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Manila, 2000. Forty-four-year-old Roger Caracera returns to his birthplace after nearly three decades in the United States. He has come to bury the corrupt, charismatic head of the family sugar dynasty: his estranged father, Jesus. To Caracera's chagrin and pleasure, he is now viewed by his countrymen as the representative American; a local tabloid even refers to him as a General Douglas MacArthur look-alike. And when his father's will is read, Caracera is stunned to discover that he has been left half a million dollars.

Unable to live with this burdensome inheritance, he decides to give his money away. But who among the millions of needy Filipinos is he to focus on?

Traversing high and low life, societies rank and respectable, and with a cast of characters that includes a slum-dwelling boy hustler, a middle-aged American pederast, a rising Filipino tennis player, a calculating society matron, and a Peace Corps worker turned trophy wife, The Disinherited is an incisive and illuminating exploration of the impulse to do good in the world and the paradoxical harm brought on by generosity.

• Sales Rank: #3448878 in Books
• Published on: 2004-09-02
• Released on: 2004-08-12
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.27" w x 6.00" l,
• Binding: Hardcover
• 384 pages

From Publishers Weekly
Charity proves complicated in MacArthur Fellow Ong's second novel (after 2001's Fixer Chao). After making a fortune in sugar production in the Philippines's Negros Occidental province, corrupt family patriarch Jesus Caracera dies, unexpectedly leaving his 44-year-old, disaffected, Americanized son, Roger, much of his fortune. Stunned and appalled by his legacy, Roger announces his plans to give the money away, and much of the book portrays the hapless Roger, like a gloomy twin of the Magic Christian, going into the slums of Manila and the violent province of Negros to give away cash. His family is not really alarmed, however, until he decides to reward his late Uncle Eustacio's sexual obsession, Pitik Sindit, aka Blueboy, a boy prostitute and stripper whose fans, watching him gyrate awkwardly to ABBA songs, are moved to ejaculatory ecstasies. Pitik mistakes Roger's gesture as a seduction ploy. Or hopes that it is: Pitik falls hard for Roger, who is terminally straight or spiritually frigid—even Roger can't decide which. Pitik's crush is echoed by the more mercenary desire of a young Manila tennis player. Ong is a first-rate cartographer of the cultural map of Manila, and his novel is bracingly honest, with some standout scenes. But Roger's perpetual stasis—his "programmed funk"—isn't transformed by art into something the reader can fully sympathize with.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"Ong [has a] gift for quick, acerbic caricatures and piercing observations about contemporary culture." --Janet Maslin, The New York Times

"Han Ong is at the forefront in an emerging canon of global novelists. He faces the worst injustice: the world economy multiplying some people's wealth while trapping others in unsolvable poverty. The Disinherited asks, What can individuals possibly do? How can they endure this tragic new world?" --Maxine Hong Kingston

About the Author
Han Ong is the author of a novel, Fixer Chao (FSG, 2001). A MacArthur Fellow, he has written several critically acclaimed plays. He lives in New York City.

Most helpful customer reviews

2 of 2 people found the following review helpful.
"We were raised in a convent, then released into Hollywood"
By A Customer
When Roger Caracera returns to the Philippines for his father's funeral, he gets more than he bargained for. Although never very close to the wealthy sugar magnate, Jesus Caracera, Roger is chosen as the chief inheritor to the old patriarch's immense fortune, giving him a tidy sum of $500,000, perhaps in an effort for Roger to reestablish a connection with his birthplace.

Roger has had an uneasy relationship with his homeland. More American than Philippino, Roger has long since rejected much of his restrictive, conservative upbringing, preferring to adopt the freewheeling "western ways." Now living in New York City and teaching writing at Columbia University, his return to Manila is viewed with suspicion and a certain chagrin by his older and cynical uncles and aunts.

For the Caracera family has been hiding a dark secret: Apparently Roger's Uncle Eustacio Caracera was gay and had willed a sizeable sum to Pitik Sindit, a child whore; a young, poor prostitute with whom he had fallen in love with. Shamed by his brothers and sisters, Eustacio had sequestered himself from his own immediate family, undertaking a willed ostracism, a careful quiet mutiny.

Annoyed that his family tried to derail Pitik's rightful inheritance, and full of guilt over his family's feudal wealth, Roger decides to track him down as well to give him his rightful bequest. While his relatives begin to view him as the "unearther, the burrower, and the formenter of old and new troubles," Roger comes to believe that he wants to leave some kind of signature behind, his actions reflecting a bedrock of selflessness.

Roger's journey leads him into the midst of Manila's most horrible slums as he witnesses the city's barely underground gay sex trade. Pitik also goes by the name of Blueboy, and works as exotic dancer; employed by a vicious Philippino woman who also pimps him, he's constantly tempted by a self confessed American pedophile. Roger, who considers himself a confirmed heterosexual, tries to go out of his way to save Pitik from this squalid life, but he finds himself forming a strange connection to this boy, who is simultaneously seductive and naïve, bit also manipulative, and quite repellent.

Author, Han Ong weaves an exotic tale of family intrigue, set against the background of a country where the demarcation between the rich and poor, the haves and the have-nots have never been more finely drawn. Roger starts out with good intentions, determined to end the line of what he sees as a decrepit dynasty, but he is constantly confounded by the world around him.

His Aunt Irene warns him, trying to set him straight, in her world "there are the servers and those whom are served." She possesses a ruthless, clear-eyed logic that aims to cut through the "liberal pretensions and foggy romanticism" of her nephew. This is reflected in Ong's own view of the Philippines, a world of elite tennis clubs serving as pockets of peace, members and patrons shielded from the cries of so much teaming poverty, "a country where money has a tactile presence; its power put plainly was supernatural."

Ong is notably quite damning of his homeland, hardly sympathetic to his country's plight, which continually excused it's poverty, its lack of education, its deplorable standard of living, and it's history of willing subjugation first to conquerors Spanish, Japanese, and American, and more recently to a string of mad despots.

The Disinherited is a big, sweeping saga; with the characters speaking in paragraphs and thinking in essays, long diatribes, the style reflecting this, deliberately convoluted and elaborate. The prose is studied, exquisite, and beautiful, as Ong steadily weaves a web of the Philippines, showcasing its history, class warfare, politics and cultural clashes; there's no doubt that the book is epic in tone and in theme.

In Roger, Ong has created a subtle and complicated character, caught up in the changing tides of his culture he's a man whose values are undoubtedly anchored in the West, but he still feels the ineffable pull of his birthplace, the old world with all it's chaos, corruption, poverty, and organized mayhem. Mike Leonard January 06.

5 of 7 people found the following review helpful.
too bad
By Mark Chow
I cant get through the book. Compared to fixer chao is just terrible, I am SO disappointed. I read the first 3 chapters and had no idea whats going on. I guess like everyone else in hollywood, success has spoiled this artist who I was once obsessed with after reading Fixer Chao. Moral of the story: Just because they come out with one good book doesn't mean you should run out and buy their next book. Han Ong, what were you thinking? Stylistically its out of control, you used to be so candid and honest and straightforward, now your words only confuse and depress me. I just cant recommend this book although Fixer Chao was the best book I read in 10 years, hands down.

0 of 0 people found the following review helpful.
Challenging in every way.
By John E.
The author's style and structure for "The Disinherited" are a challenge. This book is an even more serious challenge because there are no characters with whom most readers can easily or fully identify or sympathize. Their lives and living conditions are so far removed from American culture. The circumstances under which the main character (Roger Caracera) returns to and remains with his family in Manila are not welcoming, loving, pleasurable, or rejuvenating. He is accosted, hustled, patronized, politicized, and condemned. He is emotionally and intellectually unprepared to face the past and the unanticipated position in which he is placed -- the demand to know who he is and why. It would have been far easier if he had been disinherited, instead of the opposite.

All of that is what makes this an exceptional novel -- a challenge to read, and a challenge to like.

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!! Free PDF Alphabetter Juice: or, The Joy of Text, by Roy Blount

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Fresh-squeezed Lexicology, with Twists

No man of letters savors the ABC’s, or serves them up, like language-loving humorist Roy Blount Jr. His glossary, from ad hominy to zizz, is hearty, full bodied, and out to please discriminating palates coarse and fine. In 2008, he celebrated the gists, tangs, and energies of letters and their combinations in Alphabet Juice, to wide acclaim. Now, Alphabetter Juice. Which is better.

This book is for anyone—novice wordsmith, sensuous reader, or career grammarian—who loves to get physical with words. What is the universal sign of disgust, ew, doing in beautiful and cutie? Why is toadless, but not frogless, in the Oxford English Dictionary? How can the U. S. Supreme Court find relevance in gollywoddles? Might there be scientific evidence for the sonicky value of hunch? And why would someone not bother to spell correctly the very word he is trying to define on Urbandictionary.com?

Digging into how locutions evolve, and work, or fail, Blount draws upon everything from The Tempest to The Wire. He takes us to Iceland, for salmon-watching with a “girl gillie,” and to Georgian England, where a distinguished etymologist bites off more of a “giantess” than he can chew. Jimmy Stewart appears, in connection with kludge and the bombing of Switzerland. Litigation over supercalifragilisticexpialidocious leads to a vintage werewolf movie; news of possum-tossing, to metanarrative.

As Michael Dirda wrote in The Washington Post Book World, “The immensely likeable Blount clearly possesses what was called in the Italian Renaissance ‘sprezzatura,’ that rare and enviable ability to do even the most difficult things without breaking a sweat.” Alphabetter Juice is brimming with sprezzatura. Have a taste.

• Sales Rank: #1079340 in Books
• Published on: 2011-05-10
• Released on: 2011-05-10
• Original language: English
• Number of items: 1
• Dimensions: 9.33" h x 1.00" w x 6.37" l, 1.15 pounds
• Binding: Hardcover
• 304 pages

From Publishers Weekly
Starred Review. The humorist and panelist on public radio's Wait, Wait, Don't Tell Me pours a tall glass of wordplay, witticism, curmudgeonry, and anecdote in this beguiling follow-up to Alphabet Juice. Leafing through the Oxford English Dictionary and other respectable sources, Blount compiles his own facetious lexicon of terms that pique his interest and prod him into a ramble. "Sonicky" words always get high marks for sheer auto-evocativeness- " âÇÿsplotch' explodes from the mouth and makes an unmissable mess of itself"-but any dubious etymology, quaint and off-color usage, or over-reaching lexicographer's dictat is liable to get him going. Then he's off into historical digressions ("not until 1598 did prick appear as an insult"), grammatical rants (you-all is not singular, Yank), miscellaneous peeves (Karl Rove's prose, people who think somebody else wrote Shakespeare's plays), and, always, a shaggy-dog story he wants to tell. Such is the force of the author's free-associational logic that the entry on meta-narrative carries us straight through Jean-François Lyotard's theory of the postmodern to international news reports of a rash of hog- and possum-hurling misdemeanors in Mississippi. Blount's hilarious collection of riffs and raves adds up to a cantankerous ode to the English language in all its shambling grace. (May)
(c) Copyright PWxyz, LLC. All rights reserved.

From Booklist
Lamenting critics of finicky language users, humorist Blount declares that when it comes to language, he intends to �finick� until the day he dies. And finick he does, with joy and curiosity and a great appreciation for words. In this follow-up to Alphabet Juice (2008), Blount contends that letters and sounds are not arbitrary, as some linguists claim, but are connected to our senses. Savoring the juiciness of some words that connect to our senses of sight and sound, Blount introduces the concept of �sonicky,� the satisfying or curious sounds of words. His collection is a discourse on oddities of origin, meaning, and pronunciation. His sources are as venerated as the Oxford English Dictionary, as contemporary as urbandictionary.com and YouTube, and as eclectic as his own tastes and experiences. Blount�s selection of words is particularly �sonicky� and is accompanied by amusing facts and anecdotes and crazy stories that show the peculiarities of etymology and definitions and the deep and abiding beauty of words. Writers and readers will love this book. HIGH-DEMAND BACKSTORY: Well-known humorist and library panelist Roy Blount Jr. follows up Alphabet Juice (2008) with another entertaining look at language, which will be supported by an author tour and a national advertising campaign. --Vanessa Bush

Review
"Blount's selection of words is particularly 'sonicky' and is accompanied by amusing facts and anecdotes and crazy stories that show the peculiarities of etymology and definitions and the deep and abiding beauty of words. Writers and readers will love this book."—Booklist “The humorist and panelist on public radio’s Wait, Wait, Don’t Tell Me pours a tall glass of wordplay, witticism, curmudgeonry, and anecdote in this beguiling follow-up to Alphabet Juice. . . Blount’s hilarious collection of riffs and raves adds up to a cantankerous ode to the English language in all its shambling grace.” —Publishers Weekly (starred review)

Most helpful customer reviews

8 of 8 people found the following review helpful.
Tangy and tasty, but on the pulpy side
By Jean E. Pouliot
Lovers of word origins are sure to flock to Roy Blount Jr.'s "Alphabetter Juice" for a reinjection of Blount's trademark folksy erudition. The book is an alphabetical listing of essays on the origins and uses of words and phrases (flies, gillie, institutional memory, etc.) spiced with frequent Blount tangents. It's fascinating reading, mostly at the edge of comprehensibility. Blount seems hell bent on pounding into the reader's head his favorite concept of "sonicky" words. Sonicky words (unlike the closely-related onomatopoeia) are those whose pronunciation bears some resemblance to the meaning of the word. Take "push" and "pull." Push starts out with a plosive "P" sound that mimics the instant of propulsion, while the soft, lingering "sh" follows the poor devil's flight into the void. Pull, on the other hand, while starting with the same instant of the action's beginning, uses the long "l" sound to draws the word to an indefinite end. I found the concept of sonicky words interesting, though I'm not convinced that words are created this way. Wouldn't various languages have sonickiness that draws similar-sounding words for the same concept? Yet they don't. Maybe sonicky words are sonicky because we tend to pronounce them according the their meaning? Like the unconsciously long draw of "puuuuulllllll",

Which brings me to others reason for the lost star.

For all the wonderful material in the book (and there is a ton of it!) Blount sometimes can't seem to get out of his own head. More than a few of the entries were so loaded with clever wordplay and inscrutable allusions as to be incomprehensible. (What is it with his obsession with Frisian?) It's almost as though Blount was writing an ode to his own braininess, forgetting to let the reader in on the story as well. And his etymologies tended to be hard to follow, and hence unconvincing.

Best about the book were Blount's forays into personal anecdote. He is clearly a well-read and smart fellow. His asides - whether on Chesterton's verse, or salmon fishing in Iceland with a local girl, or pig-tossing in Mississippi - were as entertaining and lucid as parts of the rest of the book were not.

Lots of carping about a 4-star book, no? But there you have it. Roy Blount is a brilliant writer whose writing occasionally chases its own tail into the antechamber of oblivion. Squeeze as much out of "Alphabetter Juice" as you can, but don't worry if you run into some dark, soft spots.

3 of 3 people found the following review helpful.
Folksy and funny
By K.M. Weiland, Author of Historical and Speculative Fiction
I wasn't sure what I was getting in this book. Mostly, I bought it just because it was a buck fifty and pushed me over the Free Super Shipper Savings on Amazon. An annotated dictionary about the history of words. As a word nut, that sounded attractive. But it could very easily have ended being super tedious.

Not so. Not so at all. This book is a charmer from start to finish. Folksy, funny, self-indulgent in all the best ways, and downright educative. It's not juicy, so much as chewy - in a salty, lip-smacking, can't-eat-just-one sort of way.

1 of 1 people found the following review helpful.
Educational and Entertaining
By P. Miller
This title grabbed my eye on the new books shelf at the local public library, and I've laughed aloud more in the past two days reading it than in the past several months combined. It is both educational and entertaining. I'm ordering a copy as birthday gift for my son, who is an English major and has of late taken to referring to himself as "a scholar." It's the ideal busy thinking man's bathroom book, filled with etymologies and definitions that are brief, informative, and humorous.

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As editor of the Guardian, one of the world's foremost newspapers, Alan Rusbridger abides by the relentless twenty-four-hour news cycle. But increasingly in midlife, he feels the gravitational pull of music―especially the piano. He sets himself a formidable challenge: to fluently learn

Chopin's magnificent Ballade No. 1 in G minor, arguably one of the most difficult Romantic compositions in the repertory. With pyrotechnic passages that require feats of memory, dexterity, and power, the piece is one that causes alarm even in battle-hardened concert pianists. He gives himself a year.

Under ideal circumstances, this would have been a daunting task. But the particular year Rusbridger chooses turns out to be one of frenetic intensity. As he writes in his introduction, "Perhaps if I'd known then what else would soon be happening in my day job, I might have had second thoughts. For it would transpire that, at the same time, I would be steering the Guardian through one of the most dramatic years in its history." It was a year that began with WikiLeaks' massive dump of state secrets and ended with the Guardian's revelations about widespread phone hacking at News of the World. "In between, there were the Japanese tsunami, the Arab Spring, the English riots . . . and the death of Osama Bin Laden," writes Rusbridger. The test would be to "nibble out" twenty minutes per day to do something totally unrelated to the above.

Rusbridger's description of mastering the Ballade is hugely engaging, yet his subject is clearly larger than any one piece of classical music. Play It Again deals with focus, discipline, and desire but is, above all, about the sanctity of one's inner life in a world dominated by deadlines and distractions.

What will you do with your twenty minutes?

• Sales Rank: #368223 in Books
• Brand: Brand: Farrar, Straus and Giroux
• Published on: 2013-09-17
• Released on: 2013-09-17
• Original language: English
• Number of items: 1
• Dimensions: 9.18" h x 1.41" w x 6.41" l, 1.38 pounds
• Binding: Hardcover
• 416 pages

Features

• Used Book in Good Condition

From Booklist
The editor of The Guardian recounts his quest to master a notoriously difficult piano piece in this inspiring book, a tale of perseverance in the face of enormous odds. During a period of more than a year marked by the WikiLeaks and phone-hacking scandal stories, amateur musician Rusbridger carves out the time in his demanding schedule to learn Chopin’s “Ballade No. 1 in G minor.” With great detail, down to the fingering of the piece, the series of diary entries will interest the musically minded most strongly, although it’s possible for nonmusicians to comprehend. Rusbridger speaks to experts and enthusiasts in several different fields to deepen his understanding of the piece and the impact of making music on the brain. Like the Chopin piece, reading this account requires dedication but holds rewards for those who make the effort. As his deadline looms, the drama mounts. Can he master the Ballade and answer his questions about the quest: Is there time for such an endeavor, or is it too late to try? --Bridget Thoreson

Review

“This wonderfully illuminating and entertaining chronicle shows Mr. Rusbridger's incredible dedication and energy in pursuing the mastery of an iconic Chopin piano work. He is an amateur of the piano in the way that we all should be--he truly loves the music and the instrument. I am inspired by his example.” ―Emanuel Ax

“This is not only the diary of a sixteen-month challenge but also an extended essay on beauty, memory, and performance; on time and how we use it; on work and what we do it for. A wonderful book.” ―Sarah Bakewell, author of How to Live: or, A Life of Montaigne in One Question and Twenty Attempts at an Answer

“Music is not just for professionals. It is a universal art form--to be treasured, shared, and enjoyed by amateurs. Play It Again is the inspiring story of how an exceptionally busy editor makes the time in his life for the piano--and one piece in particular, the fearsomely difficult Chopin G minor Ballade No. 1. If it encourages others to find the space for music, I, for one, would be extremely happy.” ―Daniel Barenboim

“This captivating book masquerades as the journal of a magnificent obsession, but you soon realize that it's wider-ranging than that, and far more endearing. The story pivots on a feeling that many of us share: a deep and abiding love of music coupled with a daydreamer's challenge to master one truly great work. With an exegetical discussion of Chopin's masterpiece, Alan Rusbridger insists we step inside the music with him and consider the score with the probing mind of a dedicated amateur. A remarkable tour de force.” ―Thad Carhart, author of The Piano Shop on the Left Bank

“In this dazzling, dizzying memoir, one of the world's leading newspaper editors tells of learning to play Chopin's formidable Ballade No. 1 in G minor against a backdrop of phone hacking and WikiLeaks espionage. The day-to-day counterpoint of piano practice and breaking news is a compositional feat in itself: you have the impression of a wide-awake, fearless mind.” ―Alex Ross, author of The Rest Is Noise

About the Author
Alan Rusbridger has been the editor of the Guardian since 1995. Born in Northern Rhodesia, he was educated at the University of Cambridge and lives in London.

Most helpful customer reviews

25 of 25 people found the following review helpful.
Play It Again
By S Riaz
Alan Rusbridger is the editor of the Guardian, so has little time for hobbies, but has a passion for music and for playing the piano. At an annual 'piano camp' he is inspired when a fellow attendee plays Chopin's Ballade No 1 A piece, which inspires dread in even professional pianists. Rushbridger is now in his fifies and restarted piano lessons in his late forties. He has a demanding job in news, which is now updated constantly 24 hours a day, and has little time for anything outside work. Yet, despite all that, he decides to set himself a challange to pay the piece of music which both daunts and calls to him.

It is difficult to describe this book. It is partly full of fascinating musical digressions, from the author's attempts to find the perfect piano for the music room he is building at his country cottage, to watching other amateur pianists performing the piece on YouTube, taking lessons and discussing the piece with musicians and partly it is a news diary. During the year that Rusbridger was desperately attempting to find time for practice, he was also dealing with some major news stories, such as WikiLeaks, phone hacking and the Arab Spring. The book jumps delightfully between topics, leaving you at times impatient to leave the news and get back to the music - as I am sure Rusbridger felt himself. At one part of the book he mentions a 'sneery' article about his love of music, but you can only applaud his passion for the music (and instrument) he obviously loves and the whole book is a pleasure to read, whether you are a musician or not.

10 of 10 people found the following review helpful.
Twenty Minutes a Day
By takingadayoff
Busy, successful people somehow seem to have more time than the rest of us. For instance, look at the politicians and businessmen who have huge responsibilities and many demands on their time. Somehow many of them find time for extramarital affairs and financial shenanigans.

Guardian editor Alan Rusbridger organized his hectic days to make room for learning a very difficult Chopin ballade. He wondered if it would be possible for him, in his mid-fifties to learn the song, which would require him to memorize big chunks of it, as it would be impossible to do the complex fingerwork and look at the music simultaneously. Even in his early piano playing days, he had always relied on his sight reading skills rather than memorization. And how would he manage to find a piano when he was often on the road? As luck would have it, two of the biggest stories in years were breaking the year he undertook his project, making it even more important to be on the spot for the Guardian. And of course, he also wrote this book in addition to everything else.

Play It Again is set up as a diary and covers the time from his decision to tackle the project to the finish. It's really quite inspiring and surprisingly, not at all boastful, which is quite an impressive trick. Even if you don't play piano, or any musical instrument, you can appreciate the account of covering the phone hacking and WikiLeaks stories, as well as accomplishing a personal challenge.

So next time you hear yourself saying you don't have time to learn a new language or take up kick boxing or whatever, think about Rusbridger and his twenty minutes a day.

8 of 8 people found the following review helpful.
The Guardian editor finds time for piano practice everyday
By kay Irwin
We think it normal for people in high-powered jobs to go to the gym regularly, but a work out on a very difficult piano piece provides a more challenging counterpoint to a very busy job. Two tense tales splendidly interwoven. When did he find time to write a book as well?

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> PDF Ebook Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion, and Jewe

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A love story told in the form of an auction catalog.

Auction catalogs can tell you a lot about a person -- their passions and vanities, peccadilloes and aesthetics; their flush years and lean. Think of the collections of Jacqueline Kennedy Onassis, Truman Capote, the Duke and Duchess of Windsor.

In Leanne Shapton's marvelously inventive and invented auction catalog, the 325 lots up for auction are what remain from the relationship between Lenore Doolan and Harold Morris (who aren't real people, but might as well be). Through photographs of the couple's personal effects -- the usual auction items (jewelry, fine art, and rare furniture) and the seemingly worthless (pajamas, Post-it notes, worn paperbacks) -- the story of a failed love affair vividly (and cleverly) emerges. From first meeting to final separation, the progress and rituals of intimacy are revealed through the couple's accumulated relics and memorabilia. And a love story, in all its tenderness and struggle, emerges from the evidence that has been left behind, laid out for us to appraise and appreciate.

In an earlier work, Was She Pretty?, Shapton, a talented artist and illustrator, subtly explored the seemingly simple yet powerfully complicated nature of sexual jealousy. In Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris―a very different yet equally original book―she invites us to contemplate what is truly valuable, and to consider the art we make of our private lives.

• Sales Rank: #478645 in Books
• Published on: 2009-02-03
• Released on: 2009-02-03
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x .31" w x 7.50" l,
• Binding: Paperback
• 144 pages

Amazon.com Review
Amazon Best Books of the Month, February 2009: What is love? Artist Leanne Shapton may be the first person to answer this age-old question so persuasively, if not damn-near definitively. Her vision of love--that famously immaterial virtue--finds its best expression in the stuff of our daily lives. Which, of course, may not be as filled with the serendipitous charm that marks the courtship of her fictional lovers, but that doesn't make Important Artifacts and Personal Property from the Collection of Lenore Doolan and Harold Morris, Including Books, Street Fashion, and Jewelry feel any less universal. We meet Lenore and Hal after their relationship has ended; that the relics of their life--spent in fits and starts of togetherness--are presented in a Valentine's Day auction catalog has the potential to strike a bitter chord. What comes across instead is that these items, ranging widely from gifts, postcards, and photos to conspiratorial notes and precious evidence of daily rituals, deserve to be cherished for the love they still so clearly honour. --Anne Bartholomew

Review

“Taken together, the item descriptions provide a running, cumulative portrait of one couple's glorious rise and deflating fall. . . For people who have ever thought that the little gestures, tokens and inside jokes of their relationships were unique to them, Ms. Shapton's book comes as a poignant, jarring reminder of the sameness of the steps that so many couples retrace. . . Despite the mist of melancholy that floats amid this photographic record, there is also humor, caprice, knowingness and the implicit suggestion that changing feelings and fading possessions can't rob a true romance of the value it had at its height. As Lenore and Hal's remembrances show, a love affair is worth more than its trappings could fetch at a jumble sale.” ―Liesl Schillinger, The New York Times

“Important Artifacts . . . from the Collection of Lenore Doolan and Harold Morris may look like an everyday auction catalog. But the auction itself is a literary conceit: What this book-type object really does is show us the trajectory of a failed four-year relationship ― by showing us the physical detritus that two (fictional) lovers leaver in their wake.

Conceived and executed by the art director of the New York Times Op-Ed page, Leanne Shapton, the story concerns Lenore Doolan (a food writer for the Times) and Hal Morris (a photographer). Doolan appears to have been a clever and adoring girlfriend, who showered the often-absent Morris with confetti-packed envelopes (LOT 1126) and lavender pajamas (LOT 1061). Morris, who had commitment issues and a drinking problem, expressed himself via mixtapes (LOTS 1276 and 1044). What finally drove them apart? Each of the 331 lots provides another piece of the puzzle. Yes, breaking up is hard to do, but reading about it has never been so pleasurable.” ―Very Short List

“[Shapton's] book tells the story of a hopeful young New York couple and their four-year relationship almost completely through their things, many of which end up unceremoniously, and improbably, under the gavel: books, pajamas, bedside lamps, a stuffed squirrel, an astrakhan coat, the winning half of a wishbone and lots of notes, inscriptions and e-mail messages that start out giddy and become slowly more complicated, angry and sorrowful.
If there were a real failed-relationship auction house named Strachan & Quinn, where the sale is supposed to take place on Valentine's Day, the event might actually draw a modest crowd, if only because the fictional Hal Morris, a globe-trotting photographer in his early 40s, and Lenore Doolan, who is presented as a late-20s cake columnist for The Times's Dining section, are generally more meticulous than conspicuous in their consumption.” ―Randy Kennedy, The New York Times

“The task is daunting: How to render the dissolution of a relationship in a new way? Leanne Shapton succeeds against all odds with this wildly romantic and erudite book.” ―Dave Eggers, What is the What

“Leanne Shapton's splendid book is completely sensational and over-the-top great. I am nuts about it. This is the stuff of life, literally. Oh, love. Oh, despair. Oh, stolen salt shakers.” ―Maira Kalman, The Principles of Uncertainty

“Whenever I come across something of Leanne Shapton's--an illustration in The New York Times, or the wooden books she makes--I feel like I have found a hidden treasure. What a great idea--to create a fake auction catalog. It's so original, and the items are perfect and brilliantly displayed. Shapton thought of every detail. I truly am jealous.” ―Amy Sedaris, I Like You: Hospitality Under the Influence

About the Author
Leanne Shapton is an illustrator, writer, and publisher who was born in Toronto and now lives in New York. She is the art director of the New York Times op-ed page and cofounder of J&L Books, a nonprofit Publishing company specializing in new photography, art, and fiction. She is the author of Was She Pretty?

Most helpful customer reviews

15 of 17 people found the following review helpful.
Sweet, nostalgic and real
By Virgina Colson
Much has been made of how original and unusual the format of this book is--an auction catalog, selling off the ephemera of a failed relationship--and that's true, but it's also deliciously fun to read and a great love story. The particulars, such as 10 postcards sent by Hal to Lenore during an early business trip, one to "my gray-eyed princess" one reading "Pissing rain here, work boring, missing you and thinking of your face all the time/ all the time /all the time..." feel universal, and will be sort of heartbreaking to anyone familiar with early-stage besotment. About halfway through, I found myself starting to feel sad and worried that they're going to break up (you know it's coming) and wishing that they could just work it out. And not to give anything away, but the breakup is just as caddish and dirty and over-articulated as breakups are in real life. Leanne Shapton has proven herself to be brilliant with the telling, hilarious details of relationships (her last book entitled "Was she pretty?" for the question she asks about a boyfriend's ex-girlfriend) and the items in the catalog (the silver-plated cup the couple kept their toothbrushes in, Valentines Day menus, a collection of hotel key cards) are often as poignant as the words. I loved this book!

7 of 7 people found the following review helpful.
Objects as Witnesses
By dizzyweasel
The concept of this novel (photo essay? manifest? collage?) is to present the auction catalog of the property of defunct couple Lenore Doolan and Harold Morris as it relates to their relationship. Through the stark, material lot descriptions of the detritus of coupledom, the author presents the falling in and out of love in a plausible, understated manner. We see numbers exchanged on napkins, polaroids, emails, letters, gifts, menus, and agendas from the couple's 4-year courtship laid out in chronological order.

Some lots speak for themselves - letters exchanged by the couple, notes sent to friends, but the subtle nuances, the underlying evidence examines the psychology of a relationship. What the couple tells one another is contrasted and contradicted by letters sent (and, more poignantly, unsent) to friends, appointments made on the sly, possible betrayals (for example, Lenore makes a date with an ex-boyfriend, and later in the catalog we see Harold carrying an umbrella we are told belongs to the ex-boyfriend, left in Lenore's apartment - when was it left? did she cheat? we don't know). In notes to themselves, private musings, Harold and Lenore are ambivalent, doubt, make lists of pros and cons, visit therapists. But all the while, for a couple of years anyway, they present a loving, happy face to one another. Only later does the relationship collapse on itself, weighed down by the crushing force of incompatibility too long ignored. Harold reminiscences about ex-girlfriends, travels too frequently, gives Lenore gifts of things that belonged to other women in his life, resents Lenore's burgeoning career as a columnist. Lenore has a short temper, is much younger than Harold, cannot decide what she wants out of life, tries to daub the cracks in their love life with thoughtful gifts and food. Like most real world relationships, it ends not with a bang, but a whimper: trips ending in tears and indecision, a pregnancy scare, indifference, and finally a break that turns into a break-up.

One of the strengths of the novel is that the author has created a couple that puts on such a convincing show of functionality and appeal. If you knew them, you'd admire them. They seem so together and fun - they travel, fill their apartment with bizarre kitsch, dress in beautiful vintage clothing, photograph well, and in all respects put on the mask of perfection you so often see in couples with whom you're acquainted and wish you could be like. Perhaps the message is that underneath the trappings, the stuff, the facade, no relationship is ever what it seems.

All that said, I give this novel 3 stars, as it failed to arouse any strong feelings in me either way. Like a lengthy relationship that has long since reached its natural end, this book evokes neither love nor hate, just the resigned acceptance that it was what it was.

4 of 4 people found the following review helpful.
With the Outcome Known.....Who are H & L?
By M. Majury
With the outcome known if you have read reviews or featured articles about the book, it is with a voyeuristic morbidity you view the book. You know they will not end up together and so you look for the clues to the unraveling of the relationship. It makes you think about your own archeological digs when contemplating an ended love affair which is rather depressing. The mood captured, either by intent or not, is of a dated perspective on love and relationships. It as if two people, too in love with living a lifestyle that ended thirty- to forty-years ago found each other, and got lost in the affectations of love, as opposed to the working on the reality of a relationship. And, maybe that's the point. It was hard to determine who the real Hal and Lenore were. Were they two people who loved vintage, literature to excess, vintage clothing and expensive gifts that captured their current mask? Or, were they just two people who were too narcissistic and self-absorbed in the persona they present to the outside world to drop it inside a relationship?

Even with these questions, there is a sense of doom from the moment you open the book and see the black and white photographs. You read it, examine their lives, analyze the meaning behind the items to be auctioned off, and know it all is leading to the dissolution of their relationship. This does not lead to a sense of optimism, but instead a practical dread of inevitability.

Ultimately, you wonder why they would then dump everything to do with the relationship if it was that painful. And, the "artifacts" do not indicate this was anything other than a passionate infatuation for two people who were trying on a "relationship".

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Hardcover with dustjacket

• Sales Rank: #2107832 in Books
• Published on: 1985-09-01
• Original language: English
• Number of items: 1
• Dimensions: 8.72" h x 1.06" w x 5.74" l,
• Binding: Hardcover
• 242 pages

From Library Journal
British director Boorman's insightful diary of his three-year effort to make The Emerald Forest is really a two-fold horror story: one concerns the harrow ing attempt to find a studio to back the projectan endeavor that takes rough ly twice the time of the film's produc tionand the other is the often disas trous tale of location filming in the tortuous wilds of the raw Brazilian rain forest. The book also sheds light on why the veteran Boorman's eccentric, ambitious films often fail: they simply do not forcefully convey to the audi ence the director's complex, interior mythic vision (released in July, The Emerald Forest has largely flopped at the box office), which is the powerful and elusive challenge that has enticed artists to work in film from its very be ginnings. David Bartholomew, NYPL
Copyright 1985 Reed Business Information, Inc.

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1 of 1 people found the following review helpful.
Emerald Forest in Danger
By Sandra Angell
An awesome story of aborigine people and how our modern world is taking away the rain forest and the way of life of these amazing people.

0 of 0 people found the following review helpful.
Five Stars
By Phoebe
Fun fun fun fun! Anyone who is interested in the making of movies should read this.

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Nowadays, the idea that the way a country borrows its money is connected to what kind of government it has comes as a surprise to most people. But in the eighteenth century it was commonly accepted that public debt and political liberty were intimately related. In A Free Nation Deep in Debt, James Macdonald explores the connection between public debt and democracy in the broadest possible terms. He starts with some fundamental questions: Why do governments borrow? How do we explain the existence of democratic institutions in the ancient world? Why did bond markets come into existence, and why did this occur in Europe and not elsewhere?

Macdonald finds the answers to these questions in a sweeping history that begins in biblical times, focuses on the key period of the eighteenth century, and continues down to the present. He ranges the world, from Mesopotamia to China to France to the United States, and finds evidence for the marriage of democracy and public credit from its earliest glimmerings to its swan song in the bond drives of World War II. Today the two are, it seems, divorced--but understanding their hundreds of years of cohabitation is crucial to appreciating the democracy that we now take for granted.

• Sales Rank: #2268892 in Books
• Published on: 2003-01-08
• Original language: English
• Number of items: 1
• Dimensions: 9.30" h x 1.88" w x 6.34" l,
• Binding: Hardcover
• 576 pages

From Publishers Weekly
Public borrowing from citizens in times of war has gone hand in hand with modern democracy, Macdonald argues in this dense, sweeping economic history. A former investment banker now living in London, Macdonald traces the history of public financing of "national emergencies" (read: wars), from the biblical era through the present day. Until modern times, he shows, nations relied on stored treasure and surpluses to finance wars, often with detrimental results. Indeed, Macdonald argues that an inability to raise taxes for wars was one of the causes of Rome's downfall. Placing the importance of credit back at the center of historical causality is one of the book's strengths. The system of public credit swept onto the world stage in 18th-century Britain, France and the United States, and was intricately linked, notes the author, with revolutions in these latter two countries. During the 20th century, the system-and the notion of a "citizen-creditor"-reached its strongest point during WWI and likely had its swan song during WWII, because of postwar inflation, the succeeding decline in trust in government in the West and the increasingly global understanding of citizenship. There is much to learn here, but despite Macdonald's best attempts at accessibility, readers without a background in economics will struggle through.
Copyright 2002 Reed Business Information, Inc.

From Booklist
MacDonald, a former investment banker, examines the historical linkage between political freedom and public debt, showing why representative governments have been able to borrow more cheaply from citizen lenders than autocratic heads of state who do not consider their citizens to be equals. Beginning at the end of the Bronze Age, this wide-ranging, comprehensive treatise traces the story of public finance and political freedom through the Napoleonic Wars to the twentieth century. We learn that the U.S. role in World War I was funded with public debt and, it is interesting to note, that World War II was the last major engagement in which savings bonds were a vital part of national security and the war effort. The mature bond markets of today have a global reach, and governments no longer depend upon citizen lenders. Even when considering the hard facts of money and credit markets--and their political implications--the author emphasizes the relationship between the state and its people, in this well-considered work. Mary Whaley
Copyright © American Library Association. All rights reserved

Review
"Chief Justice John Marshall observed that the power to tax involves the power to destroy. James Macdonald argues that the power to borrow is the key to democracy. This startling and original book traces the evolution of public debt from the Bronze Age to our own and in clear, lucid prose shows that successful state finances have been both a cause and an effect of the emergence of democratic forms. This is a truly unusual work written by somebody who combines financial expertise and historical imagination." --Jonathan Steinberg, University of Pennsylvania

"Macdonald's wide-ranging exploration of representative political institutions and the ability of states to borrow, survive, and prosper is history at its best. Political liberty, sound public financial policies, and well-functioning securities markets nurture one another, but across human history all three have been hardly gained, easily lost, and therefore rare. It is a deep insight, one that all who cherish freedom should understand and heed." --Richard Sylla, Henry Kaufman Professor of the History of Financial Institutions and Markets, Stern School of Business, New York University


"A profound and original work of historical scholarship . . . Macdonald has something exciting to teach." --Niall Ferguson, author of The Cash Nexus

Most helpful customer reviews

21 of 21 people found the following review helpful.
The Relationship of Public Finance and Political Freedom
By Dr. Jonathan Dolhenty
"A Free Nation Deep in Debt" is James Macdonald's first literary contribution to the field of political economy and it is rich in historical detail, a fact which may make it a challenging read for anyone unacquainted with ordinary economic history and its specific historiography. Macdonald, an investment banker for many years who now lives in Oxford, England, discusses the idea that the way a country borrows its money is associated with what kind of government it has. In his discussion, Macdonald traces the evolution of public debt from antiquity to the present, arguing that public finance and political freedom are more closely interrelated than most people realize.
For those who like some structure in a book of this complexity, it can easily be divided into an introduction and four main sections. The first seven pages, with the title "Introduction: The Financial Roots of Democracy," sketches out what is to come, providing the reader with a framework for the coming text and raising the essential questions with which the author will wrestle.
The first section traces the history of public finance and political freedom from the end of the Bronze Age to the end of the Dark Ages, contrasts two different types of finances -- tribal and imperial, explains the historic advantages of autocratic government, considers the critical period when some of the emerging societies settled down and civilized themselves without losing their political freedom, and, in regard to the so-called Dark Ages, asks why they had a more intense and enduring effect in western Europe than in other places. This initial section sets the stage for a comprehensive description of the relationship of public finance and political freedom in the Middle Ages and modern times.
The second section deals with medieval Europe. It was to be the role of medieval Italian city-states to bring back the idea of democratic public financing and modify it so it could become a workable plan for public financing. According to Macdonald, "The system that they created, although in one way fatally flawed, set off a chain of events with results that no one could have predicted." The third section of the book continues the discussion of public finance by looking at the attempts of other European states to come to terms with the implications of the Italian strategy.
The fourth and final section considers events after the French Revolution, and the author suggests that "The outcome of the Napoleonic Wars demonstrated the superiority of a political system based on the alliance of parliamentary government and public debt, but now there was a new question: Would a system created in a world of restricted citizenship and limited franchise prove compatible with universal suffrage. It was the role of the nineteenth century to find a solution to this problem. In the devastating wars of the first half of the twentieth century, this solution was put to the test." And Macdonald concludes that "The First World War was the apotheosis of 'democratic' public finance, the Second its swan song."
Throughout the reading of "A Free Nation Deep in Debt," one is struck continually by both the historical detail the author has uncovered and the factual surprises which he springs on the reader. How many of us realize, for instance, that the problem of public financing was intimately related to the fall of Rome or that in the eighteenth century it was commonly accepted that public debt and political liberty were intimately related? Regarding our own time and country, how many of us realize that the role played by the United States in World War I was funded with public debt?
I will leave it to the experts in economic theory and history to evaluate what appear to be Macdonald's conclusions in this romp through political economy from ancient Mesopotamia to the United States in the twentieth century. Has public borrowing from citizens in times of war gone hand in hand with modern democracy, as Macdonald argues? Does he present a compelling case showing why a democratic government is able to borrow more cheaply from its citizen-lenders than an autocratic state who does not consider its citizens to be equals? Was, in fact, World War II the "swan song" of democratic public financing? And, if true, has this occurred as a result of a decline in the public's trust of government, particularly in Western nations, combined with increasing globalization of the economy?
Readers can decide for themselves whether Macdonald adequately answers the above questions, as well as the other questions he tackles. Suffice to say, "A Free Nation Deep in Debt" is a comprehensive and detailed consideration regarding a certain aspect of economic history, specifically the relationship between public financing and political freedom. Certainly an interesting read, but let the reader beware. This scholarly book is definitely not Sunday afternoon "leisure" reading.
Fortunately for the reader, this book is enhanced with a detailed appendix of notes on currencies which describes them and sets out their relationships in historical context. Furthermore, a helpful glossary is provided which explains the technical terms used in the text, although the educated reader will not have much difficulty with the terms as they are used since they are explained as they occur within the text itself. The author has also provided thirty-five pages of notes, a 21-page bibliography, and a useful index with both major and minor topics listed.

8 of 8 people found the following review helpful.
An excellent history of public debt and its role in developi
By Abacus
This book is not what you think. The title suggests the repeat of the theme exposed by Paul Kennedy in the 80s in his book "The Rise and Fall of Great Powers." But, the two books advance almost symmetrically opposed theories. Paul Kennedy suggested that great powers eventually decline because they can't withstand the fiscal burden of maintaining a nonproductive military effort to govern their empire (the Imperial Overstretch concept). Macdonald instead advances that a public bond market is a nation?s best tool in raising funds for emergencies such as warfare. In Kennedy's book debt is bad. In Macdonald it is good.
Macdonald's argument starts with the fiscal stress associated with having to raise huge amount of funds in preparation for warfare. In such situation, raising taxes is impractical. Often tax rates would have had to double or treble to raise adequate funds to finance wars throughout history. A government can?t do that without causing a revolution. Often what states and government did before the advent of well developed public bond markets was to mine their grounds (or grounds of conquered territories) for mineral riches (gold and silver). The states would then hoard these gold reserves as funds available for a rainy day (war). But, as Macdonald points out this treasure hoarding was most inefficient from an economic standpoint.
Public debt markets became a much preferred alternative to treasure hoarding for financing wars. This was true for several reasons. Treasure hoarding represented a huge amount of wasted capital not reinvested in the economy where it could have generated rapidly rising living standards for society at large. Bond financing (public debt) was so much more flexible a tool for war financing than an ongoing tasking treasure hoarding mechanism.
Comparing two countries, one being a bond borrower, the other a treasure hoarder, one could readily observe that the bond borrower economy would grow much faster, and that it would have an easier time to finance wars when and as needed. Typically, you run out of gold reserve faster than you run out of a state's borrowing capacity.
But, for a public debt market to thrive you need democratic institutions. In democracies, the motivation of the government and its citizen are aligned. This facilitates a trust between the creditors (citizens) and the borrower (the government). As a result, democratic governments can borrow more and at a lower interest costs then other governments. In other words, the creditors of a democratic government assess a lower credit and counterparty risk to a democratic government, and therefore demand a lower risk premium (lower interest rates). This is Macdonald's main argument. Therefore, he concludes that the pressure to create public credit markets to finance wars was an impetus to create public debt markets and in turn to develop democratic institutions.
Macdonald's theory is so current. Today, it is self evident that the countries who have the most transparent disclosure, integer accounting system, accountable governance associated with democracies can borrow at a substantially lower cost than others.

8 of 8 people found the following review helpful.
Well argued even if you don't agree with him
By Steven Martinovich
For the record, I won't pretend to be an expert on public debt and all its related trivia so I'll judge this book as a layman only.
A Free Nation Debt in Debt is an impressive bit of research and analysis. Macdonald does a remarkable job tracing the role of public debt stretching back thousands of years in an attempt to advance the notion that democracies are inextricably tied to government funding, and indeed exist because of it. Throughout history, Macdonald argues, public debt has applied pressure on government to become more transparent to both creditors and the citizens it represents.
Of course, the problem with public debt is that it necessitates taxation -- and it may irk readers to hear Macdonald judge who is under- and over-taxed -- an intimately related issue. In fact, taxation plays such a role that you could argue it's a minor character in Macdonald's story.
Does A Free Nation Deep in Debt succeed? That will depend on your perspective. Small government types probably won't care for Macdonald's primary thesis while others may nod in agreement. Either way, it is a fine example of historical research. Warning: Not a casual read. You don't need a degree in economics to pick this up but don't expect to breeze through through it either.

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? Download Forgotten Land: Journeys Among the Ghosts of East Prussia, by Max Egremont

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Forgotten Land: Journeys Among the Ghosts of East Prussia, by Max Egremont

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Until the end of World War II, East Prussia was the German empire's farthest eastern redoubt, a thriving and beautiful land on the southeastern coast of the Baltic Sea. Now it lives only in history and in myth. Since 1945, the territory has been divided between Poland and Russia, stretching from the border between Russia and Lithuania in the east and south, and through Poland in the west. In Forgotten Land, Max Egremont offers a vivid account of this region and its people through the stories of individuals who were intimately involved in and transformed by its tumultuous history, as well as accounts of his own travels and interviews he conducted along the way.

Forgotten Land is a story of historical identity and character, told through intimate portraits of people and places. It is a unique examination of the layers of history, of the changing perceptions and myths of homeland, of virtue and of wickedness, and of how a place can still overwhelm those who left it years before.

• Sales Rank: #1101958 in Books
• Published on: 2011-11-08
• Released on: 2011-11-08
• Original language: English
• Number of items: 1
• Dimensions: 9.31" h x 1.30" w x 6.38" l, 1.35 pounds
• Binding: Hardcover
• 384 pages

Review

“This is it. The thoroughly authentic, artistically intelligent biography we've been waiting for. The book is refreshingly rich and subtle as well as psychologically acute. Thank you, Max Egremont.” ―Paul Fussell, author of The Great War and Modern Memory on Siegfried Sassoon

“Memory, its suppression and manipulation, is a recurrent theme in this original book . . . Egremont has written a book that tries to make sense of this history―not as a single, chronological narrative, but as a sequence of short, interconnected essays in which measured reflections, portraits of the leading political and cultural figures, and conversations with exiles from this 'forgotten land' are interwoven. Egremont's allusive prose style seems to echo these multiple perspectives, changing frontiers, blurred racial identities, shifting allegiances and the mass movement of peoples―a story for our time.” ―Richard Calvocoressi, The New Statesman

“The book's canvas is remarkable . . . Egremont's compelling tale exploits his boundless intellectual curiosity, mastery of German and eye for whimsy as well as tragedy. I know enough of the story he tells to appreciate how much he has discovered that is quite unfamiliar to Anglo-Saxon readers . . . his literary journey through its past makes fascinating reading.” ―Max Hastings, Sunday Times (UK)

“East Prussia is Germany's lost province, in national memory the place of Immanuel Kant, honorable nationalism, and military strength. Max Egremont has captured the spirit of the land and its people.” ―Professor Roger Louis

“The experience of reading Max Egremont's wonderful evocation of the final years of East Prussia is like watching a film whose images you know will stay with you for years to come. You stumble out onto the street numb and haunted, unable and reluctant to rejoin the present . . . Its characters represent not only the vanished fringes of Germany, but of that swath of Eastern Europe little known in the West and whose intensity of human experience--from doomed nobility to war-time suffering--now appears almost mythical in scale.” ―Phillip Marsden, Country Life

“Forgotten Land [is] a work of consummate artistry . . . Max Egremont dovetails the stories of individual East Prussians with the wider narrative's tangled skein . . . [Egremont has] a deftly controlling intelligence which draws the reader in before resuming the main thread. The result is continuously satisfying both as a work of art and as a professional work of history.” ―Hywell Williams, The Spectator

“[Egremont's] new book, mixing a personal quest with the strange history of [East Prussia], represents the very best form of travel writing . . . Finally, in a post-totalitarian age, the deeper history of the country is now allowed to raise its head.” ―Antony Beevor, The Mail on Sunday

“In Forgotten Land: Journeys Among the Ghosts of East Prussia, Max Egremont reconstructs the tragic sequence of events that took place in this picturesque region on the Baltic Sea . . . As we delve into the history of East Prussia, the author introduces us to a range of people. Tracking these individuals across time provides us with a nuanced sense of how each person dealt with conflict and turmoil. Some became martyrs, others villains . . . Egremont observes: ‘Terrible things happen to countries--yet most of them can be proud of much of their past; here such pride skulks in secret, as if within a forbidden sect.' Most of the people who were driven out of their East Prussian homeland are gone now. This potent book bestows an overdue honor to their memory.” ―Vick Mickunas, Dayton Daily News

“Max Egremont's idiosyncratic . . . and beautifully written volume makes an ideal guide to this shifting, shadowy realm. In part a piecemeal history of the final half-century of German East Prussia, in part a travelogue through what was left behind, Forgotten Land is gently elegiac. Shifting constantly between present and a variety of pasts, it is as wistful as a flick-through of an old photo album, as melancholy as a rain-spattered northern autumn afternoon . . . On visiting Kaliningrad in the 1960s, the poet Joseph Brodsky wrote that the trees ‘whisper in German.' They don't any more. But Max Egremont heard their last words.” ―Andrew Stuttaford, The Wall Street Journal

“Max Egremont is at his best when describing his travels and conversations. He has a good sense of local atmosphere and a sharp eye for how ‘the tourist trail reshapes the past' . . . The interwoven story lines are artfully managed, the anecdotes are lively, and Egremont's urbane voice carries the reader along.” ―David Blackbourn, Times Literary Supplement

“Egremont eloquently survey the ‘layered history' of a land in which Germans, assorted Slavs, Lithuanians, and even French Huguenots have left their marks. He draws on testimonies of former residents and provides often touching biographical vignettes of some prominent East Prussians in what is a striking yet melancholy tribute to a homeland now consigned to history.” ―Jay Freeman, Booklist

About the Author

Max Egremont was born in 1948 and studied modern history at Oxford University. He is the author of four novels and four biographies, most recently Siegfried Sassoon: A Life (FSG, 2005). Egremont is a Fellow of the Royal Society of Literature.

Most helpful customer reviews

69 of 77 people found the following review helpful.
"Forgotten Land" Passable Overview of Former East Prussia
By Thomas J. Burke
I picked up Max Ergemont's book "Forgotten Land" after reading a positive review in the "Wall Street Journal." Overall it is a passable overview for readers unfamiliar with the complex and often dark history of the former German province of East Prussia which was divided after WWII by Poland, the USSR, and Lithuania.

The book, however, gets some important details wrong. At various points Ergemont refers to the "Prussians" who inhabited the area prior to the arrival of the Teutonic Knights (or German Order) in 1230 AD. In fact these people were actually called the Prußen or Prussen by the Germans. The term Preußen or Prussian in English came later. The German Order did not lead to "an extinction of the pagan Prussians [sic]" but instead they assimilated in with the Germans and Poles over time.

The author states that "On 6 April 1945, the librarian [Diesch] was on the last ship to leave Pillau..." The last ship to leave the East Prussian port city of Pillau was actually on April 24, 1945, before it fell into Soviet hands the next day. It's a significant error as the port of Pillau was the last escape route for East Prussians and others fleeing the Red Army after land routes were cut off in January of 1945. Some 451,000 refugees and 141,000 were evacuated by the German Navy via Pillau to relative safety in the west. Many more ships and boats made the dangerous journey to pick up refugees and the wounded from April 6 to April 24 despite being under constant attack from the air and from artillery.

Throughout the book the author leans especially heavily on the best-known 20th century East Prussian writer, Countess Maria Dönhoff. Ergemont paraphrases the prolific Dönhoff at length as well as others.

Yet the 1944 massacre of German civilians, including young children and babies, in the frontier town of Nemmersdorf by the Red Army receives little attention. A German counteroffensive retook the town and the atrocities were documented. Word of the Nemmersdorf massacre had the effect of stiffening the resolve of the German troops to continue fighting in a lost cause to buy time for refugees to make their escape. It also created panic among German civilians who were prevented from an orderly evacuation by fanatical Nazi regional and local leaders until it was too late.

The book could have benefited from more detailed maps of the former East Prussia which has just a single one. The photographs are somewhat muddy also in their reproduction.

However, English language books about East Prussia are few and far between. For someone interested in a primer on East Prussian history and culture I still recommend "Forgotten Land." The author is at his best in travelogue fashion, traveling through the modern-day territory that was once East Prussia, including the Russian enclave of Kaliningrad which is back in the news as Russians threaten to move missles facing NATO to the western border of Kaliningrad. He also recounts the brutal treatment faced by those East Prussians unlucky enough to be left behind and fall under Soviet and Polish occupation until they were forcibly deported in 1947.

0 of 0 people found the following review helpful.
Three Stars
By Dave
Book really wonders around which was frustrating and made it hard to stay focused.

54 of 60 people found the following review helpful.
Honoring a lost world
By Richard Cumming
When hundreds of thousands of Germans were forced to leave their homeland in East Prussia after World War Two the world remained mostly silent. East Prussia was carved up and made into a Russian enclave and into an expanded Poland. All those Germans had to go and be absorbed into what was left of Germany. Imagine the suffering and the displacement they must have felt? They survived the war only to become exiles.

The author takes readers back through the history of this land, from the Teutonic Knights, through the epic battles, Napolean, Hindenburg, the Wolf's Lair of Adolf Hitler. And we meet some amazing people. Some were good. Some, not so good. The book consists of highly fluid essays. Personalities glide across the pages like ghosts. And they come alive for us as we learn about the tragedy of the people and this place. Gone, but not quite forgotten. A savagely brilliant book.

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