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^ Download Aerotropolis: The Way We'll Live Next, by John D. Kasarda, Greg Lindsay

Download Aerotropolis: The Way We'll Live Next, by John D. Kasarda, Greg Lindsay

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Aerotropolis: The Way We'll Live Next, by John D. Kasarda, Greg Lindsay

Aerotropolis: The Way We'll Live Next, by John D. Kasarda, Greg Lindsay



Aerotropolis: The Way We'll Live Next, by John D. Kasarda, Greg Lindsay

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Aerotropolis: The Way We'll Live Next, by John D. Kasarda, Greg Lindsay

From Dubai to Amsterdam, Memphis to South Korea, a new phenomenon is reshaping the way we live and transforming the way we do business: the aerotropolis. A combination of giant airport, planned city, shipping facility and business hub, the aerotropolis will be at the heart of the next phase of globalization. Drawing on a decade's worth of cutting-edge research, John Kasarda and Greg Lindsay offer a visionary look at how the metropolis of the future will bring us together - and how, in our globalized, 'flat' world, connecting people and goods is still as important as digital communication. Airport cities will change the face of our physical world and the nature of global enterprise. "Aerotropolis" shows us how to make the most of this unparalleled opportunity.

  • Sales Rank: #960333 in Books
  • Published on: 2011-03-01
  • Released on: 2011-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.31" h x 1.57" w x 6.30" l, 1.59 pounds
  • Binding: Hardcover
  • 480 pages

Amazon.com Review

This brilliant and eye-opening look at the new phenomenon called the aerotropolis gives us a glimpse of the way we will live in the near future—and the way we will do business too.  Not so long ago, airports were built near cities, and roads connected the one to the other. This pattern—the city in the center, the airport on the periphery— shaped life in the twentieth century, from the central city to exurban sprawl. Today, the ubiquity of jet travel, round-the-clock workdays, overnight shipping, and global business networks has turned the pattern inside out. Soon the airport will be at the center and the city will be built around it, the better to keep workers, suppliers, executives, and goods in touch with the global market.

This is the aerotropolis: a combination of giant airport, planned city, shipping facility, and business hub. The aerotropolis approach to urban living is now reshaping life in Seoul and Amsterdam, in China and India, in Dallas and Washington, D.C. The aerotropolis is the frontier of the next phase of globalization, whether we like it or not.

John D. Kasarda defined the term “aerotropolis,” and he is now sought after worldwide as an adviser. Working with Kasarda’s ideas and research, the gifted journalist Greg Lindsay gives us a vivid, at times disquieting look at these instant cities in the making, the challenges they present to our environment and our usual ways of life, and the opportunities they offer to those who can exploit them creatively. Aerotropolis is news from the near future—news we urgently need if we are to understand the changing world and our place in it.

Amazon Exclusive: A Q&A with Author Greg Lindsay

Q: In a few sentences, what's the central message of your book?

A: Successful cities have always been founded because of trade--from Ur to New York, these are places where people exchange goods, money and ideas. Meanwhile, the shape of cities has always been defined by transportation. Boston was built around its docks;,Chicago around the railroads, and Los Angeles around the car. And the world is poised to build literally hundreds of new cities as 3 billion urbanize over the next forty years. So where would you put a new city today? And how would a city in western China--historically the middle of nowhere--connect to the world? The answer is the airport. In a global economy, where trillions of dollars in goods and billions of people follow digital bits around the world, sooner or later we would end up building cities defined by their airports, because the only geography that matters vis economic geography. It sounds like science fiction, but it's always been this way.

Q: It seems like airports have been on people's minds lately: in movies like Up in the Air, in books like A Week at the Airport by Alain de Botton, and, of course, all over the news, thanks to the A-380 Superjumbo Jet and the Boeing 787 Dreamliner. Was this the right time for this book?

A: The right time would have been 1962, when Eero Sarrinen's swooping TWA Flight Center was unveiled at New York's JFK and everyone was in love with the tantalizing speed jets offered. Air travel promised to change the world, and it has--albeit in ways that are so central to our daily lives they're all-but invisible to us. Today, the great wonder is one-click shopping from our iPhones, even though overnight delivery is only made possible by the enormous hubs of FedEx and UPS and nearly a thousand planes between them. Today, I listened to the CEO of FedEx lament that aviation is "taken for granted," and he's right. But it's only been in the last decade or so that air travel has really started to change the world--most of all because hundreds of millions of Chinese and Indian passengers have just begun to fly. China added the equivalent of Great Britian's air traffic during the previous decade--and they have not yet begun to fly. The world's newest frequent fliers will reshape the world--or, some worry, will destroy it.

Q: How does the vision of Aerotropolis fit in with books like Thomas Friedman's The World is Flat, or Richard Florida's The Rise of the Creative Class, which talk a lot about the free exchange and flow of goods, ideas, and people?

A: People reading Friedman get the impression--whether correctly or not--that what we call globalization started with the Internet. Really, it began with the jet. As for Richard Florida, today he talks about "megaregions"--huge groupings of cities--competing on a global basis for the best talent and opportunities. He's right. In Chicago, the outgoing mayor Richard M. Daley talks about Saó Paul and Mumbai as Chicago's closest competitors, not St. Louis and Milwaukee. And that's why Daley is desperate to expand O'Hare--because international connections are what make it a global city. That's led to the area around O'Hare becoming the second-largest business district in the Midwest, behind the Loop, and also to the Loop's resurgence as the home of the highly-paid white collar employees of the multinational firms who have set up shop in Chicago over the last 20 years. You need a good airport to both attract talent on a worldwide basis, and also to project that talent across the country or around the world.

Q: Do you think there will be a limited capacity for the new aerotropolis -- can the world handle only so many Dubais and Memphises? For example, what about cities like Wilmington, Ohio, which until recently was the hub of Airborne Express and DHL and is now looking for a buyer for the airport?

A: The future won't look like the Jetsons, that's for sure. One of the book's messages is that cities rise-and-fall, usurp dying ones and are eventually replaced by the next great ones, and that this pattern has been defined through history by trade routes and transportations. One of the reasons China, India, and the petro-states of the Persian Gulf are sinking billions into their airports, airlines and new aircraft is because they're trying to go from backwaters to global hubs practically overnight, creating a "New Silk Road" running all the way from Beijing to Johannesburg. It isn't a literal road--it's made up of air routes. And one thing about the New Silk Road is that it has nothing to do with America. It's about rewiring the global economy so that it runs through the East, not the West. That's what I mean when I describe the aerotropolis as a "weapon"--the world is in midst of what is seen as a zero-sum, winner-take-all battle to corner the market on prosperity. Many places will build one; by definition, only a few will succeed. I'm not endorsing it, but this is what it looks like on a ground when you read newspaper stories about the U.S. and China tussling over exchange rates--it's about who get to manufacture the iPad, and where, to keep those jobs.

Q: You write that aesthetics are not one of the aerotropolis's strong suits. Will people really want to live there? Or will they not have a choice?

A: Humanity is officially an urban species. More than half of all people live in cities now, whether those are downtowns, suburbs, or (increasingly) slums. According to one report I've seen, the urban footprint of Earth is expected to double in just 19 years. No matter what we build, aesthetics aren't likely to be cities' strong suits--at least not in places like the Chinese city of Chongqing, which is adding the equivalent of a Pittsburgh every year. One of the great luxuries of the 21st century will be a sense of place. The qualities of an aerotropolis being built in China — speed, efficiency, generic "world-class" architecture--are the qualities of the instant cities rising around the globe.

Q: What differentiates the aerotropolis from other commercially-centered visions of urban planning, like the suburban strip mall or Leavittown?

A: Those are examples of what you get when private developers are driving the agenda, which has been the case in American since post-WWII suburbia, at least. The places that are consciously looking to develop (or redevelop) the areas around their airports, like Detroit, or Amsterdam, or Beijing, have done a much better job about thinking regionally, about bringing public and private interests together, and trying to build something that makes sense from both an economic and urban planning standpoint, rather than just make a quick buck. A great example is Amsterdam, which built an entirely new business district called the Zuidas on its southern border with towers expressly designed for the Netherlands' largest banks and other companies, along with housing, all centered on a train station that is six minutes from the airport. It's a lot better than the alternative--exurbs lying forty miles from Phoenix, Arizona.

Review
"The closest thing to a real-world vision to rival that of [H. G.] Wells... a mind-expanding ride that reminds us, once again, that humanity needs no apocalypse to reinvent itself." --Thomas P.M. Barnett, World Politics Review

“The days when we built our airports around cities now seem distant; in the new, mobile century, we build our cities around airports . . . Cities are becoming like airports--places to leave from more than to live in. I'd always sensed this, but it came home to me with almost shocking immediacy when I was reading the dazzling new book Aerotropolis. One of its authors, John F. Kasarda, is a business professor in North Carolina who flies from Amsterdam to Seoul preaching the gospel of building homes and businesses near airports. Co-author Greg Lindsay is a journalist who knows how to make Kasarda's research racy while raising questions about the cost of living in midair . . . Aerotropolis points out that we can still address the oldest needs but in new and liberating ways.” ―Pico Iyer, Time

“I'd wager that the notion [of the aerotropolis] is about to occupy a little more real estate in the popular imagination. This book will no doubt do for airport cities what Joel Garreau and his "Edge City" did for suburban office parks and shopping malls two decades ago: It will relocate the center . . . The prospect sketched out in Aerotropolis--while slightly thrilling, as tectonic shifts often are--feels about as dispiriting as those warehouse zones clustered near the ends of runways. And it's made all the more so by the realization that the authors are undoubtedly right.” ―Wayne Curtis, Wall Street Journal

“In Aerotropolis, John Kasarda of the University of North Carolina and his co-author, Greg Lindsay, convincingly put the airport at the centre of modern urban life.” ―The Economist

“To find yourself at La Guardia Airport, that repository of bad food, dim lighting, unsettlingly indistinct odors and too-short runways, is to be inclined toward embracing John D. Kasarda and Greg Lindsay and all they have to say about the future of travel and modern life. Kasarda, a professor in the business school at the University of North Carolina who has consulted with four White House administrations and numerous cities and governments, believes that something very different from La Guardia is transforming our world . . . Kasarda's theories are presented in the ambitious Aerotropolis: The Way We'll Live Next, which is written by [Greg] Lindsay, who as the journalist onboard fulfills the role of eager messenger . . . [He] flies around the world, conducting interviews, seeking evidence, translating Kasarda's technical jargon into a lively if sometimes flawed work of pop behavioral economics . . . Aerotropolis offers intriguing arguments.” ―Michael Powell, The New York Times Book Review

“An odd, fascinating new book… an enthralling and only intermittently dogmatic tour of some of the gigantic, no-context sites that globalization has created, such as the all-night flower auction in Amsterdam that gets roses from Kenya to Chicago before they've wilted, the FoxConn factory in China where iPods and iPhones are made, and the mega-hospital Bumrungrad in Bangkok, which performs cut-rate major surgery on the uninsured from all over the world.” ―Nicholas Lemann, The New Yorker

“Fascinating and important work . . . Aerotropolis follows in the tradition of works such as Edge City (1992) that blend jargon-free scholarship with shoe-leather reporting to tell readers why they're living and working as they are . . . That Kasarda and Lindsay are onto something big seems beyond dispute.” ―Paul M. Barrett, Bloomberg Businessweek

“An essential guide to the twenty-first century.” ―Tom Vanderbilt, author of Traffic: Why We Drive the Way We Do (and What It Says About Us)

“Thanks to the manifold effects of modern aviation, earth and sky are merging in our world faster and more thoroughly than most people know. But you won't be most people after reading Aerotropolis. Throw out your old atlas. The new version is here.” ―Walter Kirn, author of Up in the Air

“A fascinating window into the complex emergent urban future. This book is an extremely sophisticated, often devastatingly witty and ironic interpretation of what is possible over the next two decades. It is not science fiction. It is science and technology in action. The authors have one foot firmly planted in the possible and foreseeable.” ―Saskia Sassen, Professor, Columbia University, and author of Territory, Authority, Rights

“Aerotropolis presents a radical, futuristic vision of a world where we build our cities around airports rather than the reverse. This book ties together urbanism, global economics, international relations, sociology, and insights from adventures in places that aren't even on the map yet to present a plausible new paradigm for understanding how we relate to the skies. Perhaps the most compelling book on globalization in years.” ―Parag Khanna, Senior Fellow, New America Foundation, and author of How to Run the World

“Very few people realize how profoundly air transport is changing our cities, our economies, our social systems, and our systems of governance. If you want to be way ahead of the curve in understanding one of the most important drivers of change for the twenty-first century, read this book.” ―Paul Romer, Senior Fellow, Stanford Institute for Economic Policy Research

“Aerotropolis redraws the world map, using air routes to trace the new connections and competition between mega-regions that will shape the geography of the Great Reset. This lively, thought-provoking book is a must-read for anyone interested in how and where we will live and work in a truly global era.” ―Richard Florida, director of the Martin Prosperity Institute, University of Toronto, and author of The Great Reset

“Aerotropolis comprehensively explains the enormous effects modern aviation has on cities and countries around the world. It is a unique resource.” ―Frederick W. Smith, Chairman and CEO, FedEx Corporation

About the Author

John D. Kasarda , a professor at the Kenan-Flagler Business School at the University of North Carolina, has advised countries, cities, and companies about the aerotropolis and its implications. He lives in Chapel Hill, North Carolina. Greg Lindsay has written for Time, BusinessWeek, and Fast Company. For one story he traveled around the world by airplane for three weeks, never leaving the airport while on the ground. He lives in Brooklyn, New York.

Most helpful customer reviews

22 of 22 people found the following review helpful.
A Couple of Magazine Articles Stitched Together
By mrcedarhill
The book presents an interesting thesis about the economic engine that newer airports can become. It also offers enough cautionary tales to ensure that readers don't come away thinking that concrete and a grader can buy happiness. Unfortunately, this book needed fact-checking and more thorough editing. It lacks coherent organization. With it, the book could sustain the loss of about one-third of its pages, which seem terribly redundant. The principal author intermitently adopts a first-person voice especially when retelling how he gathered his information, while the supposed lead author, Kasarda, is quoted in the second person as if he is an oracle on this topic. At times, the book seems a thinly veiled promotional tool for Kasarda's airport consultancy. There were several errors I bumped into, the most notable was the repeated misspelling of the late real estate developer Trammell Crow's name. A Google-equipped fact-checker could have solved thus problem. It made me wonder what else wasn't quite on point. At the end of the day, you've got a couple Atlantic monthly length pieces in hardcover.

15 of 16 people found the following review helpful.
Unbalanced
By Amazon Customer
The book challenges us with its approach to the subject matter. It amounts to a 400+ page brochure about John Kasarda's work as a business consultant. He's obviously very bright and thoughtful, and Greg Lindsay writes articulately. However the book's overall style seems unique and well, uncomfortable. Lindsay is writing about Kasarda in the third person, discussing "Kasarda's plans" etc. Yet Kasarda is a co-author, suggesting a first person discussion, because the book is all about Kasarda's ideas guided by Kasarda's overall thoughts. Why didn't Kasarda write this himself? Or why didn't Lindsay write the book about Kasarda? Had Lindsay been the sole author, then he might have had the freedom to inject more objectivity into the discussion that really needs more balance, as discussed below.

What is an "aerotropolis?" The definition is made clear, but not until page 174. "An Aerotropolis is basically an airport-integrated region, extending as far as sixty miles from the inner clusters of hotels, offices, distribution and logistics facilities... the airport itself is really the nucleus of a range of `New Economy' functions," with the ultimate aim of bolstering the city's competiveness, job creation, and quality of life." Further, "it can be boiled down to three words: speed, speed, and speed." Speed gives us competitive advantages on a global scale. Therefore, the airport should be the center of any city, with all logistics, transportation facilities, warehouses, etc. serving the same function: logistical speed. The authors' message is reinforced a hundred times throughout the book. Nations, states, cities or corporations who don't adapt will be destroyed by speedier competitors. This is because "individual companies no longer compete: their entire supply chains do." Along with such supply chains come companies, jobs, economic develop and... entire cities. The authors present a number of case studies to reinforce their point.

Absent any mitigating issues, there's nothing wrong with their ideas. Capitalism is all about exploiting inefficiencies that others fail to see while rewarding those who realize the greater efficiencies. Airports certainly contribute significantly towards that due to their role in the supply chain.

However, when capitalism exploits inefficiencies to the point of exploiting human, social, or political rights, or exploiting the environment, then we might engage in some discussion about trade-offs. The book brings up these conflicts but defaults back to the benefits from capitalism's efficiencies. For example, the book extols the methods taken by the Chinese, Indian, and Persian Gulf nations. "Taxation is minimal, labor is disposable, and decision making is instant and irrevocable. They demand highways, railways, and runways, paying in cash. They don't hesitate, don't explain or second-guess themselves, and aren't about to let their citizens stand in the way." (p. 193). This theme is repeated throughout the book: to maximize capitalistic efficiencies and compete globally, it seems that we should dispense with labor rights, property rights, and possibly even constitutional rights. "Remember what they (the Chinese) said about democracy? It just gets in the way. This is how Foster's dragon (an aerotropolis in China) was built in five years flat, at a cost of ten thousand flattened homes. Multiply that by a hundred, and you have the initial human cost of China's aerotropoli." Further, we have the outright admission that "The aerotropolis and authoritarians go hand in hand... It's no accident Kasarda has found early adopters in the Middle East and China, followed close behind by Asian nations with a legacy of military rule..."

This is pretty alarming. Should we sacrifice property rights, a central tenet of our country's foundation, for Fed Ex to be as efficient as possible? Should we sacrifice democracy itself to compete more efficiently on a global scale with our authoritarian competitors in China? Should the consumer take priority over the citizen? It would seem so, since citizens who protest are simply "NIMBY's" standing in the way of progress and contributing to the very inefficiencies the corporations want to wipe out. Are new jobs that an aerotropolis might produce worth the costs to the community in terms of lost property, rights, pollution and congestion? Should we sacrifice our quality of life for the jobs an Aerotropolis might produce? Or should we accept the proposition that a job itself IS our quality of life, no matter what the cost to the community in terms of pollution, congestion, noise, etc. and no matter what the quality of the job is? This book gets close enough to these questions to raise them but then fails to go down that path. Perhaps that's beyond the scope of the book, but for a work that so unapologetically praises the benefits of aerotropoli, it seems only proper to devote space to a consideration of the liabilities. The authors should take a more balanced approach, even if the assets produced by an Aerotropolis outweigh the liabilities in the end. Of course, authoritarian governments don't ask these questions. It's no wonder the Chinese believe democracy just gets in the way.

We need a more meaningful discussion that looks at how to optimize the good brought about by airports while also realistically evaluating the trade-offs and constraints.

7 of 7 people found the following review helpful.
Good storytelling, thin theory
By HKG212
This is a strange book. For starters, the top-billing author, John Kassarda, didn't write a word, and indeed is mentioned or quoted only every several pages or so; even when he is, Lindsay (who actually wrote the book) seems to often cast subtle doubt on Kassarda's theories, as in the frequently-used "If Kassarda is right, ...". Then, while the book is chockfull of good anecdotal research, the evidence is awkwardly and haphazardly woven into a rather hazy overarching theory. One suspects that Linsday and the editors came to realize that but it was too late to chuck Kassarda and his brand from the cover.

Linsday is a journalist, and the book reads like an extended magazine piece. Breezy, well-crafted prose dotted with abundant statistics and meant-to-impress comparisons ("the up-front costs for infrastructure would start at $33 billion, more than the US originally earmarked for the reconstruction of Iraq"; Hainan is "the size of Belgium with the climate of Hawaii"; Beijing's new terminal "...could accommodate all of Heathrow's five terminals, with enough room left for a sixth") help make this an easy in-flight read. With an apparent rush to print, fact-checking was clearly back in coach while storytelling sat secure in the cockpit behind the armored door. For example, Lindsay contrasts America's mere 9 cities with population greater than 1 million with China's 125-150 such cities. The fact is, the Chinese draw municipal boundaries around entire metropolitan areas, and even what would be considered whole states (as is the case with Beijing, Shanghai and Chongqing). Measured that way, the U.S. has 51 metropolitan areas with over 1 million inhabitants. China still has many more, but the drama is a bit deflated.

There are quite a few gaping holes in Kassarda's hypotheses. First of all, competitiveness of cities and regions is a function of many things beyond a good airport and a sprawling "aerotropolis". Seattle is in many ways more innovative and successful than Memphis, or for that matter Atlanta, despite having no "aerotropolis" and pretty weak air connectivity. And the world's most competitive and successful cities - New York, London, Tokyo - boast airports which at best can be described as functional, and no "aerotropoli" at all. There is little evidence that these cities are declining as a result.

In another omission, Kassarda and Lindsay fail to account for the fact that the majority of global trade, by far, is carried on water, and for obvious commercial reasons always will be. The rise of the Pearl River Delta, which Lindsay talks about at length, has much more to do with ports than airports.

Also curiously missing from the story are the airlines. No matter how good the hardware, airline networks are the software, and if airlines decide they cannot fly commercially to a city, or can no longer profitably operate a hub there, they will stop doing so, as half-empty airports terminals from Pittsburgh to Zhuhai illustrate. Even for cargo, it's pretty much a zero-sum game: not every city can be a cargo hub, as Subic Bay in the Philippines painfully learned when FedEx decamped to Guangzhou. For Kassarda, who has built a thriving consulting business advising governments and municipalities to build bigger airports and "airport cities", this trail of airport white elephants may be an inconvenient truth.

In the end, Kassarda's theory seems to boil down a couple of simple assertions: a good airport with good connectivity makes a city more competitive; some cities, by allocating large amounts of land near airports, may develop successful airport-related industries which benefit from the speed of aviation. Pretty trivial stuff, and hardly "the way we'll live next" as the cover bombastically proclaims.

Then there is the strange, retro-jet-age exuberance of it all. Anyone who actually flies a lot, like myself, must have read with a big chuckle Lindsay's enthusiastic closing account of his day trip to Chicago for a ballgame as a harbinger of things to come: "Today, it's opening day at Wrigley, and tomorrow it will be spring break for Chinese students in Hong Kong, Iranian reunions in Dubai, and breadwinners flying home on weekends to Mumbai." Environmental concerns aside, why would anyone want to spend 40 hours of their spring break on a plane (presumably in coach)?

Still, the book is an entertaining and often insightful read on the theme of globalization, with its most fascinating chapters (for example, on the flower trade and on medical tourism) offering original and sometimes provocative takes on issues much larger than air travel and "airport cities", like global supply chains, sustainability, and the future of health care in America.

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The Big Screen: The Story of the Movies, by David Thomson

The Big Screen tells the enthralling story of the movies: their rise and spread, their remarkable influence over us, and the technology that made the screen―smaller now, but ever more ubiquitous―as important as the images it carries.

The Big Screen is not another history of the movies. Rather, it is a wide-ranging narrative about the movies and their signal role in modern life. At first, film was a waking dream, the gift of appearance delivered for a nickel to huddled masses sitting in the dark. But soon, and abruptly, movies began transforming our societies and our perceptions of the world. The celebrated film authority David Thomson takes us around the globe, through time, and across many media―moving from Eadweard Muybridge to Steve Jobs, from Sunrise to I Love Lucy, from John Wayne to George Clooney, from television commercials to streaming video―to tell the complex, gripping, paradoxical story of the movies. He tracks the ways we were initially enchanted by movies as imitations of life―the stories, the stars, the look―and how we allowed them to show us how to live. At the same time, movies, offering a seductive escape from everyday reality and its responsibilities, have made it possible for us to evade life altogether. The entranced audience has become a model for powerless and anxiety-ridden citizens trying to pursue happiness and dodge terror by sitting quietly in a dark room.

Does the big screen take us out into the world, or merely mesmerize us? That is Thomson's question in this grand adventure of a book. Books about the movies are often aimed at film buffs, but this passionate and provocative feat of storytelling is vital to anyone trying to make sense of the age of screens―the age that, more than ever, we are living in.

  • Sales Rank: #645048 in Books
  • Brand: Brand: Farrar, Straus and Giroux
  • Published on: 2012-10-16
  • Released on: 2012-10-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.35" h x 1.83" w x 6.43" l, 1.00 pounds
  • Binding: Hardcover
  • 608 pages
Features
  • Used Book in Good Condition

From Booklist
*Starred Review* Veteran essayist Thomson’s thoughtful new book is not just the story of traditional cinema; the “screen” of the title refers not only to the silver screen of the movies, but also to television and beyond. Early on, he draws a fascinating parallel between the viewing experience of Edison’s nickelodeon, a single person watching a short film loop through a viewfinder, to the way we now watch YouTube-length clips on our computer screens, whether tablet- or smartphone-size. But does the vacuum of “watching alone” merely stimulate our proclivity for fantasy and illusion? How has 100 years of watching movies affected our ability to handle realities outside the screen? Every page is studded with provocative questions meant to goad readers into rethinking common assumptions. For much of the book, he co-opts the approach of his earlier tome, The New Biographical Dictionary of Film (2010), sketching thumbnail portraits of dozens of historical figures: Eadward Muybridge, John Ford, Ingrid Bergman, Akira Kurosawa, Lucille Ball, George Lucas, Quentin Tarantino, and others. The way he strings these cameos together thematically rather than chronologically will prove maddening to anyone wanting a straightforward history. But if the most important quality of a book about the movies is that it triggers a craving to reexamine the movies themselves, then Thomson’s book is a spectacular success. --Rob Christopher

From Bookforum
This is Thomson at his best: holding his jewels, singly, to the light and finding unglimpsed facets. If you haven’t seen, say, Boudu Saved from Drowning or A Man Escaped or Hiroshima mon amour or Sunrise or Metropolis, The Big Screen will make you want to. And even if you’ve seen them, you may want to go back, because a movie is no longer quite the same once it’s been viewed through Thomson’s exacting lens. It is, in fact, this fine analytical grain, coupled with Thomson's penchant for eccentric judgments and rhetorical excess, that make him so ill suited to the historical-survey format of The Big Screen. The obligations of chronology force him into bizarre conjunctions, yoking noir to the musical and Max Ophuls to Robert Bresson. —Louis Bayard

Review

“David Thomson is, I think, the best writer on film in our time. If ‘Have You Seen . . . ?' was his most succinct and entertaining book, The Big Screen is a large and vivacious map of ‘the screen': beginning with Muybridge and tracing careers ranging from Korda to Renoir to Hawkes to Mizoguchi, to David Lynch and Tarantino, then swerving over to television shows such as I Love Lucy and The Sopranos. Thomson has found and created a marvelous plot for the history of film, with insights and revelations on every page--as well as a few MacGuffins. He is our most argumentative and trustworthy historian of the screen.” ―Michael Ondaatje, author of The Cat's Table

“David Thomson has composed a grand aesthetic, spiritual, and moral account of cinema history assembled around the movies and artists that have meant the most to him. As Thomson reconstructs film history, movies bring us close to reality and deliver us into ecstatic dreams. A pungently written, brilliant book.” ―David Denby, author of Snark and film critic at The New Yorker

“A great critic cuts both ways--he nudges you into reconsidering the films you love, as well as the ones you dislike. David Thomson's sensual prose has always amplified the imagination of a great critic. In broad outline, The Big Screen is a history of the movies, a wide-ranging task that usually carries with it a certain amount of connect-the-dots tedium. But Thomson's emphases are typically fresh and often ecstatic, even when he's disparaging a film you love. Nobody does it better.” ―Scott Eyman, author of Empire of Dreams and Lion of Hollywood

Most helpful customer reviews

49 of 54 people found the following review helpful.
Excellent book. But warning re the Kindle edition.
By Mark Phillips
The book is excellent. Thomson's style makes it an easy read. His wealth of knowledge and insightful subjective responses are fun to read even when I disagree with him.
If you love films, as I do, then experiencing Thomson's knowledgeable passion is a great experience.

But I urge you to think twice about the Kindle edition.
For a book that is so rich in reference to so many films, I need an index so I can quickly access Thomson's comments on individual films.
There is no index in the Kindle edition!
There is a comment that it can't be indexed to the hard cover edition. That's understandable and normative.
But it is also normative to have an index that references the pages in the Kindle edition.
Absent an index, I returned my Kindle copy and chose to deal with the physical weight of the hard cover edition.

Of course if you don't care about having an index the Kindle is fine.

34 of 37 people found the following review helpful.
You and the Screen
By Constructed Resignation
This is a true history of film. Right from the book's first chapter I am hit by the little vignette of Eadweard Muybridge, a man who died in 1904. He was the brains behind those first pictures that proved a horse was off the ground when trotting. At these fledgling stages of films science and fiction are separate. That the same man killed his wife's lover adds extra spice. That he had previously suffered a head injury, like your loving reviewer, put my enjoyment of reading this vast, fascinating text into overdrive. And it has not stopped.

The author writes this history by giving the main players real character. Whether that is the ego of Louis B Mayer or the non-Jewishness of Cecil B. DeMille or the 18 year old Gladys Smith who gave up the theatre in 1911 to get into 'moving pictures.' The stories are woven into a narrative that always includes you. Its about you and the screen. That is what made Mary Pickford.

Fascinating to understand how the role of director was initially 'a stooge's job' became the central figure and now is once again peripheral in the making of film. As Mr Thompson rightly asks: do you know who directed which episode of The Sopranos?

The gift season is nearly upon us once again. This is a book for reading, not just for owning or to refer to or to look at. Like The Second World War I devoured recently this is real history. Captivating in a prose style akin to a novel replete with long sentences and the occasional jump-cut. It is not glued together reportage of quotes and stories. The narrative thread is the screen. From the silent to the one in your pocket. Highly recommended. For you.

7 of 7 people found the following review helpful.
Swan Song?
By Bruce Moody
It cannot be that David Thomson will ever write a book this compendious again. He is the author of other huge tomes, and every one of them is valuable, readable, and a song of his desire and love for movie.

For he calls the entire genre "movie," and he is right in that, as he is in so much else. The main thing he is right about is that the screen is no longer limited to the ones found in picture palaces. For even there the screens have gotten smaller. As they have in the parlors and pockets of millions of people, watching whatever they watch on gadgets. Watching not just movies, but always watching screens. And this is what he means by The Big Screen. Screens have gotten bigger as they have gotten smaller. Screens have proliferated. The big ones have given birth to the little ones, and they to littler ones still. Screens are pandemic.

Thomson has the world history of film at his fingertips. Movie has been and remains his lifelong love. This accounts for more than a career. It is a response to a gift. Not just the gift of perspicacity -- a good teacher, which he is, may have perspicacity -- but the gift of the violin of his prose, which provokes that sweetness of mind that enables one to look at movie as lovingly and as ruthlessly as he.

The size of the book should not put anyone off. It should lure them, as a big garden lures. For Thomson is not a scrunched up scholar. His prose is not pasty. He does not have a tub to thump. He is certainly not a theoretician -- heaven forbid -- indeed, he has nothing theoretical to say at all -- or a statistician -- his style is open and lyrical. He is not an intellectual, thank goodness. His response is always personal. His thought is felt. His conversation with us is his experience, not his ratiocination. You can enter in. You can talk back.

I have read many of his books, and I own all I can afford. I understand he is to write a book on Bette Davis; I suppose I will read that too, although I wonder what still could be said about her. But then I wondered what he could have left to say when I was given this book. Yet I found he has a lot to say. I do observe, however, that he writes better about what he appreciates most, which is not comedy or musicals (for where is Betty Grable in all this?), but about film drama, for that's what he is drawn to, and that is what, I imagine, his art-snobbery about film dictates as serious and therefore can be written seriously about. Or perhaps it is just that he is English and does not really grock so vast a sense of humor as American films offer.

But he has plenty of humor of his own. The Big Screen is penetrating and fun. It is delicious to read. It gives one pause. It draws one to films one has never seen. It causes one to consider what one has never considered. Good for him.

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Friday, December 19, 2014

> Ebook Free River of Smoke: A Novel (The Ibis Trilogy), by Amitav Ghosh

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River of Smoke: A Novel (The Ibis Trilogy), by Amitav Ghosh

A Washington Post Notable Fiction Book for 2011

The Ibis, loaded to its gunwales with a cargo of indentured servants, is in the grip of a cyclone in the Bay of Bengal; among the dozens flailing for survival are Neel, the pampered raja who has been convicted of embezzlement; Paulette, the French orphan masquerading as a deck-hand; and Deeti, the widowed poppy grower fleeing her homeland with her lover, Kalua.

The storm also threatens the clipper ship Anahita, groaning with the largest consignment of opium ever to leave India for Canton. And the Redruth, a nursery ship, carries Frederick "Fitcher" Penrose, a horticulturist determined to track down the priceless treasures of China that are hidden in plain sight: its plants that have the power to heal, or beautify, or intoxicate. All will converge in Canton's Fanqui-town, or Foreign Enclave: a tumultuous world unto itself where civilizations clash and sometimes fuse. It is a powder keg awaiting a spark to ignite the Opium Wars.

Spectacular coincidences, startling reversals of fortune, and tender love stories abound. But this is much more than an irresistible page-turner. The blind quest for money, the primacy of the drug trade, the concealment of base impulses behind the rhetoric of freedom: in River of Smoke the nineteenth and twenty-first centuries converge, and the result is a consuming historical novel with powerful contemporary resonance. Critics praised Sea of Poppies for its vibrant storytelling, antic humor, and rich narrative scope; now Amitav Ghosh continues the epic that has charmed and compelled readers all over the globe.

  • Sales Rank: #680267 in Books
  • Brand: Farrar, Straus & Giroux
  • Published on: 2011-09-27
  • Released on: 2011-09-27
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.35" h x 1.17" w x 6.25" l, 1.68 pounds
  • Binding: Hardcover
  • 528 pages

Review

“No writer in modern India has held a novelistic lamp to the subcontinent's densely thicketed past as vividly and acutely as Amitav Ghosh . . . River of Smoke, the second volume of his ambitious Ibis trilogy, is the work of a writer with a historical awareness and an appetite for polyphony that are equal to the immense demands of the material he seeks to illuminate . . . Evenly written and engaging . . . The force of Ghosh's ideas and the beauty of his tableaus of Canton are two of the book's achievements; the semantic ripples of the variety of dialects he folds into the narration are a third. River of Smoke is both a stirring portrayal of the past and, novelistically, a prescient beacon for the future.” ―Chandrahas Choudhury, The New York Times Book Review

“The narrative is suffused with the rich intercourse of commerce and miscegenation, embracing within its capacious rubric a variety of set-pieces, from a Chinese boat serving authentic Indian fare to an Armenian trader interviewing Napoleon in exile on St. Helena . . . The period detail is meticulously researched and lovingly described . . . The novel celebrates the joys of cultural and culinary mingling, the mongrelization of language in the forms of pidgin and Creole, and the mixing of peoples across old barriers of acceptable sexual and racial intercourse . . . With River of Smoke, Ghosh's Ibis trilogy is emerging as a monumental tribute to the pain and glory of an earlier era of globalization, an era when people came into contact and collision, intermixing costumes, customs, convictions, consonants, couplings and cash, shaping history all the while through their pettiness, their privations and their passions.” ―Shashi Tharoor, The Washington Post

“Like a wonderful multicoloured tapestry Ghosh has woven a story made up of a series of vibrant threads made from a multitude of materials . . . Ghosh has done a masterful job in not only making each of his characters fascinating studies and interesting people to spend time with, he has also managed to bring the strange exotic world of the foreign enclave in Canton vividly alive . . . While Ghosh's descriptive abilities allow us to create intricate portraits of people and locations, it's his agility with languages which gives River Of Smoke an extra level of verisimilitude. From the strange mix of words spoken by the family in the opening pages of the book, the scattering of pidgin appearing like exotic fruit in amongst the bland English of the trader's everyday speech, the conversations between the merchants and their Chinese partners, to the bombastic rhetoric of the ardent British free traders, each person we meet is given a voice as unique as their character and a language or dialect to match . . . River Of Smoke is a wonderful mixture of people, places and story that captures a moment in history like an insect snared in amber. All the details are there for the reader to see and appreciate.” ―Richard Marcus, Seattle Post-Intelligencer

“Spellbinding and astute, Ghosh continues the nineteenth-century historical saga about the opium trade that he launched with Sea of Poppies (2008). This is an even more fluid and pleasurable tale, however dire its conflicts, and stands firmly on its own, though readers shouldn't miss the first installment . . . With one more novel to go, Ghosh's epic trilogy is on its way to making literary history.” ―Donna Seaman, Booklist (starred review)

“Ghosh sets the second volume of his Ibis trilogy in 1838, appropriately enough, because at heart he's a 19th-century novelist with a sweeping vision of character and culture...Ghosh triumphs both through the clarity of his style and the sweep of his vision, and he leaves the reader eager for volume three.” ―Kirkus Reviews

“On one level, [River of Smoke] is a remarkable feat of research, bringing alive the hybrid customs of food and dress and the competing philosophies of the period with intimate precision; on another it is a subversive act of empathy, viewing a whole panorama of world history from the 'wrong' end of the telescope. The real trick, though, is that it is also fabulously entertaining.” ―Tim Adams, The Observer (London)

“Eloquent . . . Fascinating . . . [River of Smoke's] strength lies in how thoroughly Ghosh fills out his research with his novelistic fantasy, seduced by each new situation that presents itself and each new character, so that at their best the scenes read with a sensual freshness as if they were happening now.” ―Tessa Hadley, The Guardian

“[This] vast book has a Dickensian sweep of characters, high- and low-life intermingling . . . Ghosh conjures up a thrilling sense of place.” ―The Economist

“Ghosh's best and most ambitious work yet . . . [He] writes with impeccable control, and with a vivid and sometimes surprising imagination.” ―The New Yorker on Sea of Poppies

“A delight . . . [Ghosh is] a writer of uncommon talent who combines literary flair with a rare seriousness of purpose . . . His descriptions bring a lost world to life.” ―Shashi Tharoor, The Washington Post Book World on Sea of Poppies

“Brilliant . . . By the book's stormy and precarious ending, most readers will clutch it like the ship's rail awaiting, just like Ghosh's characters, the rest of the voyage to a destination unknown.” ―Don Oldenburg, USA Today on Sea of Poppies

About the Author

Amitav Ghosh is the internationally bestselling author of many works of fiction and nonfiction, including The Glass Palace, and is the recipient of numerous awards and prizes. Ghosh divides his time between Kolkata and Goa, India, and Brooklyn, New York.

Excerpt. © Reprinted by permission. All rights reserved.
River of Smoke
Part IIslandsOne 
 
Deeti's shrine was hidden in a cliff, in a far corner of Mauritius, where the island's western and southern shorelines collide to form the wind-whipped dome of the Morne Brabant. The site was a geological anomaly - a cave within a spur of limestone, hollowed out by wind and water - and there was nothing like it anywhere else on the mountain. Later Deeti would insist that it wasn't chance but destiny that led her to it - for the very existence of the place was unimaginable until you had actually stepped inside it.The Colver farm was across the bay and towards the end of Deeti's life, when her knees were stiff with arthritis, the climb up to the shrine was too much for her to undertake on her own: she wasn't able to make the trip unless she was carried up in her special pus-pus - a contraption that was part palki and part sedan chair. This meant that visits to the shrine had to be full-scale expeditions, requiring the attendance of a good number of the Colver menfolk, especially the younger and sturdier ones.To assemble the whole clan - La Fami Colver, as they said in Kreol - was never easy since its members were widely scattered, within the island and abroad. But the one time of year when everyone could be counted on to make a special effort was in midsummer, during the Gran Vakans that preceded the New Year. The Fami would begin mobilizing in mid-December, and by the start of the holidays the whole clan would be on the march; accompanied by paltans of bonoys, belsers, bowjis, salas, sakubays and other in-laws, the Colver phalanxes would converge on the farm in a giant pincer movement: some would come overland on ox-carts, from Curepipe and Quatre Borne, through the misted uplands; some would travel by boat, from Port Louis and Mahébourg,hugging the coast till they were in sight of the mist-veiled nipple of the Morne.Much depended on the weather, for a trek up the wind-swept mountain could not be undertaken except on a fine day. When the conditions seemed propitious, the bandobast would start the night before. The feast that followed the puja was always the most eagerly awaited part of the pilgrimage and the preparations for it occasioned much excitement and anticipation: the tin-roofed bungalow would ring to the sound of choppers and chakkis, mortars and rolling-pins, as masalas were ground, chutneys tempered, and heaps of vegetables transformed into stuffings for parathas and daal-puris. After everything had been packed in tiffin-boxes and gardmanzés, everyone would be bundled off for an early night.When daybreak came, Deeti would take it on herself to ensure that everyone was scrubbed and bathed, and that not a morsel of food passed anyone's lips - for as with all pilgrimages, this too had to be undertaken with a body that was undefiled, within and without. Always the first to rise, she would go tap-tapping around the wood-floored bungalow, cane in hand, trumpeting a reveille in the strange mixture of Bhojpuri and Kreol that had become her personal idiom of expression: Revey-té! É Banwari; é Mukhpyari! Revey-té na! Haglé ba?By the time the whole tribe was up and on their feet, the sun would have set alight the clouds that veiled the peak of the Morne. Deeti would take her place in the lead, in a horse-drawn carriage, and the procession would go rumbling out of the farm, through the gates and down the hill, to the isthmus that connected the mountain to the rest of the island. This was as far as any vehicle could go, so here the party would descend. Deeti would take her seat in the pus-pus, and with the younger males taking turns at the poles, her chair would lead the way up, through the thick greenery that cloaked the mountain's lower slopes.Just before the last and steepest stretch of the climb there was a convenient clearing where everyone would stop, not just to catch their breath, but also to exclaim over the manifik view of jungle and mountain, contained between two sand-fringed, scalloped lines of coast.Deeti alone was less than enchanted by this spectacular vista. Within a few minutes she'd be snapping at everyone: Levé té! We're not here to goggle at the zoli-vi and spend the day doing patati-patata. Paditu! Chal!To complain that your legs were fatigé or your head was gidigidi was no use; all you'd get in return was a ferocious: Bus to fana! Get on your feet!It wouldn't take much to rouse the party; having come this far on empty stomachs, they would now be impatient for the post-puja meal, the children especially. Once again, Deeti's pus-pus, with the sturdiest of the menfolk holding the poles, would take the lead: with a rattling of pebbles they would go up a steep pathway and circle around a ridge. And then all of a sudden, the other face of the mountain would come into view, dropping precipitously into the sea. Abruptly, the sound of pounding surf would well up from the edge of the cliff, ringing in their ears, and their faces would be whipped by the wind. This was the most hazardous leg of the journey, where the winds and updraughts were fiercest. No lingering was permitted here, no pause to take in the spectacle of the encircling horizon, spinning between sea and sky like a twirling hoop. Procrastinators would feel the sting of Deeti's cane: Garatwa! Keep moving ...A few more steps and they'd reach the sheltered ledge of rock that formed the shrine's threshold. This curious natural formation was known to the family as the Chowkey, and it could not have been better designed had it been planned by an architect: its floor was broad and almost flat, and it was sheltered by a rocky overhang that served as a ceiling. It had something of the feel of a shaded veranda, and as if to complete the illusion, there was even a balustrade of sorts, formed by the gnarled greenery that clung to the edges of the ledge. But to look over the side, at the surf churning at the foot of the cliff, took a strong stomach and a steady head: the breakers below had travelled all the way up from Antarctica and even on a calm, clear day the water seemed to surge as though it were impatient to sweep away the insolent speck of land that had interrupted its northward flow.Yet such was the miracle of the Chowkey's accidental designthat visitors had only to sit down for the waves to disappear from view - for the same gnarled greenery that protected the shelf served also to hide the ocean from those who were seated on the floor. This rocky veranda was, in other words, the perfect place to foregather, and cousins visiting from abroad were often misled into thinking that it was this quality that had earned the Chowkey its name - for was it not a bit of a chowk, where people could assemble? And wasn't it something of a chokey too, with its enclosing sides? But only a Hindi-speaking etranzer would think in that vein: any islander would know that in Kreol the word 'chowkey' refers also to the flat disc on which rotis are rolled (the thing that is known Back There as a 'chakki'). And there it was, Deeti's Chowkey, right in the middle of the rock shelf, crafted not by human hands but by the wind and the earth: it was nothing but a huge boulder that had been worn and weathered into a flat-topped toadstool of stone. Within moments of the party's arrival, the women would be hard at work on it, rolling out tissue-thin daal-puris and parathas and stuffing them with the delectable fillings that had been prepared the night before: finely ground mixes of the island's most toothsome vegetables - purple arwi and green mouroungue, cambaré-beti and wilted songe.Several photographs from this period of Deeti's life have survived, including a couple of beautiful silver-gelatin daguerrotypes. In one of them, taken in the Chowkey, Deeti is in the foreground, still seated in her pus-pus, the feet of which are resting on the floor. She is wearing a sari, but unlike the other women in the frame, she has allowed the ghungta to drop from her head, baring her hair, which is a startling shade of white. Her sari's anchal hangs over her shoulder, weighted with a massive bunch of keys, the symbol of her continuing mastery of the Fami's affairs. Her face is dark and round, lined with deep cracks: the daguerrotype is detailed enough to give the viewer the illusion of being able to feel the texture of her skin, which is that of crumpled, tough, weatherworn leather. Her hands are folded calmly in her lap, but there is nothing reposeful about the tilt of her body: her lips are pursed tightly together and she is squinting fiercely at the camera. One of her eyes, dimmed by cataracts, reflects the light blankly back to the lens, but the gaze ofthe other is sharp and piercing, the colour of the pupil a distinctive grey.The entrance to the shrine's inner chambers can be seen over her shoulder: it is no more than a tilted fissure in the cliffside, so narrow that it seems impossible that a cavern could lie hidden behind it. In the background, a paunchy man in a dhoti can be seen, trying to chivvy a brood of children into forming a line so that they can follow Deeti inside.This too was an inviolable part of the ritual: it always fell to Deeti to make sure that the youngest were the first to perform the puja, so they could eat before the rest. With a cane in one hand and a branch of candles in another, she would usher all the young Colvers - chutkas and chutkis, laikas and laikis - straight through the hall-like cavern that led to the inner sanctum. The famished youngsters would hurry after her, scarcely glancing at the painted walls of the cave's outer chamber, with its drawings and graffiti. They would run to the part of the shrine that Deeti called her 'puja-room': a small hollow in the rock, hidden away at the back. If the shrine had been an ordinary temple, this would have been its heart - a sanctum with an array of divinitie...

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65 of 71 people found the following review helpful.
Continues to amaze and entertain!
By Bobby D.
One of the benefits of a summer trip to London is to discover that a much anticipated new book is available there before its United States publication date. So much to my surprise I was able to purchase Amitar Ghosh's new book, the second of his Ibis trilogy, RIVER OF SMOKE. The first book being the outstanding SEA OF POPPIES which I read in 2009. Ghosh continues to amaze with his newest volume as both an excellent writer and story teller. I can not wait for the concluding volume in a few years.

The trilogy is told against the backdrop of the Opium wars of the early 1800s. The first book took many characters to tell the story of how the Opium was produced by the East India Company in India. These characters all found their way to becoming passengers on the ship "Ibis" and the book ends with a great storm and its various character plot lines are cast off without clean endings. So I for one expected that the second book would continue with this same group of characters and there individual stories. Hoping I guess that they all would continue to star in Ghosh's epic production. This was not to be as Ghosh opens SMOKE with what I found to be an extremely muddled opening chapter or two. But then things get going and we also discover that Ghosh has something larger in mind. The story he intends to tell is that of the Opium trade itself. His characters and thier stories provide an entertaining window on a world dominated by Opium and its impact on lives and history. The research in this book is astounding. You can feel, see, and smell every part of Canton, China where the setting has now moved from India. This is not a story told in hindsight... it is told in real time with what one recognizes must be real peoples reactions to real time events . The book reaches an incredibly high benchmark for historical fiction writing.

As book two begins we are introduced to two other ships who are riding out the storm (with the Ibis?). One has as a passenger, Paulette who is brought forward from the first book and wants to re-discover a rare flower China is rumored to have that is said to cure almost anything. The other ship has the book's new main character Bahram Modi, an Indian, the father of Ah Fatt who is also one of the carry over characters from POPPIES. Bahram invests everything in one big gamble... taking a huge shipment of Opium from India to China. We are introduced to him and his cargo as they sail though a huge storm as he fights against the real possibility of his losing his cargo and investment. When he arrives in Canton,China he finds that the Emperor of China has decide to now close Chinese ports to the Opium trade. A trade that has all along been illegal in China. The British profited greatly by trading opium in exchange for Tea and other Chinese goods. This they did in the name of "free trade" and the rule of "markets" with no concern what Opium's impact on China was. It does not take much for the reader to recognize that Ghosh has found an historical parallel for today's globalization. He focuses on the clash of culture, empire, ambition, profiteering, art, language and love.

I liked these lines found near the end of the book, "Am I wrong to think that it was you who said that the involvement of a government representative would be a perversion of the laws of free trade? This is no longer a matter of trade...it now concerns our persons, our safety. Oh I see!....The government is to you what God is to agnostics - only to be invoked when your own well-being is at stake!" And another line that demonstrates the larger ambition of the narrative, "And what was it all for...... Was it just for this: so that these fellows could speak English, and wear hats and trousers, and play cricket?"
To paraphrase Ghosh, if he had not written such a splendid novel about Canton no one would believe that such a place had ever existed. This is the second part of an amazingly entertaining read. Don't miss out.

30 of 35 people found the following review helpful.
Prelude to an Opium War
By Martin Zook
The River of Smoke is the second installment of Amitav Ghosh's entertaining and informative Ibis trilogy. Is reading the first volume required? Technically, no.

But, the stories are linked in a clumsy fashion, and at least one of the main characters in River of Smoke cannot be fully appreciated in TRS without having read the first volume Sea of Poppies. And, Gosh is painting a broad canvas that includes the British poppy industry and its corrupting affect on Indian society. So, it helps to more fully appreciate Gosh's story to read both volumes.

The Sea of Poppies largely describes the Indian poppy growing and manufacturing industry in 1838. The passage describing an opium factory itself makes the book a worthwhile read. The River of Smoke (TRoS) places its characters in the historical events of 1838-39, when the Chinese succeeded briefly in expelling English opium traders from the international center of Canton.

Ghosh's narrative captures in detail the emergence of Chinese resistance to the growing opium trade. There is tremendously relevant back and forth between the traders and the Chinese (including arguments repeated today to justify various global trade policies). And, the characters in his story are pushed and pulled by material and ethical concerns that are still relevant today.

For those unfamiliar with Ghosh's writing, he is very much from the Dumas, Hugo, Dickens lineage in literature. His books are as comfortable and traditional as overstuffed furniture in front of a fire in the den on a wintry night.

I read both volumes of the trilogy back-to-back and would have read the third consecutively if it had been available.

The characters in TRoS are a little more complex than in SoP, but ambiguity is not a staple of these books. Good people are corrupted by the opium trade and its proliferation. It's an historical fact that the trade for the four years ending in 1839 expanded several times over and while not getting into numbers, Ghosh's story reflects this fact.

The English do not come off well in Ghosh's portrayal. And this is not to say that they should. But the fact that the Chinese emperors allowed the opium trade for as long as they did is given but lip service and that from one of the more repugnant characters in the book.

Some readers have expressed surprise that TRoS did not make the Booker Prize list this year. It shouldn't be too much of a surprise as the book does have its faults.

The linkage of the two books seems clunky on two accounts: 1) characters prominent in the first volume inexplicably fade to the background in the TRoS, after it seemed that the characters would assume major roles at the end of SoP; and 2) the roles assigned to some characters who are carried over seem superfluous. The character of Deeti, who assumed leadership of the Indian immigrants in SoP inexplicably is nearly a ghost in TRoS. What's that about?

Ghosh does increase interest in TRoS by exploring themes of a global economy. Economic historians frequently point out that the 19th century featured freer trade globally than we do in today's more regulated environment. Clearly Ghosh sees the harm in letting market forces, and those who invariably manipulate them, rule.
But Ghosh seems to be setting up a third volume which could explore to some degree the emergence of India and China as emerging economies, which of course is highly relevant to our global economy today.

Enjoy!

10 of 10 people found the following review helpful.
Not as good as Sea of Poppies; too didactic
By J. P. Craig
Sea of Poppies was a very good picaresque novel, with a sensibility for its characters somewhat like Dickens, a mixture of compassion and condemnation, though generally not unsympathetic toward those it condemned. This second novel in the series has many characters that only exist, seemingly, to parrot ideological positions. The "free trade" fanqui community is a particularly egregious collection of pasteboard cutouts. All this despite a beautiful, lyrical beginning to the novel. It sadly slides away from the stories of people to the broadest of cartoon sketches of the outset of the Opium War, as well as a (deserved) attack on neoliberalism.

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## Free PDF Collected French Translations: Prose, by John Ashbery

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Collected French Translations: Prose, by John Ashbery

Collected French Translations: Prose, by John Ashbery



Collected French Translations: Prose, by John Ashbery

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Collected French Translations: Prose, by John Ashbery

An essential, vibrant collection of masterful translations by one of the finest poets at work today

Collected French Translations: Prose, the second volume in a landmark two-volume selection of John Ashbery's translations, focuses on prose writing. Ashbery's own prose writings and engagement with prose writers―through translations, essays, and criticism―have had a profound impact on the cultural landscape of the past half century. This book presents his versions of, among others, the classic French fairy tale "The White Cat" by Marie-Catherine d'Aulnoy, as well as works by such innovative masters as Raymond Roussel and Giorgio de Chirico. Here are all of Roussel's Documents to Serve as an Outline and extracts from his Impressions of Africa; selections from Georges Bataille's darkly erotic first novella, L'abbé C; Antonin Artaud's correspondence with the writer Jacques Rivière; Salvador Dalí on Willem de Kooning's art; Jacques Dupin on Giacometti; and key theoretical and conceptual texts by Odilon Redon, Jean Hélion, Iannis Xenakis, and Marcelin Pleynet. Several of these twenty-nine prose pieces, by seventeen fiction writers, playwrights, artists, musicians, and critics, are previously unpublished or have been long unavailable. Many are modern classics, such as Pierre Reverdy's Haunted House. This book provides fresh insight into the range of French cultural influence on Ashbery's life and work in literature and the arts.

  • Sales Rank: #1294903 in Books
  • Published on: 2014-04-08
  • Released on: 2014-04-08
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.23" h x 1.47" w x 6.32" l, 1.00 pounds
  • Binding: Hardcover
  • 432 pages

Review
“Meticulously faithful yet nimbly inventive . . . We are fortunate that John Ashbery has . . . brought to it such care and imaginative resourcefulness.” ―Lydia Davis, New York Times Book Review on John Ashbery's translation of Illuminations

About the Author
John Ashbery's latest book of poems is Quick Question. From 1960 to 1965, he was the International Herald Tribune art critic and ArtNews Paris correspondent. France has named him Chevalier des Arts et des Lettres and Officier of the Légion d'Honneur. He has received a National Book Foundation Medal for Distinguished Contribution to American Letters, and President Obama awarded him a National Humanities Medal. Rosanne Wasserman and Eugene Richie's latest poetry book is Psyche and Amor. They have edited Ashbery's essays in Other Traditions and in Selected Prose, as well as his translations of Pierre Martory. She teaches at the U.S. Merchant Marine Academy; he is the director of writing at Pace University.

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1 of 3 people found the following review helpful.
ASHBERY
By Barry Tebb
SUPERB-ESPECIALLY REVERDY!HIS 'HAUNTED HOUSE' IS SOMETHING I'VE LONGED TO READ IS ENGLISH AND NOW I CAN.WELL DONE!BRAVO JOHN!

BARRY TEBB

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Thursday, December 18, 2014

~ Download PDF Michelangelo and the Reinvention of the Human Body, by James Hall

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Michelangelo and the Reinvention of the Human Body, by James Hall

A brilliant new comprehensive critical analysis of Michelangelo's art, focusing on his depiction of the human body.

Michelangelo's art is exhilarating, but also bewildering: What is the source of its power? In this imaginative and detailed study, the art critic James Hall explores some of the major puzzles of Michelangelo's work-his stern Madonnas and their lack of maternal responsiveness; his concern with colossal scale and size; the way that anatomical dissections affected his attitude toward the human body; and the placing of solitary, heroic figures against backgrounds of chaotic, troubling crowds. Hall arrives at a more precise, nuanced appreciation of the body language of Michelangelo's figures, and offers new explanations of many sculptures, paintings, and drawings, including David, the narratives of the Sistine Chapel ceiling, and the monumental figures of his middle and late period.

Hall dispels both the idea of Michelangelo as an artist-superman and as brilliant but unbalanced, obsessed with the male nude. Instead he redefines him as the first artist to put the body center stage, making it the focal point of his quest for psychological and spiritual meaning. Lively and thought-provoking, Michelangelo and the Reinvention of the Human Body is a bold critique that will reshape the way we see this iconic artist's work, throwing a vividly revealing light on the originality and power of his genius.

  • Sales Rank: #2740030 in Books
  • Brand: Farrar, Straus & Giroux
  • Published on: 2005-05-11
  • Released on: 2005-04-21
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.26" h x 6.34" w x 9.32" l,
  • Binding: Hardcover
  • 312 pages

Review
In this stimulating book...James Hall has set himself a heroic task in attempting to give a fresh interpretation of [Michelangelo]...[He] makes one think about the great man and his work anew, which is a considerable achievement. - Martin Gayford, Sunday Telegraph. A substantial and intriguing contribution to the study of Renaissance art at a crucial moment in its evolution...[Hall] has opened his subject up. Michelangelo the Modern Artist, Michelangelo torn between virtue and desire, is a new Michelangelo indeed. - William Packer, Financial Times. For each of his persuasive eight chapters, Hall takes one key idea from Michelangelo's work and suggests parallels or sources...[But] in making his Michelangelo in the image of the artist's own time, [he] still succeeds in reminding us of a very modern hero. - Margaret Reynolds, The Times"

About the Author
James Hall writes and lectures widely on the history of art. He is the author of The World as Sculpture.

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5 of 5 people found the following review helpful.
Intensely informative, exhaustively researched; triumphant
By Philip J. Herman
Every time I read this book I am astounded. This author seamlessly weaves together information from obscure and ancient texts to make mind-boggling points that explain the creative mind of Michelangelo. Increases my appreciation of all of the art. This book and " Michelangelo and the Pope's Ceiling " caused me to buy large color books of the art of Michelangelo; because for the first time I can begin to understand a little and appreciate a little of the thought processes of this great artistic and religious genius. James Hall should be awarded for increasing the availability of the mind of Michelangelo and for helping regular people to grasp a little of a very complicated and fantastic period of religious and artistic genius.

3 of 4 people found the following review helpful.
Preposterous
By GiovanniGF
I knew I was in trouble already when in the introduction Hall claims that for Michelangelo "The male figure... was always in some sense a surrogate for the ultimate human being, the dying and dead figure of Christ." That "always" was too categorical for my taste, but I forged ahead. But when I got to his preposterous interpretation of the Doni Tondo, in which Hall claims the Virgin Mary is a stand-in for St. Christopher because she is looking at the Christ child over her shoulder, and then goes on to claim that the mysterious male figures in the background are "sinners waiting for purification in, and passage across it," referring to the river that St. Christopher crosses, but which is not in the Tondo, and which are not even attributes of St. Christopher, I simply gave up.

I am certainly not against academic writing - I highly recommend Marcia Hall's (no relation, i assume) Michelangelo's 'Last Judgment' (Masterpieces of Western Painting) if you want to read scholars who don't feel the need to force things to get published.

0 of 0 people found the following review helpful.
Highly recommended reading.
By Osvaldo Brighenti
This book is so well written, prof. Hall has many insights into Michelangelo's art.
Highly recommended reading.

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