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Wednesday, November 11, 2015

^^ Ebook The Rehearsal, by Sarah Willis

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An engaging new novel about love, on-stage and off

In the spring of 1971, Will Bartlett, an ambitious director at a small resident theatre, has an idea: he will invite his cast of Steinbeck's Of Mice and Men to his country farm for a month, giving them the opportunity of "becoming" their characters, and enhancing the realistic atmosphere of his next production. Will's family grudgingly agrees to his sudden change of plan, but events and personalities rapidly spiral out of his control. The cast of nine men and one woman is already unevenly balanced, but the situation is made even worse when Melinda--the woman playing the part of Curley's Wife--fails to turn up at the farm as expected. Will's wife, Myra, takes the role, although she has not been on stage since their daughter, Beth, was born. Sixteen-year-old Beth is furious, having already decided that the part should be hers. When the self-obsessed Will remains oblivious to the problems between Myra and Beth, as well as the increasing distance between himself and his wife, Myra finds herself looking at her husband's best friend in a new light. The tension grows between members of Will's family, and the other actors find themselves drawn into a complex tangle of relationships, leading them to question not only how well they know each other, but also how well they know themselves.

Sales Rank: #4828158 in Books
Published on: 2001-10-03
Original language: English
Number of items: 1
Dimensions: 1.03" h x 6.70" w x 8.64" l, 1.20 pounds
Binding: Hardcover
272 pages

Features

Sarah Willis
fiction
drama

From Publishers Weekly
In Willis's second novel (after Some Things That Stay), theater director Will Bartlett has invited the actors in his resident theater company to his family's small upstate New York farm, before the opening of their summer production of Steinbeck's Of Mice and Men. It's 1971, resident companies are struggling financially and the theater is changing artistically under the influence of new ideas like Artaud's Theatre of Cruelty. In his late 50s, Will is not avant-garde enough for nude rehearsals, but he does want to try something new. So he asks his cast to "live" their characters while offstage as well as on. The pressures created by this effort, together with the strains imposed by communal life in a small house and decrepit barn, exacerbate problems in the Bartlett family. Will's wife, Myra, a musical comedy actress who retired after a severe bout of stage fright that followed marriage and motherhood, is reexamining her life, while his daughter, Beth, is maneuvering to get her first role. The addition of the sexual and professional tensions that inevitably plague actors adds fuel to the fire. The present-tense narrative creates a sense of urgency, but the potentially combustible ingredients don't come together to create an explosion; the few sparks struck ultimately fizzle. Although dramatically unsatisfying, this is true to life, as are the portrayals of Will and the various members of his personal and professional families, especially the angry and confused 16-year old Beth.

From Library Journal
Director Will Bartlett, 60 and irresistibly charismatic, has a great idea. He invites his small Pittsburgh theater company to spend a month at his country place near Lake Chautauqua, where the troupe is scheduled to perform Of Mice and Men later in the summer. The members will immerse themselves in the characters they play, actually becoming them while rehearsing and living on the farm. Unfortunately, Will's family is less than thrilled. The much younger Myra, a thwarted actress, is falling out of love with her oblivious husband and into love with his best friend, Ben, who plays Lenny. The Bartletts' hormonally furious 16-year-old daughter, Beth, is planning to poison her mother. Eight-year-old Mac, sweet, overlooked, and fearful of mostly everything, seeks non-Bartlett nurturing. The actors get into the adventure until the Bartlett family starts seriously unraveling, hurtling everyone toward disaster. Willis, author of the award-winning Some Things That Stay, has nailed the various quirks of the acting world quirks that mightily exacerbate the relationship insecurities of people who spend a great deal of time pretending to be what they are not. A brief refresher of the Steinbeck masterpiece will add to the pleasure of Willis's offbeat tale. Recommended for most public libraries. Beth E. Andersen, Ann Arbor District Lib., MI
Copyright 2001 Reed Business Information, Inc.

From Booklist
Throw a dying theater company, a handful of volatile actors, a brilliant director, a failing marriage, a troubled family, and a Steinbeck play onto a rural farm in the early 1970s, and you have an interesting story. Will is the director, who invites his theater company, facing possible breakup, to spend a month on his family farm, where his wife and children live during the summer. He intends for them to live out the roles of the play they are scheduled to perform later that summer, which is Of Mice and Men. Skeptical, they arrive on the scene to discover that Will's wife and family are not enthusiastic about their visit. Will's wife, who longs to act once again, begins to find comfort in his best friend. Will's daughter, an often chemically enhanced 17-year-old ball of hormones, also has acting aspirations. Will's tragic flaws bring his ideas and relationships crashing down on him, but his hubris brings redemption as well. Willis creates a good story imbued with a great deal of pathos. Michael Spinella
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

6 of 6 people found the following review helpful.
An interesting prism
By A Customer
I found this second book by Sarah Willis to be a good read, in large part because of its original approach. Willis puts the rehearsal for "Of Mice and Men" center stage; we learn about the troubled family members as they walk into scene, work backstage or look on as spectator.
As if we were looking through a kaleidoscope, we see the characters develop, discontinue, or renew relationships with each other in subtle shifts; the novel benefits from this multi-layered texture. Willis also demonstrates her skill as an author by maintaining a deliberate pace throughout these shifts. Certainly the stakes become more and more intense, and as a reader, you can't help but think ahead to the final scene, but in this book the conclusion is not one you can predict.
From the start, it is apparent to the reader how Will's role as director eclipses his role as husband and father. How much he has ignored his family becomes starkly evident in the climax of the book, but as the cast rehearses there are plenty of other surprises along the way.
My only criticism would be in regard to the character of Beth, the bratty teenage daughter. In an otherwise rich ensemble of characters, this painfully screechy character is the only discordant note. I realize her character functions as a catalyst, but I would have preferred it if she had been less hysterical. I was a sixteen year old girl once; we're not that bad!

3 of 3 people found the following review helpful.
Life imitating art...
By Laume
Sarah Willis' "The Rehearsal" had great expectations to live up to. Not only did this book capture the magic her first novel "Some Things That Stay" had, but it exceeded my expectations.
The Rehearsal is about Will, the director of a Pittsburgh theatre company. He has heard rumors that they might not ask the company to return after this season since it is the early 70's and broadway and New York actors are all the rage. Determined to save his company he invites the cast of his latest play "Of Mice And Men" to his summer home where he and his family go each summer. The idea is to live the play. To sleep like the ranch hands in the play who sleep in barns, the point is to do everything in character. Will and his wife, Myra and their two children live along side these actors for a month. The story is about all of these lives that become entwined and how things change, why they change and sometimes why they stay the same.
Sarah Willis has the most beautiful prose, both of her books have quickly become favorites of mine. Her words flow on the page like poetry, with the most incredible metaphors and ways of looking and describing things. I would not hesitate to recommend either book to anyone, they do not disappoint.

2 of 4 people found the following review helpful.
When Theater becomes Life, Life becomes Theater!
By Michael Meredith
Will Bartlett, the director of a small resident company of actors in the 1970's, senses that their work has become a bit complacent, making their company vulnerable to closing in favor of more popular (and "safe") touring productions. His solution is to bring the entire cast to his rural summer home, so that they might "live" the production of Steinbeck's "Of Mice and Men", thus uncovering new depth to their roles that will energize the audience and the company's benefactors. Unfortunately, he has failed to notice the complacency and stagnation within his own family. The result of this exercise in creativity is a mixture of chaos and pathos as various members of Will's theatrical and home families jockey and learn more about themselves, their friends and rivals.
Will's wife Myra and daughter Beth discover a mutual yearning for the role of Curley's Wife, that threatens to send their already robust mother/daughter rivalry over the edge. Meanwhile, Melinda the flower child actress embraces the role along with a castmate. Meanwhile, the motley collection of actors discover that living the lives of farm workers is much more difficult than recreating them on stage.
The near-communal living conditions stretch hormones as well, as Beth plots her seduction of the hunky young heartthrob, Myra looks to re-energize her life with Will's best friend, and a closeted gay man discovers a potential soul mate. Throughout the week, Will the director focuses so tightly on his concept of the play that he is completely blind to the shifting relationships offstage. The events of man and nature bring the ensemble to a collection of resolutions that range from poignant to worrisome.
With a third person literary style that constantly shifts from character to character, Ms. Willis has created a nice novel that somehow left me wanting more. The players are all vividly portrayed, however I can't help but wish that events could have moved just a little faster than a snail's pace.

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Tuesday, November 10, 2015

! Get Free Ebook Killing the Black Dog: A Memoir of Depression, by Les Murray

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In 1988, shortly after moving from Sydney back to his birthplace in the rural New South Wales hamlet of Bunyah, Les Murray was struck with depression. In the months that followed, the "Black Dog" (as he calls it) ruled his life. He raged at his wife and children. He ducked a parking ticket on grounds of insanity, and begged a police officer to shoot him rather than arrest him. For days on end he lay in despair, a state in which, as he puts it precisely, "you feel beneath help."

Killing the Black Dog is Murray's recollection of those awful days: brief, pointed, wise, and full of beauty in the way of his poetry. The prose text―delicately balanced between personal and informative―gives a glimpse of the imprint that depression can leave on a life. The accompanying poems show their roots in his crisis―a crisis from which, he reports toward the close of this poignant book, he has fully recovered. "My thinking is no longer jammed and sooty with resentment," he recalls. "I no longer wear only stretch-knit clothes and drawstring pants. I no longer come down with bouts of weeping or reasonless exhaustion. And I no longer seek rejection in a belief that only bitterly conceded praise is reliable."

Killing the Black Dog is a crucial chapter in the life of an outstanding poet.

Sales Rank: #1368625 in Books
Published on: 2011-03-15
Released on: 2011-03-15
Original language: English
Number of items: 1
Dimensions: 8.50" h x .23" w x 5.50" l, .30 pounds
Binding: Paperback
96 pages

Review

“. . . equipped with a fierce moral vision and a sensuous musicality . . . [Murray] writes subtly about post-colonialism, urban sprawl and poverty and, in his most intimate poems, reminds us of the power of literature to transubstantiate grievance into insight. (His admirers have argued he ought to be considered for a Nobel.) But he is equally capable of writing emotionally simplistic and strangely soured poems in which the enraged adolescent emerges all but unmediated. This mercurial doubleness can make his work hard to categorize or describe: this is a mind at once revolutionary and reactionary. Or maybe just a poet who's willing to show more id than most.” ―Meghan O'Rourke, The New York Times Book Review

“Mr. Murray's verse wears, from the waist up, a cosmopolitan, Philip Larkin-like wit. From the waist down, it dresses in worn dungarees and mud-caked boots. There's a sense of rural astringency . . . Mr. Murray employs both rhyme and meter, but variably--he's like a man walking a large, randy, omnivorous dog on a retractable leash. He can cinch his words tightly in an instant; he owns one of poetry's most sensitive verbal choke collars . . . ” ―Dwight Garner, The New York Times

“In the ever-diminishing world of contemporary poetry, Les Murray is one of the few undeniable titans.” ―Emily Colette Wilkinson, The Washington Times

About the Author

Les Murray is the author of twelve books of poetry. His collection Subhuman Redneck Poems received the T. S. Eliot Prize, and in 1998 he was awarded the Queen's Gold Medal for Poetry, presented by Queen Elizabeth II. He lives in New South Wales, Australia.

Most helpful customer reviews

14 of 14 people found the following review helpful.
Brilliant
By Arlenerichards89
Conveys the sense of how it feels to be depressed in a clear, engrossing and honest narrative free of whining or self pity. Shows how much knowing the causes helps, how much medication helps and the ultimate vulnerability to recurrence remains. Great read for a depressive person and for whoever loves one. The combination of poetry and prose allows the reader to know the facts and feel the emotions.

1 of 10 people found the following review helpful.
Not a real memoir of depression
By AgnesaB.
This tiny book has two parts: the short essay on author ' s depression - vague, full of unimportant details and the second part are poems. I know something about depression myself, so i know little piece of writing tells almost nothing valuable about it. Vague and useless.

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Monday, November 9, 2015

!! Download PDF The Habit of Being: Letters of Flannery O'connor, by Flannery O'Connor

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A collection of the letters of one of America's greatest authors.

Sales Rank: #1064165 in Books
Brand: Farrar, Straus & Giroux
Published on: 1979-01
Ingredients: Example Ingredients
Original language: English
Number of items: 1
Dimensions: 9.25" h x 6.50" w x 2.00" l,
Binding: Hardcover
617 pages

Features

Hardcover

Most helpful customer reviews

77 of 78 people found the following review helpful.
Her Own Words--The Best Words
By A Customer
THE HABIT OF BEING is required reading for any Flannery O'Connor fan. Nobody can explain Flannery like Flannery. Through her letters the reader has an immediate connection to the writer and the woman, and that connection made me regret even more that I did not know her personally. Sally Fitzgerald includes letters that show Flannery's human side, her cranky side, her funny side, even her arrogant side. I read the letters before the identity of A was revealed, and I was intrigued. I went back and read them again after that identify was made public, and I'm even more intrigued. To understand fully what Flannery was attempting in her stories, one needs to read the letters. To understand fully what she was attempting in her life, one needs to read the letters. No satisfactory biography has been written about Flannery O'Connor, but I'm not sure that one is necessary when we have at least a start at an autobiography with THE HABIT OF BEING.

42 of 44 people found the following review helpful.
Humor, Faith, and Work
By Stephen E. Adams
Flannery O'Connor's correspondence is a fine testimony to humor, faith, and work in the life of a fascinating and absolutely unswerving human being. As she says in a letter to Andrew Lytle from this collection, the fact that she was a Catholic kept her from being a regional writer and the fact that she was a Southerner kept her from being a Catholic writer. If you want the best tutorial you're apt to ever read on how to write fiction, forget the usual "Write a Novel in 30 Days" garbage and get a copy of THE HABIT OF BEING. She'll also teach you quite a bit about living.

0 of 0 people found the following review helpful.
Anyone who is intrigued and possibly puzzled with O'Connor's writings ...
By Amazon Customer
Anyone who is intrigued and possibly puzzled with O'Connor's writings will find this book helpful in plumbing the depths of her thinking and spirituality. It added to my appreciation of this immensely talented writer. Anyone who wants to be a writer will gain much in studying her craft.

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Saturday, November 7, 2015

^^ Get Free Ebook How Markets Fail: The Logic of Economic Calamities, by John Cassidy

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Behind the alarming headlines about job losses, bank bailouts, and corporate greed is a little-known story of bad ideas. For fifty years or more, economists have been busy developing elegant theories of how markets work—how they facilitate innovation, wealth creation, and an efficient allocation of society’s resources. But what about when markets don’t work? What about when they lead to stock market bubbles, glaring inequality, polluted rivers, real estate crashes, and credit crunches?

In How Markets Fail, John Cassidy describes the rising influence of what he calls utopian economics—thinking that is blind to how real people act and that denies the many ways an unregulated free market can produce disastrous unintended consequences. He then looks to the leading edge of economic theory, including behavioral economics, to offer a new understanding of the economy—one that casts aside the old assumption that people and firms make decisions purely on the basis of rational self-interest. Taking the global financial crisis and current recession as his starting point, Cassidy explores a world in which everybody is connected and social contagion is the norm. In such an environment, he shows, individual behavioral biases and kinks—overconfidence, envy, copycat behavior, and myopia—often give rise to troubling macroeconomic phenomena, such as oil price spikes, CEO greed cycles, and boom-and-bust waves in the housing market. These are the inevitable outcomes of what Cassidy refers to as “rational irrationality”—self-serving behavior in a modern market setting.

Combining on-the-ground reporting, clear explanations of esoteric economic theories, and even a little crystal-ball gazing, Cassidy warns that in today’s economic crisis, conforming to antiquated orthodoxies isn’t just misguided—it’s downright dangerous. How Markets Fail offers a new, enlightening way to understand the force of the irrational in our volatile global economy.

Sales Rank: #118179 in Books
Published on: 2009-11-10
Released on: 2009-11-10
Original language: English
Number of items: 1
Dimensions: 9.22" h x 1.34" w x 6.48" l, 1.36 pounds
Binding: Hardcover
400 pages

From Publishers Weekly
Market disasters—and the cycle of delusions responsible—receive lively, engaging analysis by Cassidy (Dot.con), a journalist at the New Yorker. The author focuses primarily on the rise and fall of free market ideology and the mostly unrealistic ideal of a self-correcting marketplace. An excellent comprehensive history of the economic thought that led to this kind of utopian economics provides a refresher course in Adam Smith, Friedrich August von Hayek, Kenneth Arrow and Hyman Minsky. Both a narrative and a call to arms, the book provides an intellectual and historical context for the string of denial and bad decisions that led to the disastrous illusion of harmony, the lure of real estate and the Great Crunch of 2008. Using psychology and behavioral economics, Cassidy presents an excellent argument that the market is not in fact self-correcting, and that only a return to reality-based economics—and a reform-minded move to shove Wall Street in that direction—can pull us out of the mess in which we've found ourselves. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Cassidy, economist and journalist, launches a theoretical attack on Milton Friedman and the Chicago school’s free market concepts, calling them Utopian Economics, which Cassidy explains in part one. The author describes his replacement theories in part two, which give market failure a central role, calling them Reality-Based Economics. Drawing on both approaches, in part three he explains in detail his analysis of the financial crisis of 2007–2009, indicating that the subprime boom was a failure of capitalism and the financial crisis was the consequence on decisions made by private firms under deregulation. He concludes with suggestions including banks that create and distribute mortgage securities should be forced to keep approximately one-fifth on their books and federal regulators should have oversight responsibility for mortgage bankers and lenders. Everyone will not agree with the author’s theories, and although he denies this is a textbook, it will stir controversy within and outside the classroom. However, the challenging material in this book will limit its appeal to many library patrons. --Mary Whaley

Review

Praise for How Markets Fail

“Cassidy clearly knows a great deal of economics, and he tells his story extremely well . . . Many of his chapters—on the development of general equilibrium theory (how everything in the economy systematically depends on everything else), for example, or marginalism (why prices are determined by what we’re prepared to pay for the very last item of something we buy, rather than what the whole amount is worth to us)—would make useful supplementary reading in an undergraduate economics course.” —Benjamin M. Friedman, The New York Review of Books

“[A] wonderful book . . . The most concise and elegantly written account, among the many that have come out, of how we got into this mess.” —Liaquat Ahamed, The National Interest

“[How Markets Fail] brilliantly dissects much of what has passed for economic wisdom, and decries the lack of humility from those whose theories helped cause the disaster.” —Floyd Norris, The New York Times

“Highly readable . . . Cassidy offers a clear and occasionally colorful exposition of the evolution of relevant economic thought in a way that is accessible to non-economists.” —Richard N. Cooper, Foreign Affairs

“Fascinating and important.” —Eliot Spitzer, Slate

“An admirably lucid account of how ‘utopian economics’ drove us to disaster . . . This is a compelling synthesis that derives most of its narrative energy from the author’s clarity of thought and exposition.” —James Pressley, Bloomberg.com

“An essential, grittily intellectual, yet compelling guide to the financial debacle of 2009.” —Geordie Greig, London Evening Standard

“The last major attempt of 2009 to make sense of what has become of the discipline of economics.” —Stefan Stern, Financial Times (Best Books of the Year)

“A well constructed, thoughtful and cogent account of how capitalism evolved to its current form.” —Edmund Conway, The Daily Telegraph

“[How Markets Fail] is more than just an account of the failures of regulators and the self-deception of bankers and homebuyers, although these are well covered. For Mr. Cassidy, the deeper roots of the crisis lie in the enduring appeal of an idea: that society is always best served when individuals are left to pursue their self-interest in free markets . . . An ambitious book, and one that mostly succeeds.” —The Economist

“An ambitious, nuanced work that brings ideas alive . . . Cassidy makes a compelling case that a return to hands-off economics would be a disaster.”—Chris Farrell, BusinessWeek

“Brilliant.” —Paul M. Barrett, New York Times Book Review

“Both a narrative and a call to arms, [How Markets Fail] provides an intellectual and historical context for the string of denial and bad decisions that led to the disastrous ‘illusion of harmony,’ the lure of real estate and the Great Crunch of 2008. Using psychology and behavioral economics, Cassidy presents an excellent argument that the market is not in fact self-correcting, and that only a return to reality-based economics—and a reform-minded move to shove Wall Street in that direction—can pull us out of the mess in which we’ve found ourselves.” —Publishers Weekly

“An elegant, readable treatise on economics, swathed in current headlines . . . Cassidy delivers on the promise of his title, but he also offers a clear-eyed look at economic thinking over the last three centuries, from Adam Smith to Ben Bernanke, and shows how the major theories have played out in practice, often not well . . . Cassidy writes with terrific clarity and a finely tuned sense of moral outrage, yielding a superb book.” —Kirkus Reviews (starred review)

Most helpful customer reviews

50 of 55 people found the following review helpful.
Very insightful but with imperfect solutions to problems
By Rajesh Gajra
The 2007 and 2008 crisis in world economics and financial markets have spawned many books. This is one book that talks about the same crisis but perhaps in a much more insightful way than any other. Dwelling on the interplay between economic policies and financial markets this book is difficult to put down once you realise the enormous promise it holds when you read the 12 pages of the 'Introduction' chapter. That promise is not belied although John Cassidy, the author, could have been clearer and more elaborate in the solutions he offers.
Cassidy refers to the idea that a free market economy is sturdy and well grounded as an "illusion of stability". He calls this "Utopian economics". This forms the first of three parts of his book and includes eight fascinating chapters on the people and ideas that shaped it.
This section of the book first lays out in great detail how economic theories and economists came about to have a large sphere of influence in central banks' monetary policy matters and governments' economic policies. It describes how the "Chicago School" of economics, propagating free market economy with almost zero regulations, ended up enormously broadening their sphere of influence in the top echelons of the US Federal Reserve and the Treasury department of the US government. What follows is an excellent exposition of 10-12 most-influential economists including Adam Smith, John Keynes, Milton Friedman, Robert Lucas and Friedrich Von Hayek, as well as a couple of mathematicians such as Eugene Fama.
Taking the reader back and forth in time, Cassidy beautifully connects the conservative economists with the "neo" liberalists, mathematics with economics, and evangelist-led economic theories with existing practices in financial markets and governmental regulations.
The second part of Cassidy's book has him propagating "reality-based" economics. Cassidy believes that free market economists dangerously ignore the very possibility of speculative bubbles, leave alone the fact that market prices during a speculative bubble provide incentives for individuals and companies to "act in ways that are individually rational but immensely damaging to themselves and others". He even gives examples of market failures beyond financial markets, such as markets encouraging "power companies to despoil the environment and cause global warming", health insurers excluding "sick people from coverage and CEOs stuffing "their own pockets at the expense of their stockholders."
The second part is as elaborate, articulate and insightful as the first. Cassidy puts forth the economics-linked issues of "the prisoner's dilemma", "the market for lemons", "the beauty contest", "the rational herd" and "ponzi finance". Like in the first part Cassidy beautifully uses the works of important contributors to economics to illustrate their--and his own--arguments. For instance, on the subject of market externalities, Cassidy talks about a paper, presented at Harvard University in the mid-1980s by W. Brian Arthur, a applied mathematician from Northern Ireland, wherein Arthur argued that chance events and network effects can enable inferior technologies to beat out superior products and take over entire markets.
Cassidy, however, fails to convince, why monopolies should be forced to co-operate with budding competitors. He talks about Microsoft refusing to make its products compatible with those of its rivals but does not rationalise why that is such a good thing in a competitive scenario and how much of sustainable benefits it will provide to consumers.
In the third and last part of the book Cassidy turns to the real-life happenings in financial markets and economies in the last 20-30 years and how they led to the complete financial meltdown in 2007 and 2008. This is again a very exciting read as Cassidy elaborately criticises Alan Greenspan's blind eye to the speculative bubbles in the real estate market, fanatic reduction of interest rates to artificially pump up the economy after the 'dot com' bust in 1999-2000, and dangerously preventing regulators such as Commodity Futures Trading Commission from laying out capital adequacy and risk-containment measures for complex financial products like credit default swaps and other complex financial derivatives.
Cassidy lays out in good detail the history of mortgages, including the sub-prime chain, and the bubble in real estate prices. There are rare insights into how the securitisation of mortgages by banks and Wall Street firms grew in size and led to extreme risks that ultimately exploded in the face of every financial market participant. He also points to the failure of capitalism in that tax payers money had to be used to bail out the failures in the market.
While Cassidy is great in describing what happened he is very weak in pointing out appropriate solutions in much detail. He does, however, says that free markets should not be devoid of active government intervention when prices are going up and building into a bubble. But Cassidy should have been more sharp and pointed out that if firms get too big to fail then they should be too big to succeed in the first place. Or, if free markets are to be allowed without restrictions, then any failures should also be allowed to happen freely without government bailouts. If profits are made by everyone during a bubble then losses can also be borne by everyone when the bubble bursts.
He also fails to highlight enough the dangers of uncontrolled leverage in not just financial derivatives but also in complex financial structured products whether traded directly between counterparties or traded on a financial exchange.
But, on the whole, the book is a great read.

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
Amazing book

150 of 175 people found the following review helpful.
A must read critique of economic theory
By Abacus
Cassidy analyzes how orthodox economic theory (he calls Utopian economics) went astray. While Adam Smith advanced the merits of market competition and free trade in "Wealth of Nations" in 1776; He warned against unregulated credit creation and ensuing speculative excesses. But, economists focused solely on Smith's benefit of free markets. The field of economics became increasingly quantitative based on flawed assumptions including Cassidy's four basic Utopian illusions:
1) the illusion of harmony (free markets always generate good outcomes);
2) the illusion of stability (free market economy is sturdy);
3) the illusion of predictability (distribution of returns can be foreseen); and
4) the illusion of Homo Economicus (individuals are rational and act on perfect information).

This idealized framework allowed economists to develop overreaching math models increasingly disconnected from reality. This trend started with Friedrich Hayek, leading Austrian economics, who stated in late 1930s that prices communicate near perfect information that determined underlying demand and supply. This was a brilliant insight if not taken too far. In the 1970s, Eugene Fama builds upon Hayek's insight with the Efficient Market Hypothesis (EMH) that stated stock prices captured all available information. Thus, stock prices move randomly and both technical and fundamental analysis do not add value. The theory was popularized by Burton Malkiel in A Random Walk Down Wall Street: Completely Revised and Updated Edition. The EMH was a brilliant insight backed by data (the majority of mutual fund managers do not beat the index to this day). But, it lead to Robert Lucas Rational Expectation Hypothesis (REH) in the 1980s. The REH stated that all markets (goods, labor, etc...) are efficient not just securities. It also stated that individuals act upon their anticipating of future events. This entailed that fiscal or monetary policies have no effect since the public counters them. Cassidy states REH was the most hubristic Utopian economics theory as it was completely disconnected from reality. The next Utopian manifestation was the General Equilibrium Theory (GBT). The latter represents more than century long effort (Leon Walras, French economist, first pronounced it in 1870s) to demonstrate that all markets affect each other and each has a single interdependent equilibrium price. The underlying math is forbidding; yet GBT utility and accuracy is null.

Cassidy discredits Milton Friedman and Alan Greenspan the most. Friedman is "The Evangelist" libertarian who broadcasted his anti-government views in two manifestos Free to Choose: A Personal Statement and Capitalism and Freedom: Fortieth Anniversary Edition. His anti-Keynesian theory of monetarism is completely obsolete. It was shortly tried in the early 1970s in the U.S. and the U.K. and was a dismal failure (source: Paul Krugman).

Cassidy states Greenspan was the main culprit of the housing bubble and ensuing financial crisis on two grounds. First, he kept interest rates too low for too long in the first half of this decade. This contributed to skyrocketing home prices. Second, his Utopian view that financial markets better self-regulate their risks than regulators promoted egregious mortgage underwriting (the Subprime mess). It also facilitated unregulated collateral debt obligations (CDOs) and credit default swaps (CDS) that spread the financial crisis worldwide.

Cassidy provides rebuttals to Utopian economics from many fields he lumps into "reality-based economics." The latter includes Game Theorists John von Neumann and John Nash. Game Theory contradicts economic theory as individuals respond strategically to each others' actions (Prisoner's Dilemma) instead of economic incentives. Reality-based economists also include Daniel Kahneman and Amos Tversky, psychologists, who demonstrated individuals are irrational as we are more sensitive to losses than gains. We overweight our firsthand experience and events that occurred recently. Richard Thaler, an economist, will apply their ideas thereby creating behavioral economics.

The most successful reality-based economist is Hyman Minsky. His theories pervade Cassidy section on the current financial crisis. Minsky is an American economist (1919-1996) ignored during his lifetime; but, is now experiencing a resurgent posterity. This is because the first decade of the 21st century with the dot.com and housing bubbles confirmed the relevance of his model. The later entails that free market economies are inherently unstable prone to booms and busts caused by asset bubbles. This is because the credit cycle exacerbates the business cycle. Bankers lend too much when collateral values go up (causing bubbles) and not enough when collateral values flatten (credit freeze). Minsky's model is scalable from homeowners defaulting on their mortgages to countries defaulting on sovereign debt. Charles Kindleberger leveraged Minsky's model to explain 400 years of financial crisis in his formidable Manias, Panics, and Crashes: A History of Financial Crises (Wiley Investment Classics).

Minsky success also reinforces the greatness of both Adam Smith and John Maynard Keynes. Smith fully anticipated the relevance of Minsky's model and the resulting need for tightly regulating credit. Keynes fully understood free market economies are inherently unstable and occasionally need a fiscal push (Keynesianism). Additionally, both Smith and Keynes were behavioral economists before it was cool as they fully grasped the irrationality of speculators.

Cassidy is by no means a socialist. He just thinks the dogmatic choice between free markets and socialism is wrong. He adheres to what Smith/Keynes/Minsky suggest. And, that is the credit market is a social utility that needs tight regulation to prevent the type of economic calamities we just experienced. And, his preventive recommendations are more stringent but in line with the proposals from the Obama Administration.

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Friday, November 6, 2015

** Fee Download Too Soon to Tell, by Calvin Trillin

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A collection of topical essays revealing the acclaimed writer at his wittiest deals with matters of the family, educational issues, world affairs, and language in short takes that offer a humorous look at the quirks of society. 25,000 first printing. Tour.

Sales Rank: #2265747 in Books
Published on: 1995-06
Original language: English
Number of items: 1
Dimensions: 1.07" h x 5.83" w x 8.82" l,
Binding: Hardcover
292 pages

Amazon.com Review
Another collection of Trillin's short pieces has hit the streets, and he just gets better and better. A Midwesterner in his soul but a New Yorker in fact, Trillin's comic take on '90s life demonstrates his perfect pitch for the absurd again and again in these short and intelligent essays.

From Publishers Weekly
In this collection of some 90 syndicated columns written in the past four years, the reliably amusing Trillin mixes whimsical fluff with sly stilettos. In the whimsy department are essays on monkfish and high tides, courtesy of his Nova Scotia summers, as well as the "grandchildren gap" faced by parents of professionals and the prospect of the Queen being audited. Most of those essays go down easy enough, but Trillin also takes on bigger targets. The lip-synch shame of the Milli Vanilli duo, who were exposed as not having done the singing on their albums, prompts him to muse on the lack of scandal accorded celebrity authors whose books are ghostwritten. News that an East German spy waited tables at the West German Senate suggests spymasters confounded by Ronald Reagan's airy anecdotes, which they'd taped expecting to learn secret information. And, noting that some companies give campaign contributions to both political parties, he proposes a new question for a national high school civics exam: "Explain this practice without using the word 'bribery.'" This collection shows Trillin's ephemera to be delightfully durable.
Copyright 1995 Reed Business Information, Inc.

From Library Journal
Every few years, Trillin gathers a bunch of his syndicated columns on anything and everything and converts them into a book. This is his fifth such collection. It is difficult to find anything new or particularly illuminating to say about Trillin. In this book, readers will discover precisely what they would expect from past acquaintance: wit, spiced with a tang of tolerant cynicism; a chuckly sort of humor rather than a guffawing one; a purged prose in which the inessential is resolutely excluded; and little in the way of subject matter to which he will not give at least a flying salute. A sturdy package job that makes for good reading. Recommended.
--A.J. Anderson, GSLIS, Simmons Coll., Boston
Copyright 1995 Reed Business Information, Inc.

Most helpful customer reviews

8 of 9 people found the following review helpful.
Witty but never mean
By Lynn Harnett
Humorist Trillin's 1995 collection of the best of his "New Yorker" columns, maintains a consistent deadpan humor and amiable cynicism, whether the subject is bestselling writers who don't write their own books, teenagers' comprehension of rock lyrics, or the rehabilitation of Nixon.
Trillin is at his most caustic with politicians and icons of corporate culture. His wife and two daughters feature prominently, as always, allowing him to play the hapless, push-over curmudgeon. Wry and economical with words, Trillin takes on any aspect of American culture that strikes his fancy and gets to the nub of absurdity without ever resorting to sneers or viciousness. A delight, as Trillin's collections always are.

12 of 15 people found the following review helpful.
Flashes of brilliance
By Michael J. Edelman
Calvin Trillin has two qualities that distinguish him as a writer. One is a great talent for deadpan wit, and the other is a true amateur's enthusiasm for everything he tries.
The latter serves him best when he's writing about food, or about travel, or about everyday life in New York, but less so when he writes about politics and world events. His perspective on his own countrymen is often narrow, provincial, and downright condescending. He can't bring himself to admit that someone could hold different views from his and still be a moral person.
But no matter. There's still a nice variety of wit and droll observation contained in this volume to make up for the pieces that fall flat.

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Monday, November 2, 2015

>> Download PDF Fieldwork: A Novel, by Mischa Berlinski

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A daring, spellbinding tale of anthropologists, missionaries, demon possession, sexual taboos, murder, and an obsessed young reporter named Mischa Berlinski

When his girlfriend takes a job as a schoolteacher in northern Thailand, Mischa Berlinski goes along for the ride, working as little as possible for one of Thailand’s English-language newspapers. One evening a fellow expatriate tips him off to a story. A charismatic American anthropologist, Martiya van der Leun, has been found dead—a suicide—in the Thai prison where she was serving a fifty-year sentence for murder.

Motivated first by simple curiosity, then by deeper and more mysterious feelings, Mischa searches relentlessly to discover the details of Martiya’s crime. His search leads him to the origins of modern anthropology—and into the family history of Martiya’s victim, a brilliant young missionary whose grandparents left Oklahoma to preach the Word in the 1920s and never went back. Finally, Mischa’s obssession takes him into the world of the Thai hill tribes, whose way of life becomes a battleground for two competing, and utterly American, ways of looking at the world.

Vivid, passionate, funny, deeply researched, and page-turningly plotted, Fieldwork is a novel about fascination and taboo—scientific, religious, and sexual. It announces an assured and captivating new voice in American fiction. Mischa Berlinski was born in New York in 1973. He studied classics at the University of California at Berkeley and at Columbia University. He has worked as a journalist in Thailand. He lives in Rome. A National Book Award FinalistThe New York Magazine Best Debut of the YearA Los Angeles Times Favorite Book of the YearA San Francisco Chronicle Notable Book of the YearA Chicago Tribune Favorite Book of the YearA Seattle Times Favorite Book of the YearA Christian Science Monitor Best Book of the YearA Library Journal Best Book of the YearA Kirkus Review Top 10 Book of the Year When his girlfriend takes a job as a schoolteacher in northern Thailand, Mischa Berlinski goes along for the ride, working as little as possible for one of Thailand’s English-language newspapers. One evening a fellow expatriate tips him off to a story. A charismatic American anthropologist, Martiya van der Leun, has been found dead—a suicide—in the Thai prison where she was serving a fifty-year sentence for murder.

Motivated first by simple curiosity, then by deeper and more mysterious feelings, Mischa searches relentlessly to discover the details of Martiya’s crime. His search leads him to the origins of modern anthropology—and into the family history of Martiya’s victim, a brilliant young missionary whose grandparents left Oklahoma to preach the Word in the 1920s and never went back. Finally, Mischa’s obssession takes him into the world of the Thai hill tribes, whose way of life becomes a battleground for two competing, and utterly American, ways of looking at the world.

Vivid, passionate, funny, deeply researched, and page-turningly plotted, Fieldwork is a novel about fascination and taboo—scientific, religious, and sexual. It announces an assured and captivating new voice in American fiction. "Mischa Berlinski brings a wealth of vivid detail to his narrative, and writes with real authority. Fieldwork is as fascinating as an ethnographer's private journal, as entertaining as a finely plotted thriller."—John Wray, author of Canaan's Tongue "The West has long equated exotic peoples with the dark and the wild. It is the strength of Mischa Berlinski's novel to chart those elements in the heart of the anthropology that seeks to explore them. He turns received ideas on their heads, for he makes us unsure about the things we thought we knew while showing us truths that we like to hide from ourselves."—Nigel Barley, author of The Innocent Anthropologist "A journalist investigates the suicide of an American anthropologist serving time for murder in a Thai jail. Mischa and Rachel are a young, bored, American couple who decide, upon college graduation, to move to northern Thailand, where Rachel accepts a job teaching first grade in Chiang Mai and Mischa pieces together enough freelance journalism gigs to make a living. But Mischa's focus changes when another wanderlust American tips him off to the riveting story of Martiya van der Leun, a middle-aged anthropologist who overdosed on opium while serving a murder sentence in Chiang Mai's women's prison. Mischa has almost no information about the crime, and leads on Martiya's life seem scarce, but he pursues the story with an anthropological fervor—one that he soon learns would have made Martiya proud. He follows Martiya's life from her childhood in an Indonesian village to her teenage years in California to her career in Thailand, where she began as a field researcher studying the Dyalo people. Slowly he uncovers important puzzle pieces, learning most notably that Martiya's murder victim was David Walker, a fourth-generation American missionary from a family of Dyalo experts, and that what had began for Martiya as an academic project with the Dyalo eventually became for her an obsessive way of life. As Mischa integrates himself into the facets of Martiya's story, he becomes as consumed with it as she had become with the Dyalo, and when Rachel returns to America at the end of the year, Mischa finds that he cannot leave. Berlinski's methodical account of the factors that led a rational intellectual to commit such a heinous crime is air-tight and intensely gripping. But equally notable is his ability to conjure such an elaborate portrait of the fictional Dyalo, and his treatment of both religious missionary and anthropological fieldwork is subtle and insightful. Impeccable research and a juicy, intricate plot pay off in this perfectly executed debut."—Kirkus Reviews "A fictional version of the author serves as the narrator of Berlinski's . . . thriller set in Thailand. Mischa Berlinski, a reporter who's moved to northern Thailand to be with his schoolteacher girlfriend, Rachel, hears from his friend Josh about the suicide of Martiya van der Leun, an American anthropologist, in a Thai jail, where she was serving 50 years for murder. As Mischa begins to investigate Martiya's life and supposed crimes, he becomes increasingly obsessed with the woman . . . Berlinski, who has been a journalist in Thailand, vividly portrays the exotic setting and brings depth and nuance to his depictions of the Thais . . . a lean, interesting tale about, among many other things, the differences between modern and tribal cultures."—Publishers Weekly

Sales Rank: #267317 in Books
Brand: Farrar, Straus and Giroux
Published on: 2007-02-06
Released on: 2007-02-06
Original language: English
Number of items: 1
Dimensions: 9.00" h x 1.15" w x 6.00" l,
Binding: Hardcover
336 pages

Features

Great product!

From Publishers Weekly
A fictional version of the author serves as the narrator of Berlinski's uneven first novel, a thriller set in Thailand. Mischa Berlinski, a reporter who's moved to northern Thailand to be with his schoolteacher girlfriend, Rachel, hears from his friend Josh about the suicide of Martiya van der Leun, an American anthropologist, in a Thai jail, where she was serving 50 years for murder. As Mischa begins to investigate Martiya's life and supposed crimes, he becomes increasingly obsessed with the woman. The complications that arise have the potential to be riveting, but the chatty narrative voice takes too many irrelevant detours to build much suspense. Still, Berlinski, who has been a journalist in Thailand, vividly portrays the exotic setting and brings depth and nuance to his depictions of the Thais. Buried within the excess verbiage is a lean, interesting tale about, among many other things, the differences between modern and tribal cultures. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
Mischa Berlinski originally intended to write an account of the real-life Lisu tribe of Thailand, but held scant interest in the project until he decided to fictionalize the natives and turned his research into a novel. In this readable and clever debut, told almost entirely in backstory, Berlinski explores the problems inherent in trying to assume the perspective of another person or culture and the enduring conflict between faith and science. While he treats each perspective with genuine empathy, he refuses to take sides. Critics had a couple of complaints—a lagging secondary plot and a few descriptions with a textbook feel—but dismissed them as minor. They unanimously praised Berlinski’s wit, style, and intelligence in this atmospheric "novel that never fails to fascinate" (Minneapolis Star Tribune).
Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
This novel is an amalgam of murder mystery, historical novel, psychological thriller, and even travelogue, but its multiple dimensions are not a drawback. The premise is solid and creative: a young American freelance writer accompanies his girlfriend to Thailand, where, from a person he'd known before, he is offered a tantalizing story to pursue, "as a gift." It seems a woman anthropologist had been imprisoned in Thailand for murder and subsequently killed herself during her incarceration. The narrator takes up the story, assumes the challenge, and goes in search of the answers to two overriding questions: Whom did the woman murder and why? Berlinski is obviously fascinated by the history of twentieth-century anthropology and equally eager to share his knowledge of tribal customs in rural Thailand. The reader learns a great deal about fieldwork but significantly less about the effortless integration of fact into fiction. In this, Berlinski is somewhat clumsy. Brad Hooper
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

70 of 78 people found the following review helpful.
Excellent Book
By Amazon Customer
Well-researched and excellently paced novel. I was fascinated by the level of detail and found the non-judgmental tone of the author refreshing. The novel ended up being an anthropological study of 3 separate tribes--the fictional Dyalo (who appear to be based on the Lisu tribe the novelist studied extensively--look on [...]), American Protestant missionaries, and the curious tribe that lives in figurative ivory towers who spend their lives studying other tribes. The author seems to suggest that the universal tragedy that serves as the basis for the murder mystery aspect of the novel is the result not merely a simplistic clash between East and West, but one that can happen to any peoples who do not share the same world view or to anyone in any culture subject to common human emotions.

Terrific read, and highly recommended. I look forward to Mr. Berlinksi's future literary output--maybe something set in Italy, or perhaps involving Haitian voodoo cults?

0 of 0 people found the following review helpful.
The story tends to meander a bit too much for ...
By Harry Kousourou
The story tends to meander a bit too much for my taste. A bit of editing would make the story flow more smoothly.

0 of 0 people found the following review helpful.
A terrific and fascinating novel
By Jolivore
A terrific and fascinating novel, inventive and witty and intriguing.

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Sunday, November 1, 2015

>> Ebook Free Carsick: John Waters Hitchhikes Across America, by John Waters

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A cross-country hitchhiking journey with America's most beloved weirdo

John Waters is putting his life on the line. Armed with wit, a pencil-thin mustache, and a cardboard sign that reads "I'm Not Psycho," he hitchhikes across America from Baltimore to San Francisco, braving lonely roads and treacherous drivers. But who should we be more worried about, the delicate film director with genteel manners or the unsuspecting travelers transporting the Pope of Trash?
Before he leaves for this bizarre adventure, Waters fantasizes about the best and worst possible scenarios: a friendly drug dealer hands over piles of cash to finance films with no questions asked, a demolition-derby driver makes a filthy sexual request in the middle of a race, a gun-toting drunk terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in jail. So what really happens when this cult legend sticks out his thumb and faces the open road? His real-life rides include a gentle eighty-one-year-old farmer who is convinced Waters is a hobo, an indie band on tour, and the perverse filmmaker's unexpected hero: a young, sandy-haired Republican in a Corvette.
Laced with subversive humor and warm intelligence, Carsick is an unforgettable vacation with a wickedly funny companion―and a celebration of America's weird, astonishing, and generous citizenry.

Sales Rank: #141370 in Books
Brand: Waters, John
Published on: 2014-06-03
Released on: 2014-06-03
Original language: English
Number of items: 1
Dimensions: 8.45" h x 1.10" w x 5.75" l, 1.02 pounds
Binding: Hardcover
336 pages

From Booklist
*Starred Review* There’s nothing cheap—er, ungenerous—about Waters, the Pope of Trash (or Filth, or both). His new book is actually three (clap!), three (clap!), three books in one! All are based on the pitch he sold his publisher about hitchhiking from his home in Baltimore to his home in San Francisco. Oh, he knew it was insane—“I’m sixty-six years old, for chrissake”—and so wrote it up in advance, just in case, once imagining “The Best That Could Happen,” then again envisioning “The Worst That Could Happen.” Because he is, after all, John “Pink Flamingos” Waters, both fictional trips are rather similar in terms of weirdness and even scabrousness, at least in the eyes of those who aren’t J “PF” W. Fortunately, except for a handful of incidents (well, maybe more) that body-slam the boundaries of scatological toleration, both are pretty constantly hilarious and, when he somehow encounters such figures from his past as Edith Massey (the Egg Lady in PF) and 1980s gay porn star Johnny Davenport (whom Waters never knew, casually or biblically—alas!), sentimental. The real trip, hardly as ludicrous as the preceding fictions, takes longer, involves more drivers, and has Waters growing in admiration for the regular—but far from colorless!—people who pick him up, especially the married guys who praise their wives to the skies. Travel—uh, hitchhiking—book of the year? --Ray Olson

Review

“Fantastical and plush . . . Carsick becomes a portrait not just of America's desolate freeway nodes--though they are brilliantly evoked--but of American fame itself.” ―Lawrence Osborne, The New York Times Book Review

“In this, the seventh of his books, John Waters--the evil genius of Baltimore, the living, breathing embodiment of camp, the man with the bristling pencil-thin mustache and vocabulary that would make a drill sergeant blush--betrays his deepest and darkest secret. In these pages the apostle of outrage--the actor, writer and director whose contributions to cinematic glory include 'Pink Flamingos,' 'Mondo Trasho,' and 'Hairspray'--reveals himself to be a . . . sentimentalist . . . underlying it all is a highly developed sense of fun, a desire to amuse more than to shock . . . Waters has made a funny engaging and--of course--occasionally outrageous book . . . All in all a cool trip and a delightful book.” ―Jonathan Yardley, The Washington Post

“Mr. Waters has long been that relative rarity among American film directors. He can write. His memoirish volume Role Models is observant and light on its feet, and his essays and journalism, sure to be collected in their entirety someday, are fond, exotic well groomed, debonair--'natty,' to borrow one of my father's favorite words . . . This writer has proved himself to be good company.” ―Dwight Garner, The New York Times

“This is all good, dirty subversive fun . . . a good helping of unbridled lewdness is surely to be expected, and no doubt cherished, from the man known as the king of filth and the pope of trash. However, once [Waters] gets on the road and begins his 'real life' adventure, he comes across as a very different, and much more benign and vulnerable, figure. In many ways, he's an innocent . . . He also has to rely on the kindness of strangers, and he finds it everywhere. Quite a few people mistake him for a homeless man and try to give him a handout. Some of this is deeply moving . . . As he says in the book's acknowledgments, 'If I ever hear another elitist jerk use the term flyover people, I'll punch him in the mouth.' I do believe he will.” ―Geoff Nicholson, San Francisco Chronicle

“*Starred Review* Waters idiosyncratically cuts to the core of American diversity, finding the good (and bad) in any situation with biting wit. The unlikely friendship Waters forms with a young Republican politician is an unexpected twist, and a timely tale of bromance in the midst of hardship. If a dyed-in-the-wool conservative and the pope of Trash can have an adventure in Reno together, aren't all things still possible in this world? But for Waters aficionadoes, the best parts of this enchanting narrative aren't the ones that actually happened. Fans will delight in the two novellas, with Waters at his campiest and most ludicrous, that precede the nonfiction third act . . . Waters devotees take note: this is required reading.” ―Publishers Weekly

“It's rare to find a book that resembles no other book you've ever read. It's rare to find a book that's both funny and profound. John Waters' Carsick is a doubly rare book.” ―Michael Cunningham, author of The Snow Queen

“Face it: Wouldn't you rather strike out on the road with John Waters than Jack Kerouac?” ―Kirkus Reviews

“*Starred Review* There's nothing cheap--er, ungenerous--about Waters, the Pope of Trash (or Filth, or both). His new book is actually three (clap!), three (clap!), three books in one! All are based on the pitch he sold his publisher about hitchhiking from his home in Baltimore to his home in San Francisco. Oh, he knew it was insane--"I'm sixty-six years old, for chrissake"--and so wrote it up in advance, just in case, once imagining "The Best That Could Happen," then again envisioning "The Worst That Could Happen." Because he is, after all, John "Pink Flamingos" Waters, both fictional trips are rather similar in terms of weirdness and even scabrousness, at least in the eyes of those who aren't J "PF" W . . . Travel--uh, hitchhiking--book of the year?” ―Ray Olson, Booklist

“A flavorful book, with the same cheeky sentimentality we experienced in Water's memoir Role Models plus a Divine-sized dose of kitsch. John Waters fans like me will be ecstatic.” ―Annie Coreno, Publishers Weekly

“John Waters is something of a living stunt, in the best possible way. A hero of both American and Americana, Waters has changed the culture of the country as much as any other living filmmaker--Errol Morris, Wes Anderson, or Paul Verhoeven.” ―Choire Sicha, Bookforum

About the Author

John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including Hairspray, Pink Flamingos, and Cecil B. DeMented. He is also the author of a memoir, Role Models. He lives in Baltimore, Maryland.

Most helpful customer reviews

52 of 56 people found the following review helpful.
A Wacky, Wild Ride
By Amazon Customer
This is the first time I've listened to an audio book that was read by the author himself. That made Carsick: John Waters Hitchhikes Across America even more relatable and personal to me knowing it was was the voice behind the words actually reading them. It kind of elevates the experience to a whole new level. Especially when the voice is as recognizable as John Waters.

What's kind of funny is the whole time I was listening to this, I didn't realize that the beginning stories of those giving him rides were him fantasizing about what might happen. Those stories lasted so far into the story that I didn't even realize they were fantasy. Now when I was listening to them, I kept thinning "yea, right, like THAT really happened." Well, it didn't. But those certainly were some imaginative stories and are a token of the author's over active imagination!

Once he got through the Best Case Scenarios he moved on to the Worst Case and then the real stories of his journey hitchhiking from Baltimore to San Francisco. While the Best Case were definitely the most entertaining to me, all are witty, imaginative and wacky.

As a Christian blogger I would feel it remiss not to mention that there is quite a bit of swearing , sexual situations and innuendos, drugs and most things that some would find offensive. If you know John Waters than that is to be expected. But if you're listening to the audio version, don't put it on with kids in the car and if you are easily offended, don't listen at all.

John Waters is certainly one of a kind and his story telling abilities are amazing both in the writing itself and in his reading of it. Carsick: John Waters Hitchhikes Across America is certainly entertaining, wildly amusing and there is never a dull moment whether it be real or imagined.

45 of 49 people found the following review helpful.
Another insightful precis of the cultural zeitgeist by John Waters
By Charles W Smith
FROM PAGE 224 of "CARSICK"

"I see one of the cute gearheads from yesterday in his pickup pull into the gas station. He's still racing around, hopping in his truck, peeling out to drive the short distance to the other gas station. What on earth is he doing? He must have seen me by now, too! I've been hitching out in front of where he works for two days, but he still resists any greeting. I'm so bored and frustrated I pretend I have a crush on him in an inappropriate Jane Bowles kind of way."

I was already in love with John Waters' latest literary precis of modern culture, Carsick, but the above quoted paragraph on page 224 was the clincher. It speaks to a particular reality of un-reality; being of a particular age of a particular experience of a particular proclivity, standing in full view yet relegated to the sidelines, watching the world race inanely to and fro, feeling dichotomously envious and dismissive, inventing a fantasy context in which one could possibly -- somehow -- become again engaged in life, and yet, knowing that context created from one's own rarefied, recondite frame of reference, a reality of such obscurity -- constructed of a combination of little known nearly lost literary and cultural personal icons, D-list and down on their luck faded entertainers, and porn star legends and tropes thereof long disappeared -- is a context unlikely to be shared, understood, or, even, accepted by anyone else on this earth.

This is a book about being alone. Best case. Worst case. Real case. A clever construct of good fantasy, bad fantasy, and real - un-real life. And all of the versions of all of the stories are lessons in learning to love the encounters that, however briefly, relieve that solitary journey across and through time. Mr. Waters and I share many inclinations -- or, ought I say, bents? A passion for books and B(C,D)movies and music, gay porn icons John Davenport and Bobby Garcia, the "straight" Marine seducer, kitsch, Patty Hearst, trashy-trade-y-semi-redneck-not-too-bright-far-too-young-tattooed and pierced men, and, according to page 224, Jane Bowles.

But more essential to who we are and have become, we share an acceptance. Having lived many decades as outliers, decades during which we often fought loud and long against the ins, intent on carving out a place for ourselves by purposely -- and purposefully -- meaning to shock and appall, determined to stand firm in standing out, we now have mellowed into people who can listen to almost anything without reacting.

The world has changed a great deal, and, I think, despite the horrors of the news and the massive inequities still at work in the world, despite the haters and the baiters and the proliferation of those who would limit and label and libel, the world has become a far more accepting and enlightened place. With that realization, those of us who fought so hard to make it so, fought so hard to make it a place where labels would NOT define us (or anyone else) -- now, having had that particular experience and reached that particular age and acted upon our particular proclivities, have reached the logical conclusion that EVERYONE is an outlier, and even the crazies and psychos and "not our kind" we meet along the way have a place and a right to their own particular hitchhike across life ... and there is something to be gained from everyone along the way.

Thank you, Mr. Waters for helping to make that the case, and sharing your stories and journey and evolution as reflection with all of us.

51 of 57 people found the following review helpful.
If You Love John Waters, It's Probably Better to Skip This Book
By Bonacker
I love John Waters. I LUV John Waters. I think he's written some amazing and hilarious essays, and I agree with the jacket copy: He's a national treasure. But this book? Oh, man. Really, I'd give it one star, but I just can't do that to John Waters. What did I learn from this book? That John Waters has been rich and famous for so long that's he's shocked by what Americans eat and where they shop; that he's so picky about what he eats that he refuses to eat anything at any hotel breakfast buffets as he crosses the continent (white bread and sugary cereal shock the auteur of "Pink Flamingos"); also, that he is a bit of a jerk to his assistants (plural); also, that he never puts his T-shirts in the dryer, and he loves Commes des Garcons. I found the fiction stuff boring, because, really, who cares about made-up fantasy car rides? I flipped forward to get to the nonfiction bit, but the fiction just went on and on and on, filling up two-thirds of the book. And guess what? The nonfiction bit was not interesting, either. I'm sure when the book was pitched to publishing houses, they imaged he'd get up to zany, madcap adventures as he hitch-hiked across the country --- visiting oddballs' homes, seeing strange sights, spinning off insights into the American soul (or American heart of darkness), or anyway making us laugh a lot his typically unusual observations. Instead, in his dry telling, he doesn't stop to look around even for a second, but hotfoots it across the continent as quickly as he can. He stands in the rain a lot, and panics, and feels sorry for himself. That might have been humorous, except there are no stories being told, really, no insights being offered. He declines invitations to socialize with the people he meets. He makes a giant fuss over how freaked out (thrilled and stunned) people are to be in his presence. Drivers who pick him up are really nice to him, mostly when they recognize that's he's a celebrity. I'm not going to love John Waters less because of this book, but that's only because I am going to pretend I never read it.

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Wednesday, November 11, 2015

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Tuesday, November 10, 2015

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Monday, November 9, 2015

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Saturday, November 7, 2015

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Friday, November 6, 2015

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Monday, November 2, 2015

Download PDF Fieldwork: A Novel, by Mischa Berlinski

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Sunday, November 1, 2015

Ebook Free Carsick: John Waters Hitchhikes Across America, by John Waters

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