Thursday, September 4, 2014

# PDF Download The Wolf Pit, by Marly Youmans

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The Wolf Pit, by Marly Youmans

A powerful yet intimate novel of the Civil War on the home and battle fronts

Winner of the 2001 Michael Shaara Award for Civil War Fiction

The Wolf Pit offers a gripping portrait of two young Virginians forever altered by violence and civil war. Robin, a young Confederate soldier, battles from a valley of blood to a burning wilderness to labyrinthine trenches. He clings-despite the slaughter of friends and illusions-to what gives him strength, to the beautiful and the uncanny: family pictures, Psalms, and an old tale about a pair of mysterious green children found in a wolf pit. Robin carries these inside the very palisades of hell, the Elmira prison camp.
Agate, the daughter of a hired-out slave, embraces the forbidden teachings of her mistress, Miss Fanny. But the images she has fashioned for herself shatter when she encounters and deeply offends her owner, Young Master. At the Williams Home Place, Agate learns the meaning of her mother's cautionary tales as she struggles to survive loss and degradation and to pit knowledge and truth against evil.

  • Sales Rank: #3416870 in Books
  • Published on: 2001-10-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.21" h x 5.84" w x 8.56" l,
  • Binding: Hardcover
  • 352 pages

From Publishers Weekly
It is said that the best novels are never about events, but about the people events happen to. The event in Youmans's latest (after Catherwood) is the Civil War, and the people it happens to are Robin, a young Confederate soldier, and Agate, a mulatto slave girl. In this lush, poetic and heavily symbolic double tale, each of the characters suffers untold miseries. Robin's are endured in the heat of battle and the horrors of prison camp, while Agate must bear the indignities of slavery. Literature is a source of comfort and hope for both: Agate, who has secretly been taught to read and write, is a voracious reader and writer of essays, and Robin is haunted and heartened by a story in a book he picks up at an abandoned plantation, about two mysterious green children found in a wolf pit. Learning, however, is a double-edged sword, as Agate discovers when her owner cruelly mutilates her, fearing the power that comes with knowledge. What differentiates this from the standard Civil War novel is the startling sense of language: "Wolves. He hadn't seen one in several years, had forgotten the way they could trickle away between trees like silvery water." There is a sensuous, page-long description of Agate's first encounter with an orange, as she discovers this small miracle of sight, sound, taste, touch and smell. The novel's many dramatic and traumatic events will keep the reader breathless, while the haunting, lyrical language and the fierce intelligence behind it reminds us we are reading a writer and storyteller of the first order. (Sept.)Forecast: The authenticity of this novel will appeal to Civil War buffs, while its emotion and language will be appreciated by readers of quality fiction. Youmans is one of the best current Southern writers, and this latest effort should garner her more readers.

Copyright 2001 Cahners Business Information, Inc.

Review
". . . Marly Youmans has shown herself as a writer of skill and daring. She merits comparison only with the best." -- Elizabeth Spencer

"Beautifully crafted and rich in historical detail, The Wolf Pit is a stunning novel, mesmerizing from beginning to end." -- Jill McCorkle

"Marly Youman's lyrical touch puts her in the first rank of contemporary American novelists." -- Curtis Wilke, author of Dixie

"No other writer I know of can bring the past to us so musically, so truly, as Marly Youmans." -- Howard Bahr

"There is an atmosphere, a palpable sense of time and place, about The Wolf Pit which grips the reader fervently." -- Lee Smith

From the Publisher
"The Wolf Pit" is the winner of the 2001 Shaara Award, presented by the United States Civil War Center.

The United States Civil War Center of Louisiana State University presents the Michael Shaara Award for Civil War Fiction annually to the author of the best novel of the year. Funded by critically acclaimed novelist Jeff Shaara (Gods and Generals), the award is named after his father, Pulitzer Prize-winning author of the Civil War novel The Killer Angels, basis for the movie Gettysburg.

Most helpful customer reviews

6 of 7 people found the following review helpful.
Be magically transported to a time of sorrow and truimph!
By A Customer
"The Wolf Pit" does what few other examples of historical fiction do, it introduces us to characters in another time who act like characters in that time, not like modern characters in old fashioned cloths. The novel contains a range of human experiences which are woven with beautiful language and keen insight. The reader is reminded of Dickens as the foibles, cruelty, ambition and nobility of the players in the story are developed. The rich writing and examination of issues still of foremost concern (human cruelty, racism, bravery, sacrifice) will entrance the reader of literary fiction, the rich detail and authentic depictions will be of great interest to the armchair historian. While other "modern" books slide into irrelavence in their striving for hip cynacism, this novel boldly looks at the issues that should engaged thinking readers.

5 of 9 people found the following review helpful.
A Matter Of Style 3.5 Stars
By taking a rest
"The Wolf Pit", by Marly Youmans is a beautifully rendered, passionate and poetic account of primarily two individuals and their lives during this country's civil war. One is a mulatto slave woman, the other a soldier for the Confederate Army. Through these two people the author recounts a wide range of familiar events and cruelties that were a part of this conflict. The two never meet with the exception of an intermediary that knows both individuals, the latter are either somewhat aware, or ignorant of the other's existence. Whether you enjoy this novel will largely turn upon how much you enjoy the style of the writing and the presentation.
I had trouble engaging this book. Events take place in the past, present, and are recalled through a diary and memories that you will either enjoy or you will not. The principle characters embody every conviction and contradiction the war produced, from the visually apparent mixed parentage of Agate, to the Confederate Soldier Robin who questions the war as he fights it, and as he endures a graphically horrific time both on ship, and as a prisoner of war in Elmira New York. The author lets neither side claim virtue nor purity of motive. Whether events takes place in Virginia or New York, the condemnation of both sides is clear.
There are portions of the book that were brilliantly written, a passage about a marble statue and its placement struck me as particularly poignant. However in general the book was a bit too poetic, reflective, and almost mild even as the most horrific acts were described. There is no question the author is a talented writer, the issue is one of her style and how well it works for you.

5 of 6 people found the following review helpful.
Civil War Novel Dazzles
By Corey Mesler
The narrative progresses slowly, Biblical and intense, replenishing itself with great gulps of history and panorama. Youmans writes like the child of Allan Gurganus and Toni Morrison, with Morrison's gift for sentences that carry theme and incident in their sheer craft. And, the use of the "ancient tale" structure is inspired. Youmans subtitles each chapter as if it were an age-old ballad: "Concerning wolves and wolf pits And a fight in the burning wilderness," or "Two narrative of loss, Comprising a picnic on the last careless day And a pilgrimage to harvest wands." It's oracular, touching deep wells-springs of storytelling.
The Wolf Pit resembles Cold Mountain in its use of landscape to shade its motifs and its occasionally complex éclat. You may read it for its dark tale and, at the same time, savor its rich prose.

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Wednesday, September 3, 2014

# Free Ebook This Is the Life, by Joseph O'Neill

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This Is the Life, by Joseph O'Neill

In this witty first novel, the ordinary confronts the romantic with darkly hilarious results. Solicitor James Jones wryly recounts a year spent unraveling the mysteries of his glamorous international lawyer-client's complicated private life and realizes that there are no faily-tale existences--only lives to be lived, and that, for himself, this is the life.

  • Sales Rank: #2429984 in Books
  • Published on: 1991-06
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.75" h x 5.75" w x 1.00" l,
  • Binding: Hardcover
  • 214 pages

From Publishers Weekly
Jones, the narrator and protagonist of this remarkably polished debut novel, is a solitary solicitor, an "almost transparent" fellow who cannot understand his own failure to distinguish himself. He is obsessed with one Michael Donovan, a worldly, successful barrister who seems to be and to have everything Jones is not and hasn't got. His year of clerking for Donovan was inexplicably fruitless, but now, three years later, Jones embarks on a painful odyssey of self-discovery because Donovan has "dug up my old future" by reappearing in his life. Vivid and well-chosen language draws the reader into the tortures and doubts of the narrator as he wrestles with his desperation and struggles to locate himself in the world he craves. Jones's account, in terms of its plot and O'Neill's delicate treatment of its themes, recalls H. F. Saint's Invisible Man. O'Neill is a 25-year-old Irishman, a poet and barrister practicing in London; his is a first-rate first effort.
Copyright 1991 Reed Business Information, Inc.

From Library Journal
In this, O'Neill's first novel, we meet the rather introspective James Jones. Jones, who is not resigned to his present circumstances, is preoccupied with the life and career of illustrious barrister Michael Donovan. Early in his career, Jones had been one of Donovan's pupils. Crushed by Donovan's failure to help secure him a place as a junior barrister, he has had to work as a mere solicitor in an unprepossessing firm. When Donovan calls upon Jones to help him with his upcoming divorce, the former pupil is thrilled. However, Jones's involvement with Donovan during this year of the divorce proceedings just about ruins his career. Finally, he comes to realize that Donovan's fast-paced life is really not as wonderful as it seemed, and he sees his own life with its limitations in a better light. One hopes that this is only the first of many enjoyable works of a promising young author.
- Patricia C. Heaney, Nassau Community Coll. Lib., Garden City, N.Y.
Copyright 1991 Reed Business Information, Inc.

From Kirkus Reviews
A first novel from young Irish writer O'Neill, a barrister in London, whose hero is a sort of legal Lucky Jim at sea in the law. James Jones is one of those dreamy young men, secretly nurturing great ambitions but never quite able to pull them off, who lurks in every profession. An indifferent law student, Jones has been transformed by reading a book by famous international lawyer Michael Donovan. Thereafter, he reads everything Donovan writes and, after graduation, becomes Donovan's ``pupil'' at his chambers. For six months, Jones works closely with his idol, a man obsessed by law and oblivious to everything else--but to Jones's great disappointment, he is turned down by the chambers at the end of his pupilage and has to join a small and undistinguished law firm. While he does unglamorous, nitty-gritty legal work, he embarks on a tepid relationship with Susan, as plain and undistinguished as himself, and tries to forget about the stimulating work he did with Donovan. But to Jones's surprise, Donovan, rumored to have recently suffered a nervous breakdown, suddenly asks Jones to represent him in his divorce--a divorce Donovan does not want. Jones, who at last feels he's getting closer to Donovan and fame, finds the man as elusive and puzzling as before. And given his penchant for getting things wrong, Jones not only fails to understand what is really going on but is nearly fired. His own subsequent breakdown leads him to admit that he's been too much the dreamer: ``No one was going anywhere. No one, not even Donovan, had anywhere to go.'' Witty and perceptive--but too drawn out, too carefully crafted, and too repetitive to really stun. Promise, but without pizazz. -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

10 of 12 people found the following review helpful.
At last
By Emma
I unearthed this book recently when finally getting to unpack all my books from the boxes they've been sitting in for the last couple of years. I thought I had lost it. I read it years ago and couldn't remember the author's name or the title, but thankfully recognised the cover the instant I unpacked it. What I did remember is that it was very, very funny. It lodged itself in my mind as one of the few novels I would bother to read again, and now I have my hands on it, that's exactly what I shall do.

My ex-partner read it too, and shared my opinion. I can't recommend it highly enough. Such a shame it now seems to be out of print.

4 of 5 people found the following review helpful.
Original J O'Neill novel AGAIN!
By Linda's Lookout
Joseph O'Neill continues to astonish with his extraordinary characters and ability to enter into them and enables us to visualize them without overt descriptions by the author or the chief protagonist. This is a rare ability, matched perhaps by Hilary Mantel, and leaves you wanting more.

0 of 3 people found the following review helpful.
Three Stars
By Roger
Interesting enough, and well written.

See all 4 customer reviews...

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Outline: A Novel, by Rachel Cusk

One of the New York Times Book Review's Ten Best Books of 2015


A luminous, powerful novel that establishes Rachel Cusk as one of the finest writers in the English language

A man and a woman are seated next to each other on a plane. They get to talking―about their destination, their careers, their families. Grievances are aired, family tragedies discussed, marriages and divorces analyzed. An intimacy is established as two strangers contrast their own fictions about their lives.
Rachel Cusk's Outline is a novel in ten conversations. Spare and stark, it follows a novelist teaching a course in creative writing during one oppressively hot summer in Athens. She leads her students in storytelling exercises. She meets other visiting writers for dinner and discourse. She goes swimming in the Ionian Sea with her neighbor from the plane. The people she encounters speak volubly about themselves: their fantasies, anxieties, pet theories, regrets, and longings. And through these disclosures, a portrait of the narrator is drawn by contrast, a portrait of a woman learning to face a great loss.
Outline takes a hard look at the things that are hardest to speak about. It brilliantly captures conversations, investigates people's motivations for storytelling, and questions their ability to ever do so honestly or unselfishly. In doing so it bares the deepest impulses behind the craft of fiction writing. This is Rachel Cusk's finest work yet, and one of the most startling, brilliant, original novels of recent years.

Short-listed for the 2014 Goldsmiths Prize, finalist for the 2014 Folio Prize
Named one of the best fiction books of 2014 by The New Yorker, The Guardian, The Independent and Glamour A Publishers Weekly Pick of the Week and Flavorwire Staff Pick

  • Sales Rank: #58798 in Books
  • Brand: Cusk, Rachel
  • Published on: 2015-01-13
  • Released on: 2015-01-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.44" h x .94" w x 5.79" l, 1.00 pounds
  • Binding: Hardcover
  • 256 pages

Review

“[A] lethally intelligent novel . . . reading Outline mimics the sensation of being underwater, of being separated from other people by a substance denser than air. But there is nothing blurry or muted about Cusk's literary vision or her prose: Spend much time with this novel and you'll become convinced that she is one of the smartest writers alive.” ―Heidi Julavits, The New York Times Book Review

“Outline is a poised and cerebral novel that has little in the way of straightforward plot yet is transfixing in its unruffled awareness of the ways we love and leave each other, and of what it means to listen to other people . . . While little happens in Outline, everything seems to happen. You find yourself pulling the novel closer to your face, as if it were a thriller and the hero were dangling over a snake pit.” ―Dwight Garner, The New York Times

“[Outline] is mesmerizing; it makes a sharp break from the conventional style of Cusk's previous work . . . Outline feels different, its world porous and continuous with ours, though not for the reasons we might expect.” ―Elaine Blair, The New Yorker

“[A] quietly radical new novel . . . The result, which recalls Karl Ove Knausgaard in its effort to melt away the comforting artifice of fiction, is a kind of photonegative portrait of a women who resists concessions in life and art.” ―Megan O'Grady, Vogue

“There are dozens of observations in Outline unexpected enough to stop you on the page . . . Outline has a terribly charged atmosphere, the kind very few novels achieve.” ―Charles Finch, The Chicago Tribune

“[A] remarkably original novel . . . [which] offers a bracing indictment of the sentimentality that surrounds the making of art and artistic identity.” ―Emily Rapp, Boston Globe

“[Outline] teems with provoking, fascinating ideas expressed in fine, apothegmatic prose.” ―The Wall Street Journal

“Cusk's restrained, almost experimental prose is really not so much a novel as a meditation on identity, illusion, and the erausre of self that can occur during a marriage.” ―Isabella Bledenharn, Entertainment Weekly (A-)

“Outline, in the most seemingly effortless way imaginable, winds up being completely captivating: the conversations are autobiographies in miniature, with all the holes, lies and self-deceptions lurking in that wily form . . . As you'd expect in a novel so obsessed with language, Cusk's own writing is a pleasure to read -- unfailingly precise and surprising . . . The ultimate and undeniably cerebral pleasure of Outline is it nudges you into being a more attentive reader and listener, more alert to the cracks in sentences and the messier realities that words can only try to contain.” ―Maureen Corrigan, NPR's Fresh Air

“Intriguing, unsettling.” ―People

“Intense, engrossing . . . Outline feels like a significant achievement.” ―Meghan O'Rourke, Slate

“Cusk has crafted another captivating vessel for her thoughts on gender, power and storytelling.” ―Boris Kachka, New York Magazine

“Interesting and beautifully written . . . The narrator's emotions about her divorce are evinced only by stories about other people's marriages and relationships. The melancholy and dignity of this approach are, by the end, quite profound.” ―Marion Wink, Newsday

“A highly sophisticated and deeply affecting look at modern womanhood; but for all its introspection, there's no shortage of wordly, self-deprecating wit, making this read equal parts intellectually challenging and distinctly pleasurable.” ―Caroline Goldstein, Bustle

“Cusk spares us from pontification or lofty theorizing, instead couching each conversation in sharp and incisive anecdote. Characters off-stage are palpable, memories unfold with care and precision, and each interlocutor brims with self-reflection . . . Faye's perception, her deft attention, and her exquisite intereference and interpretation make each conversation an arresting and piercing experience for the reader.” ―Cecily Sailer, Dallas Morning News

“[An] audacious narrative experiment.” ―Valerie Miner, San Francisco Chronicle

“Outline succeeds powerfully. Among other things, it gets a great variety of human beings down on to the page with both immediacy and depth; an elemental pleasure that makes the book as gripping to read as a thriller . . . a stellar accomplishment.” ―James Lasdun, The Guardian

“[T]his has to be one of the oddest, most breathtakingly original and unsettling novels I've read in a long time ... [E]very single word is earned, precisely tuned, enthralling. Outline is a triumph of attitude and daring, a masterclass in tone.” ―Julie Myerson, The Observer

“Outline. It defies ordinary categorisation. It is about authorial invisibility, it involves writing without showing your face. The narrator is a writer who goes to teach creative writing in Greece and becomes enmeshed in other peoples' narratives which Cusk stitches, with fastidious brilliance, into a single fabric.” ―Kate Kellaway, The Guardian

“Winter bouquets should be offered to the clever and stylish Rachel Cusk: her novel Outline is smoothly accomplished, and fascinating both on the surface and in its depths.” ―Hilary Mantel, The Guardian's Writers Pick the Best Books of 2014

“[Outline is] a piece of work of great beauty and ambition. Narratives are smoothed, as if by translation and retranslation, into their simplest, barest elements: parents, children, divorces, cakes, dresses, dogs. These elements then build, layer on layer, to form the most complex and exquisitely detailed patterns, swirling and whirling, wheels within wheels.” ―Jenny Turner, London Review of Books

“[T]he most compelling part of Outline is its undercurrent of rage . . . [With] polished, analytical language. Cusk's writing is lovely . . . Outline is a smart ascetic exercise.” ―Hannah Tennant-Moore, Bookforum

“Each sentence of Cusk's prose is a revelation about the truths that remain unknowable.” ―Brigit Katz, Flavorwire

“[A] uniquely graceful and innovative piece of artistic self-possession, which achieves the rare feat of seamlessly amalgamating form and substance.” ―Lucy Scholes, The Independent

“Cusk's uncompromising, often brutal intelligence is at full power. So is her technique . . . I can't think of a book that so powerfully resists summary or review . . . Inevitably, the only way to get close to the fascinating and elusive core of Outline is to read it.” ―Sophie Elmhirst, Financial Times

“Never less than compelling . . . material that might have been ponderous in other hands is, here, magnetic, thanks to the mystery at the heart of Cusk's book, her exquisite lightness of touch and her glinting wit.” ―Stephanie Cross, Daily Mail

“A brilliant, perceptive novel, Outline was serialised in its entirety by the Paris Review, which is probably a lot cooler than making the Man Booker shortlist.” ―Paddy Kehoe, RTÉ

“Rachel Cusk breaks all the rules of creative writing . . . [Outline] captivates.” ―Arifa Akbar, The Independent

“Outline is an expertly crafted portrait that asks readers to look deeply into the text for discovery. Those who accept that challenge will be rewarded for the effort.” ―Booklist (Starred review)

“This brilliant novel from Cusk . . . shuns fictional convention and frills in favor of a solid structure around a seris of dialogues . . . These 10 remarkable conversations, told with immense control, focus a sharp eye on how we discuss family and our lives.” ―Publishers Weekly (Starred review)

“A book whose almost dream-like quality has razor-sharp edges.” ―Sofka Zinovieff, Spectator

“Cool but compelling, narrow in focus perhaps, but deep in thought.” ―Lesley McDowell, The Scotsman

“An utterly engaging examination of human relationships . . . a compelling read that never once flags.” ―The Crack

“Described as a 'novel in ten conversations' . . . it turns out to be a clever, fresh device that dispenses with the need for much of a plot and presents instead more of a lush human collage . . . a rich, thoughtful read.” ―Carol Midgley, The Times

“Sharply observed . . . everyone the narrator meets has a vivid presence.” ―Suzi Feay, Literary Review

“The writing is brilliant . . . Cusk is always cerebral but I've never noticed her drollery before . . . absorbing, thought-provoking.” ―Claire Harman, London Evening Standard

“Cusk confounds expectations . . . Outline is full of such wonderful surprises: subtle shifts in power and unexpectedly witty interludes.” ―Elena Seymenliyska, The Telegraph

“This book about love, loss, memory, and the lies we tell ourselves and others exudes a contemplative, melancholy atmosphere tempered by Britsh author Cusk's wonderfully astute observations of people and the visual impressions created by her exquisitely strucutred sentences.” ―Sally Bissell, Library Journal

“Outline is a quiet, profound book about the problems of living with a sense of purpose.” ―Johanna Thomas-Corr, Metro

“A tapestry of different voices, its shape emerging as if by happy accident . . . [Outline] is a clever thought experiment that's far too readable ever to feel like one.” ―Lidija Haas, The Independent on Sunday

“Cusk returns to fiction and top form in a novel about the stories we tell ourselves and others . . . rich in human variety and unsentimental empathy.” ―Kirkus

“Like the Higgs boson, which appears only when bombarded by electrons, Rachel Cusk's nearly nameless narrator flickers into visibility only through her encounters with a series of amazingly eloquent and fascinating interlocutors. Writing at the highest level and with the greatest technical restraint, Cusk manages to describe the painful realities of women's lives by a process of erasure that is itself responsible for that suffering. This is a novel where form and content meld so perfectly as to collapse into each other. I am so much the better for having read it. As if someone finally told me the truth by telling me everything, and nothing.” ―Jeffrey Eugenides, author of The Marriage Plot

“On a flight to Greece where she is going to be teaching a creative writing class, the narrator begins talking to her neighbour. More accurately, initiating a pattern that will be repeated throughout the encounters and ‘conversations' that make up this hypnotic, funny and unsettling novel, he talks at her. Gradually her own identity emerges in response to--is given shape by--what is said to her. As one of her students puts it, the story constitutes a series of events she finds herself involved in, but on which she seems to have ‘absolutely no influence at all.' The irony, of course, is that all of these tales--the author's tale--hold our attention because of Cusk's unerring command of pace and tone.” ―Geoff Dyer

“Outline, in outline, tells the story of a British novelist newly arrived in Athens, who has been enlisted to teach a weeklong writing seminar. Upon this provocatively slight premise, Cusk has constructed a restrained, incisive narrative of high stylistic polish and stealthy emotional power. Formally inventive, astringently intellectual, and linguistically assured, Outline poses the question of where stories come from; it shows, with glittering clarity, why they matter.” ―Rebecca Mead, author of My Life in Middlemarch

“I opened this book, and read a page, and then a few more pages, and I finished Outline before a day and a half had passed, and I am the slowest reader I know, and I have never felt guilty about not finishing a book. Outline is amazing. It changes the lighting on the charismatic, mad, maddening monologues so beloved in literature; here we are, on the previously invisible other side of it, seeing something brilliant and irremediably true.” ―Rivka Galchen, author of American Innovations

“Rachel Cusk's Outline is full of baking light and quiet melancholy and bodies brushing past one another in the heat; it's a subtle and utterly engrossing exploration of the ways we make ourselves known to one another--in stories and anecdotes, through seductions and disputes--and yet remain opaque; how we sketch ourselves as outlines and find these outlines interrogated. Its conversations echo each other deftly, their acute insights gracefully pulling apart the seams of its carefully composed characters to show glimpses of much messier selves within: a series of searing psychic X-rays bleached by coastal light.” ―Leslie Jamison, author of The Empathy Exams

About the Author
Rachel Cusk is the author of three memoirs―A Life's Work, The Last Supper, and Aftermath―and several novels: Saving Agnes, winner of the Whitbread First Novel Award; The Temporary; The Country Life, which won a Somerset Maugham Award; The Lucky Ones; In the Fold; Arlington Park; and The Bradshaw Variations. She was chosen as one of Granta's 2003 Best of Young British Novelists. She lives in London.

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92 of 98 people found the following review helpful.
What this book is about, and how it works:
By George McCully
The reviews and comments I've seen have in various ways missed the point of the book, identified in its title. On page 239 of this 249-page novel, she notes that when people describe themselves (the book consists almost entirely of these), they are describing what the listener is not. "This anti-description...had made something clear to her by a reverse kind of exposition: while he talked she began to see herself as a shape, an outline, with all the detail filled in around it while the shape itself remained blank. Yet this shape, even while its content remained unknown, gave her for the first time since the incident a sense of who she now was." The book consists in ten conversations with people about themselves, interrogated by the Narrator who is seeking her own identity, which they succeed in outlining.

This is a brilliantly conceived and executed book—beautifully written, capturing so many insightful details of human life that speak for themselves as she describes them. I read it at almost one sitting, and now intend to read it again, not because I'm afraid I missed anything, but simply to savor it all.

54 of 63 people found the following review helpful.
Not for everyone, but a confronting, visceral and intimate novel
By Ian Mond
We first learn the name of Outline‘s narrator, Faye, about 84% into the novel (at least according to my Kindle). It’s a blink it or miss it moment. In fact, I didn’t register her name until I saw it cropping up in reviews of the book.

Cusk’s Goldsmith Prize nominated novel isn’t so much a story as it is a fragment of time in the life of the narrator. Faye has traveled to Greece to instruct a two-day writing class. When she arrives in Athens she teaches her students, has dinner with friends and spends time on a boat with a man – referred throughout the book as “my neighbor” – who she met on the plane during the flight over. For Faye, there’s no character arc, no dramatic tension, no epiphanies or revelations. She fades out of the story just liked she faded in, with barely a ripple.

And yet Faye is anything but a passive character. While she might reveal very little of herself, she is able to exert influence on those around her. Within minutes of meeting Faye, “my neighbor” on the plane is providing intimate details about his failed marriages. The people she visits and dines with in Greece – both stranger and friend – are quick to unburden themselves of their life story. The students in her class, asked by Faye to write a story about an animal, provide stories that are personal and confronting.

The most striking of these is Penelope’s story about Mimi the dog. Penelope initially buys the puppy for her children. But as often happens, the responsibility for the dog quickly changes hands from the children back to Penelope. Unfortunately Mimi is a naughty dog, making messes all over the house and shredding the furniture. Because she now feels obligated to care for the dog, Penelope grows to hate Mimi (Trigger warning in regard to animal abuse):.

“One day when she has been barking all afternoon and the children had refused to take her out, and I discovered her in the sitting room chewing to shreds a new cushion I had just bought while the children stared, unconcerned, at the television, I found myself seized by an uncontrollable fury that I hit her. The children were deeply shocked and angry. They threw themselves on Mimi to protect her from me; they looked at me as though I were a monster. But if I had become a monster, it was Mimi, I believed, who had made me one.”

The relationship between Penelope and Mimi fractures even further to the point that the dog runs away after an incident with a cake. (Trigger warning in regard to animal abuse):

“I crossed the kitchen and grabbed her by the collar. In front of my sister, I yanked her off the counter and sent her scrambling to the floor, and I proceeded to beat her while she yelped and struggled. The two of us fought, me panting and seeking to punch her as hard as I could, she writhing and yelping, until finally she succeeded in pulling her head free of the collar. She ran out of the kitchen, her claws scrabbling and sliding on the tiled floor, and into the hall, where the front door still stood open, and then out into the street, where she tore off up the pavement and disappeared.”
Penelope paused and placed her fingers gentle and then probingly to her temples."

This is visceral, gut wrenching stuff and at its best the conversations in Outline are raw and honest with a confessional vibe. That said, not all of them are these compelling or interesting, and there are times when the ramblings of the people she’s talking to becomes tedious. Given that Faye is only exposed to people who are either educated or wealthy (or both) they smack of the torturous ennui of the upper middle class (yes, I stole that phrase from the internet).

What’s also odd, though not necessarily a deal-breaker, is that we never really get a sense of Greece or Athens from these conversations. There are some brief mentions of the protests that occurred after the announcement of the austerity measures in Greece, but generally this book could have taken place anywhere. Even the descriptions of the boat ride with “my neighbour” have a blandness about them. It might be that Cusk is making a point about the universality of a certain type of story, one that deals with relationships. It’s also possible she didn’t want to exoticise the location.

Because it eschews the conventions of the traditional novel, Outline is not going to be for everyone. But when the writing is firing on all cylinders it is confronting and visceral and strangely intimate. Rather than be about the erasure of woman in literature, the novel explores the empowerment of silence, of listening and of allowing others to be heard.

21 of 24 people found the following review helpful.
If you love ideas and language
By David Roberts
This is literature as art, because it provides in its insights and its use of language the Nabokovian spine tingle. If you love ideas and language, you will relish this book. "Outline" is also the contemporary book I have read that reminds me most of Proust.

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Tuesday, September 2, 2014

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The Paranoia Switch: How Terror Rewires Our Brains and Reshapes Our Behavior--and How We Can Reclaim Our Courage, by Martha Stout

On September 11, 2001, the "Fear Switch" in our brains got flicked. How do we turn it off and reclaim our lives? Five years after September 11, we’re still scared. And why not? Terrorists could strike at any moment. Our country is at war. The polar caps are melting. Hurricanes loom. We struggle to control our fear so that we can go about our daily lives. Our national consciousness has been torqued by trauma, in the process transforming our behavior, our expectations, our legal system.  In The Myth of Sanity, Martha Stout, who until recently taught at the Harvard Medical School, analyzed how we cope with personal trauma. In her national bestseller The Sociopath Next Door, she showed how to avoid suffering psychological damage at the hands of others. Now, in The Paranoia Switch, she offers a groundbreaking clinical, neuropsychological, and practical examination of what terror and fear politics have done to our minds, and to the very biology of our brains.  In this timely and essential book, Stout assures us that we can interrupt the cycle of trauma and look forward to a future free of fear only by understanding our own paranoia—and what flips the paranoia switch.

  • Sales Rank: #1150437 in Books
  • Brand: Farrar, Straus and Giroux
  • Published on: 2007-09-04
  • Released on: 2007-09-04
  • Original language: English
  • Number of items: 1
  • Dimensions: .86" h x 6.32" w x 9.28" l, 1.05 pounds
  • Binding: Hardcover
  • 240 pages
Features
  • Great product!

From Publishers Weekly
Two sections are illuminating in this slight discussion of how 9/11, and political manipulation of that event, has made Americans paranoid. In one, psychologist Stout (The Myth of Sanity) provides neurological and psychodynamic perspectives on trauma. In the other, she looks at paranoid moments in American history (though, curiously, without any mention of Richard Hofstadter's seminal book on that subject) and at the limbic wars being waged by fear-mongering political leaders. Stout also helpfully includes 10 ways to recognize such manipulators of our anxiety: for example,Fear brokers are secretive, and are certain that other people, too, are keeping dangerous secrets. But Stout devotes far more space to collective trauma than to the personal kind, in which she has professional expertise, assuming a unified national consciousness; she speaks in overly broad terms about what we feel, about our paranoia and about what you believe (You were red or you were blue). Finally, her suggestions for how we can reclaim our courage—which boil down to [s]triving to be calmer, more aware, and more rational—are too vague to be helpful. (Sept.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
Praise for The Sociopath Next Door
“The Sociopath Next Door is a chillingly accurate portrayal of evil–the decent person’s guide to indecency. Martha Stout draws upon sound scientific data and clinical experience and her writing is graceful and compelling.”
—Jonathan Kellerman, author of Therapy, When the Bough Breaks, and Monster.

“Stout’s portraits make a striking impact and readers with unpleasant neighbors or colleagues may find themselves paying close attention to her sociopathic-behavior checklist and suggested coping strategies. Deeply thought-provoking and unexpectedly lyrical.”
—Kirkus Reviews (starred review)

About the Author
Martha Stout, PhD. , is the author of The Myth of Sanity: Divided Consciousness and the Promise of Awareness and The Sociopath Next Door: The Ruthless Versus the Rest of Us.

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33 of 36 people found the following review helpful.
Another Wonderful Gift from the Author of THE SOCIOPATH NEXT DOOR
By D.H.
Every American should read THE PARANOIA SWITCH as soon as possible. It will change the way you think about yourself and the country you live in. The writing is extremely beautiful, as you would expect from a book by Martha Stout, and the pages fly by because they're fascinating and because of the stories, but that's not really why everyone should read it. You should read it because if we all did, we might really be able to get our country back. And also our "selves."
The book begins with descriptions of just how terrified and full of grief everyone was right after September 11, 2001. You think you know this already, but when you see the actual descriptions and numbers, it's mind-blowing. After this, there's a test you can give yourself in the privacy of your own home to see how anxious you yourself are right now.
Then there's a chapter on how terrorism really works, told from a psychologist's point of view. This is a brand new way for most of us to think about terrorism.
Most of the rest of the book is about the unethical "fear politics" that have gone on in the United States since the terrorist attack in 2001. Dr. Stout describes in layman's language how terror affects the brain itself, how psychological trauma places a "paranoia switch" in our brains which sits there invisibly until something or SOMEONE pushes it. Then she discusses the sort of politician (the "fear broker") who would stoop low enough to use our fears to increase his own power. She discusses several situations from American history where this has happened, the KKK for example, and Joseph McCarthy and the U.S. Senate hearings. It's eye opening to see all the similarities between those chapters in our history and what's happening right now and to relate all that to the study of the brain.
Then most important of all, the book gives a list of ten characteristics of politicians and leaders who are "fear brokers" so that we can learn to recognize them when we see them on our televisions or elsewhere. Did you know for example that fear politicians have a different way of using pronouns from the way "moral leaders" use pronouns? There are many, many other danger signs discussed in the book that you can actually learn to recognize.
I can imagine the difficult corner the author was in when she wrote THE SOCIOPATH NEXT DOOR, which is also a wonderful book. In that book she talks about how sociopaths (people who have no conscience) can reach very high levels in the society and in government, but I'm sure it wasn't possible for her to name names. Now in THE PARANOIA SWITCH, it's a lot clearer what she meant even though she doesn't use the same word (sociopath).
If all you're interested in is a book that talks about your personal life, your circle of friends, or help deciding if your boyfriend/girlfriend is nuts, then you're not someone who can fully appreciate THE PARANOIA SWITCH. If you want to read something new age about sending positive energy to the White House, then maybe get a different book. But if you want to read about bigger issues and REAL issues such as the real brain and the real condition of our government, please read THE PARANOIA SWITCH. To go along with the five stars, I'd like to give it a large banner that says IMPORTANT. MUST READ.
The author talks about courage in this book and tells good people how they can get their courage back. In my opinion, it took a lot of courage to write this book in the first place about the so-called leaders who are using our fear after 9/11 to try to control us. She takes the masks off some powerful people who definitely don't like to have their masks taken off. But it's only when we can see something clearly that we stand a chance of dealing with it. Many thanks to Dr. Stout.

42 of 47 people found the following review helpful.
Limbic Warfare and the Rise of American Fascism
By Harrison Koehli
Martha Stout's newest book, The Paranoia Switch, is a welcome addition to the new and growing science of ponerology: the study of the root causes and genesis of evil, on both the social and interpersonal levels.

A recurring theme of Stout's book is the similarity in essence (but not scope) of a battered spouse and a country, battered by terror and paranoia, under the sway of a psychologically deviant leader. Stout not only lists the character traits to watch out for in leaders, but also the steps through which a society cycles between stages of limbic warfare.

Traumatic events, like terrorism, overload our limbic system. The heightened response of our amygdala, which registers the emotional significance of the event, leads to a decreased response in the hippocampus, which usually prioritizes information and allows the higher brain centers to create coherent memories.

So, traumatic events do not get integrated by the higher brain centers, but instead leave us with nonintegrated fragments of memory: isolated images and sensations. These memories can then be "triggered" by similar images. In this way, ruthless and conscienceless leaders can keep us in a state of vulnerable paranoia.

They stage or co-opt national catastrophes in order to "save" their public, in much the same way that an abuser will beat his wife, only to "save" her from everyone else around her. The logic is twisted, but the phenomenon of "battered wife syndrome" works remarkably well for human predators.

In a time of crisis, populations turn to authoritarian leaders, to their own detriment. Only a knowledge of terrorism's root purposes and causes can protect us from its effects. When fearmongers like the American government leaders (Republican and Democrat) exploit terror, the "terrorists" win. And often, the terrorists are the very people who exploit terror.

5 of 5 people found the following review helpful.
Terror Rewires Our Brains
By Kelly Jadon
From: [...]
Author & Book Views On A Healthy Life!

Book Review: The Paranoia Swithch (Farrar, Straus and Giroux, 2007) by Martha Stout, Ph.D.

Do you remember 9/11? Odds are you do. You probably recall exactly what you were doing and where you were when the news of the Twin Towers reached your ears. At the time, I was filling in for my child's elementary school teacher who was home sick. By background, I am a teacher; my concern of course was for the children. After having a quick conference in the hallway, and because details of the attacks were sketchy at 10 AM for those of us without access to current news, the fourth grade instructors decided not to explain what was happening to the pupils, and rather carry on as usual. The kids caught on though. They knew something was up as child after child was called down to the office for "early dismissal." By 1 PM the majority of the student body had been excused, and even I was told that I wasn't needed any longer. Where did we all go? Home--to our television sets.

Psychotherapist Martha Stout, Ph.D., author of The Paranoia Switch, writes that 9/11 officially traumatized nearly all of us. "9/11 grabbed us by the throat like nothing else. It changed us emotionally, behaviorally, spiritually. It caused people of conscience to fear for the future of the whole human world." After researching the issue, Dr. Stout found a Pew Research Center survey which stated that six out of ten men and eight out of ten women felt depressed. The New England Journal of Medicine summarized that within three to five days after the terror plot occurred, "44% of ordinary Americans reported at least one clinical symptom of post-traumatic stress disorder (PTSD). Symptoms of PTSD include shattered self-confidence, exaggerated startle responses, panic attacks, impaired concentration, nightmares, and dissociative reactions. Many of us, including our children, were affected because we saw the glued-to graphic television coverage either during the actual event or shortly thereafter, over and over. The traumatic event replayed itself continuously in our minds as well.

FEMA asserts that terrorism is used to create fear, get immediate publicity of a cause, and convince citizens that their government is powerless in the prevention of terror. We were frightfully afraid on 9-11. Dr. Stout writes, "Fear is more widely destructive than anything we can be afraid of. Fear makes us do things we would not otherwise do. And fear is contagious."

Has fear, brought on by the terror of 9/11 changed us, permanently? Some studies show that it has. The Endocrine Society released a report stating that women who were pregnant and present during the World Trade Center collapse passed on markers of PTSD to their babies. More recently, Archives of General Psychiatry published a 3-year national study following up the 9/11 attacks, showing that, "Acute stress responses to the 9/11 attacks were associated with a 53% increased incidence of cardiovascular ailments over the 3 subsequent years." Psychologically, we are still being challenged. The terror of 9/11 has rewired our brains.

Dr. Stout believes that, "...for whatever reason, we are hardwired to be most fearful of harm when it threatens to occur maliciously, at the hands of our fellow human beings, and this special variety of fear is the most contagious of all." Together we, as a nation, were scared. Together, we developed a paranoia of the unknown. Do you take a closer look at fellow passengers in the terminal or on the plane? Is international news and its relationship to the United States more of a priority now? Does a sounding alarm evoke a physical response from you? What flips your paranoia switch?

5 Stars

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Monday, September 1, 2014

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The Ghost Writer, by Philip Roth

The Ghost Writer introduces Nathan Zuckerman in the 1950s, a budding writer infatuated with the Great Books, discovering the contradictory claims of literature and experience while an overnight guest in the secluded New England farmhouse of his idol, E. I. Lonoff.

At Lonoff's, Zuckerman meets Amy Bellette, a haunting young woman of indeterminate foreign background who turns out to be a former student of Lonoff's and who may also have been his mistress. Zuckerman, with his active, youthful imagination, wonders if she could be the paradigmatic victim of Nazi persecution. If she were, it might change his life.

The first volume of the trilogy and epilogue Zuckerman Bound, The Ghost Writer is about the tensions between literature and life, artistic truthfulness and conventional decency—and about those implacable practitioners who live with the consequences of sacrificing one for the other.


From the Trade Paperback edition.

  • Sales Rank: #746167 in Books
  • Published on: 1979-08
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 179 pages
Features
  • Fiction book for adult
  • Love gone wrong
  • Nazi intervention
  • maturing

Most helpful customer reviews

64 of 66 people found the following review helpful.
"What do I know, other than what I can imagine?"
By Mary Whipple
Philip Roth, in this first of the Nathan Zuckerman novels, published in 1979, introduces Nathan as a twenty-three-year-old graduate of the University of Chicago who has had four short stories published and is looking for a mentor. Having contacted famed writer E. I. Lonoff, a writer living in rural New England with his wife of 35 years, he has accepted Lonoff's invitation to visit, but a snowstorm arises and Zuckerman finds himself spending the night with Lonoff and his wife. His observations about the life of Lonoff leads him to imagine many stories--about Lonoff's past, his possible relationship with a young former student, and about his life in the countryside. In addition, Zuckerman also reminisces about his own past, his relationships with his family, his feelings toward his own writing, his possible obligations to Jewish history, and the imagined past of Amy, Lonoff's former student, who resembles Anne Frank.

Though Zuckerman is full of hopes for a broader relationship with Lonoff, he soon discovers that his idol is a petulant and insecure man who has used and, in some cases, emotionally abused, those around him, all in the name of "art." Spending a sleepless winter night on the couch in Lonoff's den, Zuckerman investigates Lonoff's library, especially Lonoff's collection of the writings of Henry James, whom Lonoff admires so much, tries to write a letter to his estranged father (who is appalled by one of Nathan's recent short stories, which, he feels, feeds anti-Semitic prejudice), and ponders the relationship between genuine creativity, editing and revision, and the possible responsibilities of a writer beyond his own creative impulse.

A story about the writing of stories, this novella explores the fictional lives writers create from their own lives and the sacrifices they make. As Lonoff's wife says of Lonoff, "Not living is what he makes his beautiful fiction out of." Lonoff himself says, "I turn sentences around...That's my life." And Henry James says in a motto Lonoff has framed in his den, "We give what we have. Our doubt is our passion and passion is our task." When Zuckerman leaves Lonoff's house the next morning, he no longer sees Lonoff as an idol, but Zuckerman is still committed to his destiny as a writer, anxious to go to a writers' retreat to work on some new stories. Thoughtful, imaginative, and great fun to read, The Ghost Writer is one of Roth's most tightly organized and revelatory works, essential reading for anyone interested in the creative process. Mary Whipple

0 of 0 people found the following review helpful.
Love Roth's writing, but....
By C. R. Brown
Didn't really get caught by what seemed to be three rather undeveloped stories wrapped into one small book. Rather than a beginning, a middle and an end, there seemed to be a brief development, then another and then half a third.

30 of 32 people found the following review helpful.
Exploring creative writing as art, religion, drudgery, and sacrifice
By B. Case
I recently read "Exit Ghost," the last book in the Zuckerman series, and vowed I would read the first book in the series, "Ghost Writer," because I wanted to uncover whatever parallels I might find that would further my enjoyment and understanding. Let me say from the beginning that I thoroughly enjoyed both books. There is hardly a page of Roth's writing that doesn't amuse, fascinate, enthrall, or generally cause my brain to flare up with pure intellectual delight. Roth is surely a national literary treasure.

"Ghost Writer" is a novella about authors, the process of creative writing, and the nature, meaning, and techniques of fiction itself.

The overall plot of "Ghost Writer" is simple, but it masks layers of thematic complexity. The story concerns accomplished, successful 43-year-old author Nathan Zuckerman, reminiscing about his first meeting as a 23-year-old aspiring author with his idol, the famous, but reclusive writer E. I. (Manny) Lonoff. Zuckerman manages to get an invitation to the author's home in the Berkshire countryside. There he meets Lonoff, his wife, Hope, and Lonoff's beautiful young assistant, Amy Bellette. It is obvious from the conversations he hears directly, as well as those he overhears in private, that bald, hefty 60-plus-year-old Lonoff appears to be having some type of strange love affair with his beautiful college-age assistant, and that his wife is well aware of this fact. Zuckerman is strongly attracted to Amy and has wild fantasies about her past as a Jewish war orphan, as well as about her current relationship with Lonoff. During his visit, a winter storm arrives making travel difficult. Lonoff politely invites the young writer to spend the night on the day bed in his study. Zuckerman accepts, but is too excited to sleep. During his long night alone in Lonoff's study, we enter Zuckerman's mind as he speculates, fantasizes, and toys with all the random resonant chords of memory that float up to his consciousness, and spin out of his fertile mind as fully perfected stories.

Over the course of the evening and the next morning, Zuckerman begins to see that his idol is not a very good human being. Lonoff may be a great writer, but he has completely sacrificed his life, and the lives of those near and dear to him, for the sake of his art. He is monomaniacally self-absorbed--a man who lives entirely through his art.

Zuckerman also learns that Amy Bellette actually believes that she is Anne Frank hiding from the world under a false name because, if the world knew that she was alive, the impact and validity of her literary art would be put in question. Thus, even though she is obviously under some type of crazed self-delusion, Amy is also another artist sacrificing her life for her art. On Lonoff's desk is a quote from yet another literary giant of self-sacrifice, Henry James: "We work in the dark--we do what we can--we give what we have. Our doubt is our passion and our passion is our task. The rest is the madness of art."

Toward the end of the novella, Hope Lonoff packs her bags and walks out on her husband of 35 years. She is fed up with the fact that her husband is having an affair with his young assistant. Roth creates a priceless scene of total rage. The voice is spot-on perfect! And, for one who failed to read Roth for more than 30 years precisely because I felt he had no message that a feminist like myself might want to hear, I was amazed to read breath-taking accuracy in Hope Lonoff's raging dialog. This dialog has my vote for being one of the best tongue-lashings in contemporary fiction from a wife against a cheating husband. While exiting their home with her bags packed, she faces Lonoff, Amy, and Zuckerman and rages: "she thinks it will all be the religion of art up here. Oh! Will it ever! Let her try to please you, Manny! Let her serve as the backdrop for your thoughts for thirty-five years. Let her see how noble and heroic you are by the twenty-seventh draft... Yes, have her run hot baths for your poor back twice a day and then go a week without being talked to--let alone being touched in bed...I'm going to Boston. I'm going to Europe. It's too late to touch me now. I'm taking a trip around the world and never coming back. And you!...You won't go anywhere, you won't see anything, you won't even go out to dinner...There is his religion of art, my young successor--rejecting life! Not living is what he makes his beautiful fiction out of, and you will now be the person who he is not living with."

So, not only is this novel about the art and the process of fiction, it is also a work about one very important day in the life of a budding young creative writer--the day he meets, and subsequently rejects his literary idol, and in the process, comes into his own literary manhood. No longer an insecure, budding author needing a mentor, he leaves Lonoff's house a self-secure adult--a man certain of his successful life ahead as a creative writer, and equally confident that he will be able to achieve this goal while still maintaining a whole life. Unlike Lonoff, Zuckerman will be a writer that will still be connected to the world, and therefore in a better position to translate that connectivity into artful prose.

There are many parallels between "Ghost Writer" and "Exit Ghost." If you haven't read the last book in the Zuckerman series, "Exit Ghost," I do not want to spoil it by telling you how the themes and characters in "Ghost Writer" reappear, but trust me, the effect is intellectually dazzling! In the end, the Zuckerman series comes full circle...as only great fiction can.

I heartily recommend reading these two books. I read them out of order; personally, I don't think it matters in which order they are read. And, yes, for the curious out there, I certainly do plan to read the rest of the books in this series...but not all at once. With this author, I would rather savor each book with a half a dozen or more lighter books by other writers in between. I do that with all the authors I love best. It makes coming back to the best all that more satisfying.

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## Fee Download Nat King Cole, by Daniel Mark Epstein

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Nat King Cole, by Daniel Mark Epstein

The first major biography of the great jazz pianist and singer, written with the full cooperation of his family.

When he died in 1965, at age forty-five, Nat King Cole was already a musical legend. As famous as Frank Sinatra, he had sold more records than anyone but Bing Crosby.
Written with the narrative pacing of a novel, this absorbing biography traces Cole's rise to fame, from boy-wonder jazz genius to megastar in a racist society. Daniel Mark Epstein brings Cole and his times to vivid life: his precocious entrance onto the vibrant jazz scene of his hometown, Chicago; the creation of his trio and their rise to fame; the crossover success of such songs as "Straighten Up and Fly Right"; and his years as a pop singer and television star, the first African American to have his own show.
Epstein examines Cole's insistence on changing society through his art rather than political activism, the romantic love story of Cole and Maria Ellington, and Cole's famous and influential image of calm, poise, and elegance, which concealed the personal turmoil and anxiety that undermined his health.

  • Sales Rank: #436819 in Books
  • Published on: 1999-11-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x 6.75" w x 1.50" l,
  • Binding: Hardcover
  • 400 pages

Amazon.com Review
Pianist/vocalist Nat King Cole made everything look easy. His warm and haunting tenor voice, suave demeanor, and elegant piano style influenced dozen of singers and instrumentalists, including Frank Sinatra, Tony Bennett, Oscar Peterson, and Diana Krall. But as Daniel Mark Epstein unveils in this illuminating biography, it took years of dues-paying for Cole to reach superstardom. With prose that reads like Cole's lyrical phrasings, Epstein takes the reader through the eventful places and spaces of the artist's life: from his birth in Alabama in 1919, his family's turbulent move to Chicago, and his rise as an Earl Hines-influenced teen jazz sensation, to the formation of his famous piano-guitar-bass trio in the '40s.

Epstein doesn't shy away from the lows, describing the anguish Cole caused his preacher father, the failed first marriage, tax and health problems, sibling rivalry, and the jealousy that destroyed his combo when Cole made the transition from jazz artist to pop singer. But these are balanced with the highs, like the tremendous success of Cole's vocal hits "Straighten Up And Fly Right" "Route 66," "Mona Lisa," and "The Christmas Song," and his second marriage to Maria Ellington. Epstein also cites Cole's quiet battles on the Civil Rights front. He purchased a home in an exclusive, all white Los Angeles neighborhood; insisted on performing for integrated audiences in the south and heroically survived a vicious racial attack during a Birmingham concert in 1956. "Nat King Cole was not a political philosopher schooled in rhetoric or the dialectics of history," the author writes. "He was a clear thinker with sound instincts and compassion.... Where he had gone--to riches, fame, and honor--he hoped his brothers and sisters would soon follow." By he time died of lung cancer in 1965, his artistry had left its mark on the 20th century and on everyone who loved him. As Epstein summarizes, "[H]e paid attention to his friends, his children, his sideman, his audiences and most of all his music." --Eugene Holley, Jr.

From Publishers Weekly
Dulcet-toned Nat King Cole is remembered best today for ballads such as "Mona Lisa" and "Unforgettable," perhaps less so for his skills as a preeminent jazz pianist and composer. This respectful biography depicts a multitalented musician whoAwhether contending with racism, with black leaders criticizing his lack of activism or with jazz critics who believed he had "sold out"A maintained an implacable, dignified demeanor. Born Nathaniel Coles, he grew up in Chicago in the 1920s, when Louis Armstrong, Jelly Roll Morton and Gatemouth Earl Hines were helping to turn that city into a virtual mecca of jazz. Cole moved to Los Angeles in 1937, paying his dues as a struggling musician and eventually forming the original King Cole Trio. The fledgling Capitol Records recognized the commerce in Cole's liquid voice (a voice created in part, according to Epstein, by Cole's heavy cigarette habit) and exquisite style, making him a star as he and his trio moved away from jazz and embraced the pop ballads the public craved. At the height of his popularity, Cole became the first African-American to host his own television show, which, while a ratings success, fell victim to prejudice as it failed to secure a national sponsor. By the time Cole died in 1965 of lung cancer, he had become one of America's best-loved entertainers. Epstein (Sister Aimee) writes gracefully and possesses admirable musical knowledge; yet his sympathetic narrative is oddly flat. Whether because, as Epstein writes, Cole "was a master of the art of concealment" or because his personality differed little from his calm, genial and sophisticated facade, the portrait of Cole that emerges is less vibrant than his musicAthe man himself retains a regal distance. (Nov.)
Copyright 1999 Reed Business Information, Inc.

From Library Journal
Epstein (Sister Aimee) offers a breezy, balanced, and well-researched biography of singer/pianist Nat King Cole (1919-65). After introducing Cole's main musical influence, Earl Hines, he describes the budding musician's Chicago childhood and his initial success on the Chicago jazz scene, including his brush with Louis Armstrong. Epstein continues with Cole's move to Los Angeles and his rising jazz stardom as one of the Trio during the late 1930s and 1940s. He ends with Cole's transition from a respected, poll-winning jazz artist to a 1950s Newsweek-friendly pop star (the first African American to host a TV show) before he died of cancer at age 45. Using material from dozens of interviews and mountains of articles and books, Epstein characterizes Cole as a talented, ambitious genius who changed musical styles and wives as shifting times demanded. Though it seldom places Cole within a social context, this engaging, substantive, and intimate account of Cole serves as the best introduction to this musical giant yet available. Recommended to anyone interested in popular culture and music.ADavid Szatmary, Univ. of Washington, Seattle
Copyright 1999 Reed Business Information, Inc.

Most helpful customer reviews

7 of 7 people found the following review helpful.
Very informative book about Nat...I was satisfied
By The Fancy One
I enjoyed this book very much. I got into Nat King Cole's music when I was in my mid-teens (late '70s-early '80s) because I am a fan of Natalie's as well...There was a lot of info in the book that I did not know, so it was very enlightening to read something so detailed about Nat's life. He was not portrayed as a saint or a martyr, but merely as a man who had his faults, just like any other man. And you still end up liking him. I gave it four stars because I had problems with how Epstein interpreted several of Nat's songs, which I think had more to do with his personal opinion of them than what they actually meant (re: the "Nature Boy" and "Straighten Up and Fly Right" stories), and little errors that should have been caught during the final edit (like the one about "Capitol Records, the home of Elvis Presley" - hello, ELVIS NEVER RECORDED FOR CAPITOL). But for the most part, this book lets you get to know Nat Cole as he really was...Highly recommended.

17 of 18 people found the following review helpful.
The best book about Nat that's out there
By A Customer
I found this book to be revealing and enlightening about one of my favorite singers. Nat King Cole had a voice like no other before or since. With his calm demeanor you'd never think that he endured so much hell in his life. No wonder he smoked as much as he did. This book is one of the best I've ever read about the life of Nat Cole, but like some of the previous reviewers, I found little errors, too. I also felt that it had a strong sympathetic bent towards Nat's widow Maria, as if she were the heroine of the story. That isn't any wonder; this book was written in full cooperation with the Cole family, so I'm sure Mrs. Cole would have had to come out of it looking good, or she wouldn't have cooperated. Also Epstein says that shortly before Cole died, that he and his wife reconciled after Nat's torrid love affair with a twenty year old chorus girl. According to many other sources, though, they never did reconcile their differences. But this is what Maria Cole wanted people to believe. But still this book is very interesting. It reads like a juicy novel, but it's better, because it's a true story. It's engaging and will definitely hold your attention. You will feel like you knew the man personally. For anyone who loves Nat and his music, this book is a must.

5 of 7 people found the following review helpful.
Very Good but Should Have Been Great
By A Customer
Nat deserved a serious look at his life and this book is a noble attempt. On the whole, it's a nice balance of his life and his art. But there are too many stupid little mistakes that I caught, it makes me wonder how much more I missed. I'd be happy to help fix future editions of this book! Examples: Elvis Presley never recorded for Capitol (he recorded for RCA) Oscar Moore went left the trio top play with his brother's band. Epstein makes this sound like a step down into obscurity. He doesn't even mention the while white-hot member, Charles Brown.

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