Thursday, March 19, 2015

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

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

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



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

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

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

  • Sales Rank: #137569 in Books
  • Brand: Farrar, Straus and Giroux
  • Published on: 2006-04-18
  • Released on: 2006-04-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.63" w x 6.25" l,
  • Binding: Hardcover
  • 616 pages
Features
  • Great product!

Amazon.com Review
Updated Edition: Thomas L. Friedman is not so much a futurist, which he is sometimes called, as a presentist. His aim in The World Is Flat, as in his earlier, influential Lexus and the Olive Tree, is not to give you a speculative preview of the wonders that are sure to come in your lifetime, but rather to get you caught up on the wonders that are already here. The world isn't going to be flat, it is flat, which gives Friedman's breathless narrative much of its urgency, and which also saves it from the Epcot-style polyester sheen that futurists--the optimistic ones at least--are inevitably prey to.

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

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

Where Were You When the World Went Flat?

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

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

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


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

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

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

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

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

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

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

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

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

Most helpful customer reviews

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

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

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

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

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

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

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

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

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

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

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

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

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

Questions I wish Friedman had explored in further detail are:

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

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

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

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

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

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

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

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

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

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

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

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Tuesday, March 17, 2015

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

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

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



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

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

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


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


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

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

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

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

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

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

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

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

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

Most helpful customer reviews

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

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

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

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

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

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

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The Volcano Lover, by Susan Sontag

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

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

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

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

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

Most helpful customer reviews

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

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

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

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

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

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

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

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Sunday, March 15, 2015

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

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

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

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

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

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

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

About the Author

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

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

Most helpful customer reviews

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

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

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

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Truth: A Novel, by Peter Temple

Inspector Stephen Villani, head of homicide in Melbourne, Australia, has a full agenda: a murdered woman in a penthouse apartment, three men butchered in a sadistic rampage, a tattoofaced drug dealer corrupting his rebellious daughter, a crumbling marriage. As these seemingly unrelated events begin to unfold, Villani finds himself immersed in an unfamiliar world of political scandal and ethical ambiguity. He must navigate the inept bureaucracy that is the police department, all the while maintaining a solid front and trying to keep the press, his family, and his own past from breaking him completely. With each twist and every turn of this taut crime novel, Villani is forced to question whom he can trust.

While The Broken Shore captured the harshness and beauty of regional Australia, Truth captures the grim reality of the city and the people who struggle to hold on to any certainty that they can find. Tense and unrelenting, this unforgettable novel confronts the complexity of human relationships and the difficulty of escaping the past.

  • Sales Rank: #1068985 in Books
  • Brand: Farrar, Straus & Giroux
  • Published on: 2010-05-11
  • Released on: 2010-05-11
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.22" h x 1.36" w x 6.30" l, 1.38 pounds
  • Binding: Hardcover
  • 400 pages

From Publishers Weekly
The death of a nameless prostitute in a glitzy Melbourne high-rise is the first in a series of crimes that Insp. Stephen Villani discovers are all tied to protecting the interests of the city's elite in this brutal tale of corruption, greed, and revenge from Australian author (and Ned Kelly Award–winner) Temple (The Broken Shore). Burdened by a shaky marriage and an increasingly rebellious teenage daughter while trying to stay afloat in Melbourne's treacherous political climate, Villani doesn't know where to turn. The discovery of three savagely tortured men with ties to one of the city's biggest crime bosses only adds another layer to the already twisted case, and makes Villani question eve-rything he thought he knew about the line between cop and criminal. Temple's elliptical storytelling—the past and the present are often interchangeable—fits the slippery subject of deeply ingrained police corruption and one man's determination to uncover the truth. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review

Praise for The Broken Shore:

“A compulsive read . . . a grim, brutally involving crime novel [from] a master of the genre . . . It’s one of those books you can’t wait to finish and then can only regret that it’s ended.” —Daily News (New York)

“Having read the new novels of Michael Connelly and Martin Cruz Smith, I have to say that Temple belongs in their company.” —The Washington Post

“Flinty, funny, subtle and smart...From a single corpse, Temple spins a complicated mystery that eventually encompasses racial tensions, scumbag cops, drugs, a grandstanding aborigine politician, stomach-turning sexual abuse, and rapacious developers...Temple ranks among [the genre’s] very best practitioners.” —Entertainment Weekly

About the Author

Peter Temple is the author of eight crime novels, five of which have won the Ned Kelly Award for Crime Fiction. He has worked as a journalist and editor for newspapers and magazines in several countries. He lives in Victoria, Australia.

Most helpful customer reviews

0 of 0 people found the following review helpful.
And nothing but the....
By Jordan61
Powerful gritty and unpredictable a great sequel to Broken Shore Characters come to life across all dimensions and its terrific to read in Australian context

34 of 37 people found the following review helpful.
To call this 'crime fiction' is to underestimate one of our best novelists
By Jesse Kornbluth
Laurie doesn't see him, so Steve Villani is able to study his wife as she walks toward him.

Jeans, black leather jacket, thinner, different haircut, a more confident stride.

She spots him, comes over.

He hasn't planned it, but he can't help himself. "You're having an affair."

She says this isn't the place to talk. He won't let it go.

"... meeting with the boyfriend, is that it?"

"I'm not having an affair," she says. "I'm in love with someone, I'll move out today."

Looking for great fiction-writing? Friends, that is it: not a word wasted, every beat true, drama at the red line, a surprise that packs a wallop.

What more do you want? Whatever your fantasy about a book, Peter Temple probably satisfies it in Truth. Peter Temple? Only one of the world's better novelists. But unknown to most American readers largely because he lives in Australia.

Temple is under-appreciated here for another reason: His books are thrillers with violent crimes as the problem to be solved and cops as the characters who must solve them. In our country, that's the province of genre specialists like Patricia Cornwell and James Patterson --- writers who favor simple plots, cardboard dialogue and lots of white space on the page. Temple, in comparison, is Dostoevsky.

The comparison is not casual. Temple's characters are complex, his plots complicated, his world smudged if not outright dirty --- that is, his books are entirely credible. In this one, a young prostitute is found murdered in a super-luxury high rise that boasts the ultimate in technology --- though on the night of the murder, none of it works. In Temple's books, high and low always meet. Not only might the murder be connected to the torture and execution of three thugs, but Steve Villani, chief of the Homicide squad in Melbourne, must deal with citizens of every caste.

He's having an affair, for instance, with a successful TV newscaster. He's invited to a party given by a gazillionaire, where he recognizes "a millionaire property owner, an actor whose career was dead, a famous footballer you could rent by the hour, two cocaine-addicted television personalities, a sallow man who owned racehorses and many jockeys." And, when it's time to be a tough cop, he can go there: "He fell sideways and Villani stopped him meeting the concrete, not with love, laid him to rest, put a shoe on his chest, rested his weight, moved it up to the windpipe and pressed, tapped, you did not want to mark the [...]."

If the plot has more layers than a Goldman Sachs bond deal, it's fun to try and figure out what's coming. (Good luck.) What's simple --- and simply delightful --- is Temple's dialogue, which verges on shorthand.

Here he is, giving a deputy his marching orders for the daily media update on the prostitute's murder:

"Take the media gig this afternoon?"
"Well, yes, certainly. Yes."
"Give them the waffle. Can't name Ribarics. On the torture, it's out there, so the line is horrific and so on. We're shocked. Scumbags' inhumanity to other filth. With me?"
"Urge people to come forward?"
"Mate, absolutely. In large numbers."

And here, in a scene so emotionally rewarding you'll want to give Villani a fist-pump, is the Homicide chief grilling a high government official who just happened to have been the young prostitute's final client:

"Are we done?" said Koenig. "I'm a busy man."
"Not done, no, not at all," said Villani. "But we can conduct this interview in other circumstances."
"Is that, we can do this here or we can do it at the station? Jesus, what a cliché."
"That's what we deal in," said Villani.
"I'm a minister of the crown, you grasped that, detective?"
"I'm an inspector. From Homicide. Didn't I say that?"

Fun, but never charming. This is, after all, Homicide, "where animals hated you, dreamed of revenge, would kill your family." It's a job that eats you, "your family got the tooth-scarred bone." A job where crimes are sometimes solved by looking at footage taken by a security camera at night and noticing the reflection of a car's license plate on a window, and sometimes solved in nastier ways.

You want a mindless beach read? Skip this. You want to be slapped into full attention by a master? Come ahead.

14 of 14 people found the following review helpful.
Dialogue to die for - wonderful writer!
By 4 Corners 87401
Peter Temple is simply one of the best writers to come along in the last decade or so. The fact that he writes mysteries and police procedurals is beside the point.
I started with Identity Theory, and then bought everything he has written - as one reviewer mentioned, this wasn't easy given his little-known status in the US. I had to buy the books from Australia and it was worth every penny!
I've re-read all the books several times and am still in awe of his grasp of personalities, moods, scenery, horses, political jackels, you name it. I just finished reading the Jack Irish series again and feel like I know him, his friends, his pub, everything. There are little treasures littering the writing like gems. Discussing his problem with sleeplessness and nightmares, he describes dreams as "the mind's cinematic memories." Lovely.
The books, with the exception of Identify Theory, are set in Australia and written in Australian. Reading them offers up a whole new world, with its own slang and meanings. The Broken Shore and Truth include a glossary of Australian terms in the back which is not only helpful but hysterical reading. The glossary also help when you go back to re-read the other books as well.
I would suggest starting with Identity Theory, not because that is where I got hooked, but because it starts in South Africa, then bounces back and forth between Hamburg and London, and comes together again in Wales. It is a pretty complex book but the characters and places just step off of the pages, and you keep turning them.
I am almost envious of those of you who have never read any of his work...you have SO much to look forward to now. Enjoy!

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Friday, March 13, 2015

? Free PDF Prodigals: Stories, by Greg Jackson

Free PDF Prodigals: Stories, by Greg Jackson

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Prodigals: Stories, by Greg Jackson

Prodigals: Stories, by Greg Jackson



Prodigals: Stories, by Greg Jackson

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Prodigals: Stories, by Greg Jackson

“People are bullets, fired,” the narrator declares in one of the wild, searching stories that make up Greg Jackson's Prodigals. A filmmaker escapes New York, accompanied by a woman who may be his therapist, as a violent storm bears down. A lawyer in the throes of divorce seeks refuge at her seaside cottage only to find a vagrant girl living in it. A dilettantish banker sees his ambitions laid bare when he comes under the influence of two strange sisters. A group of friends gathers in the California desert for one last bacchanal, and a journalist finds his visit to the French country home of a former tennis star taking a deeply unnerving turn.

Strivers, misfits, and children of privilege, the restless, sympathetic characters in Jackson's astonishing debut hew to passion and perversity through life's tempests. Theirs is a quest for meaning and authenticity in lives spoiled by self­-knowledge and haunted by spiritual longing. Lyrical and unflinching, cerebral and surreal, Prodigals maps the degradations of contemporary life with insight and grace, from the comedy of our foibles, to the granular dignity of experience, to the pathos of our yearning for home.

  • Sales Rank: #57170 in Books
  • Published on: 2016-03-01
  • Released on: 2016-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.63" h x .88" w x 5.84" l, .0 pounds
  • Binding: Hardcover
  • 240 pages

From Publishers Weekly
Privileged characters confront the spiritual emptiness of contemporary life in this deeply felt and sparklingly erudite debut collection. In “Wagner in the Desert,” a writer joins a cadre of young professionals—“sustainability experts, P.R. lifers... that strange species of human being who has invented an app”—on a drug-fueled trip to Palm Springs, Calif., only to find himself deflated by “regret that we had grown self-knowing enough to avoid our mistakes.” In “Serve-and-Volley, Near Vichy,” a different writer comes under the spell of a tennis legend whose celebrity may or may not have made him insane. In “Metanarrative Breakdown,” the star of the collection, a visit by the narrator to his dying grandfather becomes an occasion for a contemplation of narrative and language: “All the words we had for everything added up to a cataloged death sentence of the discrete,” he thinks, “turning the raw matter of experience transactionable at the cost of making experience itself inaccessible.” Jackson’s exquisite insight and mandarin prose style call to mind David Foster Wallace and Ben Lerner, but his preoccupation with the demise of romance, wonderment, and spirituality in our hyper-knowing age seems entirely his own. “It was not so much information that lay beyond my reach,” one character thinks, “as a sort of presence, of shared and consummate openness, a kind of psychic nudity.” Agent: Samantha Shea, Georges Borchardt, Inc. (Mar.)\n

Review

“[A] fervent debut . . . with a language both hallucinatory and philosophical . . . [Prodigals] is a profound allegory of our addiction to success.” ―Antonio Ruiz-Camacho, The New York Times Book Review

“The writing in Greg Jackson’s first book of stories, Prodigals, is so bold and perceptive that it delivers a contact high . . . You may sometimes feel you are reading a furious, Instagram-era updating of Ann Beattie's short stories . . . There’s also the crunch of writers like Ian McEwan and Martin Amis in Mr. Jackson’s prose. Best of all there’s that sense ― only the excellent ones give it to you ― that whatever topic the author turns his mental LED lights toward will be powerfully illuminated . . . What makes these stories radiant . . . is how invested Mr. Jackson is in peeling off the rind of life, in getting to the juice . . . ‘The passage of experience back through us’ ― that’s a powerful line, and it represents what this young writer is capable of delivering, right now and, if fortune smiles, long into the future.” ―Dwight Garner, The New York Times

“There are ethics at stake and, more important, crackling and careening Fitzgerald-worthy sentences that gather into Cheeveresque specimens of narrative architecture. Even stories that come apart (deliberately, in the case of 'Metanarrative Breakdown') feel like the work of a writer with several books behind him, instead of none.” ―Boris Kachka, New York

“Jackson is incredibly funny and amazingly sharp in his observations of regrets and disappointment, and the compelling stories are full of wisdom. This book has a lot of warmth in spite of the cold hard truths they tell. His characters struggle with morality in the face of a world where morals seem no longer worth having, and hopes and dreams are constantly being downgraded until they are simply stories they tell themselves to help them get through the day . . . Jackson deftly shows the nuances of adult consciousness with dark humor and compassion, and this pithy collection is a powerful debut sure to bring him recognition.” ―Liberty Hardy, Electric Literature

“Jackson is a virtuosic talent, and his distinctive, maximalist prose style alone will make Prodigals one of the more memorable debuts of 2016 . . . This collection succeeds in addressing a generation’s internal crises with remarkable comprehension and insight. In its best moments, it makes a persuasive argument for the unique something of its author.” ―MIchael Deagler, The Rumpus

“Upwardly mobile, young(ish), and utterly lost: Such are the characters of Jackson's short fiction. He probes them with insight and sentences so finely wrought, they verge on aphorism.” ―O Magazine

“[A] Deeply felt and sparklingly erudite debut collection . . . Jackson's exquisite insight and mandarin prose style call to mind David Foster Wallace and Ben Lerner, but his preoccupation with the demise of romance, wonderment, and spirituality in our hyper-knowing age seem entirely his own.” ―Publishers Weekly

“An admirable debut that cannily captures the difficulty of balancing good deeds with bad behavior.” ―Kirkus Reviews

“Daring and innovative . . . Jackson proves himself a dexterous, compelling new talent.” ―Booklist

“Greg Jackson’s stories are deft, compact, intelligent, and beautifully aimed. The short story, in our accelerating present, has advantages over its bulkier and slower-moving rival, the novel. Greg Jackson exploits such advantages in these fractal-like captures of moments and sequences from our current disorders.” ―Norman Rush, author of Mating, winner of the 1991 National Book Award for Fiction

“Greg Jackson is an uncommonly good writer―wickedly funny and deeply perceptive―and Prodigals is one of the most absorbing, intelligent, and unnervingly dead-on collections I've read in ages. I loved it.” ―Molly Antopol, author of The UnAmericans

“This ultra-contemporary collection evokes a rarefied world of hyper-educated, over-stimulated people caught in the grip of their own privileged consciousness. Transcendence-seekers find themselves earthbound as art, drugs, role-playing, and material goods serve as temporary balms for the anomie of modern life. The elusive cure is love, and Jackson nails the way sophisticated, hard-bitten entanglements give way to sudden surges of old-fashioned romance. Jackson writes with terrific fluency, wielding Fitzgeraldian phrases as he presses through to endings full of feeling.” ―Matthew Thomas, New York Times-bestselling author of We Are Not Ourselves

“Greg Jackson is an explosive writer, seriously funny, deeply serious.Prodigals is a memorable, powerful debut, full of dark splendor, and it's clear that Jackson is here to stay.” ―Sam Lipsyte, author of The Ask

“Inventive, daring, and exhilarating, the stories in Prodigals offer a vital, volatile mix of style and heart, slyness and candor. Read these stories and find yourself newly awake, thin-skinned to the world.” ―Maggie Shipstead, author of Astonish Me

“Greg Jackson’s Prodigals is that rare treat: a narrative inquiry into the nature of narrative that is neither tedious nor tired, that takes itself just seriously enough. His lyric virtuosity is thrilling, his sensibility acute and nuanced, but it was something deeper than either of these things that ultimately compelled me in these stories: It was a genuine sense of searching―without irony or apology, with fierce intelligence―for what might constitute a meaningful life.” ―Leslie Jamison, author of The Empathy Exams

“Prodigals is elegant and unpredictable. These stories of bewilderment, heartbreak and psychotropics will charm you with their humor and stun you with wisdom that's both rigorous and compassionate.” ―Catherine Lacey, author of Nobody is Ever Missing

About the Author
Greg Jackson’s work has appeared in The New Yorker, Granta, and the Virginia Quarterly Review. He has been a fiction fellow at the Fine Arts Work Center in Provincetown and a resident at the MacDowell Colony, and he holds an MFA in creative writing from the University of Virginia. Prodigals is his first book.

Most helpful customer reviews

3 of 3 people found the following review helpful.
A worthwhile read (if smarter than is good for it)
By Maggie Cregan
Released this February to New York Times and New Yorker acclaim, Greg Jackson’s debut “Prodigals” layers introspection with millennial angst and still manages to be quite good. His short stories follow well-educated urbanites visited by the kind of aimlessness that involves snorting lines off glass coffee tables in Palm Springs. He writes about these experiences exhaustively, but well (“The worst part of a trip, we can all probably agree, is the moment when you’ve come down enough to realize you are not down all the way”).
Nearly all his down-on-their-luck thirty-somethings struggle with cynicism. But the book can’t be called cynical, if only because the characters (and writer) long for something unironic to believe in.
Jackson draws on literary references nonstop, as when he quotes a reimagined Greek myth or opens a story with “There is a gun in Act I.” His stories also deal in marathon sentences and exhaustive explorations of characters’ psyches. He’s seriously smart, and even the lengthiest of his meta-psycho gymnastics pay off 60 percent of the time. But it’s a little bewildering that he sometimes goes what must be deliberately overboard— with sentences impossible to quote because they’re too long and full of words like “ouroboric”— when he can do simplicity so well: “It was in this house, this summer, that my grandfather was dying.”
“Prodigals” is a worthwhile read for both card-carrying n+1 subscribers (which journal the author once worked for) and more traditional readers looking to dip their toes into postmodernism. Jackson’s unflinching introspection and leviathan trains of thought have a value beyond their showiness. But readers will find their reward, and Jackson’s writing its best showcase, in his moments of restraint.

0 of 0 people found the following review helpful.
read it yourself
By K. Haas
Wagner in the Desert, the first story, is sublime! So well-written that I need to re-read it. Jackson writes about experiences and feelings that I have had and have, but would personally have no way to put into words myself: thoughts about my life-trajectory and the swirling ideas that arise inside our brains after eating/drinking stuff. Beautiful prose!

17 of 25 people found the following review helpful.
Tapped out on page 120
By Someone Like You
A few hundred beautiful sentences does not make a beautiful story. These stories felt undifferentiated, as if narrated by the same self-loathing-but-actually-narcissistic neurotic white post grad ironist who can't believe how awful it is to be married with children. This introspective male is popular in current fiction, appealing to Brooklyn editors who consider plot or any dramatic action a form of literary heresy. Worse, the book reads too often like poor ventriloquism of David Foster Wallace.

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