biotechnologies are very much understandable instead, and should belong to everyone who wants to form an educated opinion about what's going on...
A book for the novice to learn a little bit more, and for everyone to ponder. Even the ones who think they already know better...

2 of 2 people found the following review helpful.
Mendelian manifesto
By Stephen A. Haines
Colin Tudge is anxious to set the record straight. Despite a throng of recent critics attempting to discredit Gregor Mendel's role as the founder of modern genetic sciences, Tudge provides a wealth of supportive data to reinforce Mendel's reputation. Although some critics have disparaged Mendel's lack of scholastic acceditations, Tudge urges a comprehensive view. He stresses we should look at Mendel's environment, personal background and, most importantly his scientific methods. Tudge simply sweeps away the criticisms [with the sole exception of R.A. Fisher] as unthinking iconoclasm.
After a defence of Mendel and his contribution to biology, Tudge reviews what genes are and how they function. This in-depth overview is one of the best summations of genetic processes in print. This chapter alone is worth purchasing the book. Tudge traces the roles of DNA, RNA, the amino acids and proteins. He shows how even minuscule changes in any step in the sequence can lead to ineffective proteins. Such changes can be implemented in the development of the organism [or merely part of it] rendering it unfit to survive in its existing environment. Such change can also make the individual more fit if that environment is undergoing change. He reviews the history of discoveries concerning chromosomes, DNA [first called nuclein], enzymes and proteins. He reminds us that many of these finds were made while Mendel's work had sunk from sight. Tudge's list of the researchers involved and the dates of their discoveries is revealing for those not well-grounded in the history of biology. He shows how the many threads were brought together many years later.
Tudge addresses how the genetic ratios imply regular laws of inheritance. Tudge stresses the revolutionary aspect of this discovery and how it changed science's view of life. He notes how Mendelian genetics seemed to refute Darwin for some years. When these apparent discrepancies were later reconciled and molecular genetics arose as the science binding the two theories, limitless opportunities arose. Revelation of the DNA structure showed how genes could be identified and later used to understand their relation to the whole organism.
Tudge follows through with what has been achieved in genetic research and speculates on what the future might hold. He pulls no punches in his speculations and readers will be confronted with myriad possibilities. These shouldn't be discounted nor blithely cast aside as distasteful. His proposals are realistic and based on strong science.
This book should stand as Tudge's finest effort. He's written many books on science, with some focus on human evolution. Standing as a pinnacle among his publications, readers are urged to take up this volume intending to give it a careful read. His Epilogue carefully reviews the many ethical questions that arise from the new power that genetics has placed in our hands. He reminds us of the pitfalls that have been encountered in the past and to prepare for these in decision-making. Public policies, which ultimately rest in your hands, he reminds us, must be formulated on a basis of clear understanding of what is involved.
This book provides an excellent starting point for building that knowledge base. He warns us against letting events overtake us. Read him to stay abreast of what is transpiring.

2 of 2 people found the following review helpful.
It is three different books.
By Jon Claerbout
The FIRST THIRD is a history of Gregory Mendel.
He was doomed to lead his life as a substitute teacher at half pay
in a high school because he was right and his examiner was wrong.
It often said that Darwin should have read Mendel's paper because it
solves a problem that Darwin identified with his own theory
-- that the blending of parental characteristics destroys
the variation that selection needs to work its magic.
(Nonsense! It should have been the other way around.
Mendel should have read Darwin's work and known about Darwin's problem.
As someone being ignored by the world, Mendel had oceans of time
whereas Darwin found himself at the focus of a revolution.
The essense of the issue is physical and mathematical.
Mendel was trained in physics and math while Darwin
was a naturalist, with the many eclectic, nonanalytic
demands of that profession.)
The MIDDLE THIRD of the book summarizes landmark experiments
in genetics from Mendel's time to the present.
For us nonbiology majors, the pace gets much tougher here
but these are very good explanations, and I plan
to reread this part of the book again (and again). For example,
he explains how everyone thought that genes would have to be proteins.
How could DNA, so boring chemically, provide the code for proteins
that seem so infinitely various?
The the book's title and its chapter headings in
the LAST THIRD raise our expectations. For example,
"Could we breed more intelligent people if we really wanted to?
The answer is surely yes, but (a) ... it's not easy.., and (b)
although we might readily raise the average IQ of the population,
it is not obvious that we could improve the top end.
That is, we might produce more people able to get A's at Princeton,
but [not] produce anyone significantly smarter than, say,
[quantum mechanics discoverer] Niels Bohr."
Wow! Tell us how that might come about!
After an introduction like this, I expected something beyond yet another
rehash of the horror of the eugenic attempts of the last century,
but it simply isn't here. It's a nice book,
but it doesn't reach far towards the promise of its title.

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Thursday, July 31, 2014

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

Download Ebook The Hours: A Novel, by Michael Cunningham

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The Hours: A Novel, by Michael Cunningham

The Hours: A Novel, by Michael Cunningham



The Hours: A Novel, by Michael Cunningham

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The Hours: A Novel, by Michael Cunningham

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

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

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

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

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

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

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

Most helpful customer reviews

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

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

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

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Tuesday, July 29, 2014

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

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Travels in Siberia, by Ian Frazier

A Dazzling Russian travelogue from the bestselling author of Great Plains

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

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

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

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

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

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

Review

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

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

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

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

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

Most helpful customer reviews

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

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

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

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

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

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

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

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

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

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

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Sunday, July 27, 2014

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

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

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

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

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

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

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

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

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

Copyright © 2004 Phillips & Nelson Media, Inc.

Most helpful customer reviews

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

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

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

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

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

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

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

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

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Saturday, July 19, 2014

^ PDF Download Illness As Metaphor, by Susan Sontag

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Illness As Metaphor, by Susan Sontag

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

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

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

2 of 2 people found the following review helpful.
Excellent
By Hung Tran
Great book and fast delivery!

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Wednesday, July 16, 2014

>> Ebook Download The Unburied, by Charles Palliser

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The Unburied, by Charles Palliser

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

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

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

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

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

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

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

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

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

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

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

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

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

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