Friday, January 15, 2016

~ PDF Ebook Cowboys Full: The Story of Poker, by James McManus

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Cowboys Full: The Story of Poker, by James McManus

From James McManus, author of the bestselling Positively Fifth Street, comes the definitive story of the game that, more than any other, reflects who we are and how we operate.

Cowboys Full is the story of poker, from its roots in China, the Middle East, and Europe to its ascent as a global—but especially an American—phenomenon. It describes how early Americans took a French parlor game and, with a few extra cards and an entrepreneurial spirit, turned it into a national craze by the time of the Civil War. From the kitchen-table games of ordinary citizens to its influence on generals and diplomats, poker has gone hand in hand with our national experience. Presidents from Abraham Lincoln to Barack Obama have deployed poker and its strategies to explain policy, to relax with friends, to negotiate treaties and crises, and as a political networking tool. The ways we all do battle and business are echoed by poker tactics: cheating and thwarting cheaters, leveraging uncertainty, bluffing and sussing out bluffers, managing risk and reward.

Cowboys Full shows how what was once accurately called the cheater’s game has become amostly honest contest of cunning, mathematical precision, and luck. It explains how poker, formerly dominated by cardsharps, is now the most popular card game in Europe, East Asia, Australia, South America, and cyberspace, as well as on television. It combines colorful history with firsthand experience from today’s professional tour. And it examines poker’s remarkable hold on American culture, from paintings by Frederic Remington to countless poker novels, movies, and plays. Braiding the thrill of individual hands with new ways of seeing poker’s relevance to our military, diplomatic, business, and personal affairs, Cowboys Full is sure to become the classic account of America’s favorite pastime.

  • Sales Rank: #1190791 in Books
  • Published on: 2009-10-27
  • Released on: 2009-10-27
  • Format: Unabridged
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x 1.70" w x 6.44" l, 2.00 pounds
  • Binding: Hardcover
  • 528 pages
Features
  • ISBN13: 9780374299248
  • Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Amazon.com Review
Amazon Best Books of the Month, November 2009: Professional sports such as football and baseball may tout themselves as "America's Game," but according to James McManus, poker is the true American pastime. Cowboys Full is McManus's brilliant homage to the game that inspired his 2003 bestseller, Positively Fifth Street, and weaves through a colorful history of sharps, grinders, and braying donkeys. From the lawless saloons of the Old West to Oval Offices of the modern era, poker has been a part of our cultural DNA for nearly two centuries by offering a shot at the American Dream with each deal. "More than politics, warfare, business, or physical sports," McManus argues, "poker has become the arena in which men and women of every race and background compete on the most equal footing." Although positioning it alongside Mom and apple pie may be a stretch, Cowboys Full nevertheless presents a compelling case that the essence of America is best understood through a few hands of its favorite card game. --Dave Callanan

From Publishers Weekly
Starred Review. Poker now has what must surely be its definitive history in this excellent, comprehensive account of the game from the author of the widely hailed poker memoir Positively Fifth Street. In tracing the game from its early 19th-century roots in New Orleans to today's global phenomenon, McManus does more than present a history of poker: “My goal is to show how the story of poker helps to explain who we are.” The “national card game,” he asserts, embodies essential American qualities. It's an ambitious objective, but the book achieves it by connecting the game to American culture. Poker, it turns out, is inextricably linked with history, from the Civil War to the cold war, and with politics (Nixon financed his first run for office with poker winnings earned during his WWII service; President Obama may owe some of his political fortunes to a regular poker game he joined after election to the Illinois senate). The book also outlines the re-emergence of poker in recent years as a pastime for many millions and, for a select few, a reasonably legitimate profession.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
McManus's Cowboys Full makes room for everyone at the table. Lightweights will learn something about the basics of the game and why it appeals to so many people, while those already convinced of poker's importance will find much to enjoy here as well. Reviewers indicated that even those who do not normally enjoy history will appreciate the book's insights into how the game's past informs today's political strategies. A few critics considered some of McManus's arguments somewhat overreaching and some of his anecdotes, well, anecdotal—but what would a book about poker be without a couple of good bluffs?

Most helpful customer reviews

51 of 55 people found the following review helpful.
From Card Player...
By Paul Benjamin
I reviewed Jim's book for Card Player magazine, and it appears in the November 4, 2009, issue, as follows:
Poker & The American Experience

A Review of Cowboys Full: The Story of Poker by James McManus

Tim Peters

For some players, poker is just a game. But for many players, it's tempting to see the game as a microcosm of life itself, as having a significance that transcends the cardroom. James McManus, the author of the justly celebrated Positively Fifth Street (his 2003 account of his run to the final table of the 2000 WSOP Main Event), is one of those people, and his new book, Cowboys Full: The Story of Poker, explains why "sometimes...the game is much more than just a game."

Much of the book has been published in Card Player over the past few years under the heading "History of Poker." Now that it's in book form, Cowboys Full will surely be viewed as the most exhaustive and definite account of the history of poker yet published.

And it is a very much a history, chronicling the ancient roots of poker to its birth and flowering in New Orleans to the global phenomenon of today. But what makes Cowboys Full so interesting is how McManus articulates the role of poker in society (primarily American society). He writes about how the game spread across the country, how it evolved, and the lessons that people have drawn from it. As the subtitle "The Story of Poker" suggests, McManus rightly understands that poker is part of a larger narrative. "My goal," he writes, "is to show how the story of poker helps to explains who we are. The game has gone hand in hand with pivotal aspects of our national experience for a couple of centuries now."

McManus asserts July 4, 1803, can be seen as the "symbolic birth date" for the game: the date of the Louisiana Purchase, which helped open the American West. He writes that poker was the perfect game for this era in American history, a game "whose rules favored a frontiersman's initiative and cunning, an entrepreneur's creative sense of risk, and a democratic openness to every class of player." Poker really is the quintessential American game.

Poker's infancy was marked by scandal, particularly during the heyday of the Mississippi River steamboats ( "the Internet card rooms of 1814"). "By the 1830s, at least six hundred sharps were working the riverboats, with one estimate putting their number as high as fifteen hundred," he writes. Poker was known as "the cheating game" with good reason, and McManus devotes a whole chapter to the "styles and technologies of cheating" back in the day.

Despite the rampant cheating, at least in big-money games, poker spread far and wide in the young country. The steamboats introduced poker to players in the North and the West; the Civil War introduced the game to players in battlefields across the South. McManus has thoroughly scoured the existing literature of poker to recount all kinds of stories, familiar and less so, of the game, including stalwarts like the shooting of Wild Bill Hickok in Deadwood, South Dakota, holding Aces and Eights. But because McManus is a cultural historian, he searches for the meaning behind the event: "It was Wild Bill Hickok who forged the strong links in the popular imagination between gunfighting, poker, and manliness--all this despite being known as a losing player who was shot from behind by a cowardly punk at the table."

That's a good example of his strategy in the book: recount the facts, at least to the extent they are known, then search for the meaning and significance behind the facts.

With the origins and spread of poker behind him, McManus turns to a less linear style for the rest of the book, with chapters on important people in the history of the game (such as Herbert O. Yardley, American cryptologist and the author of The Education of a Poker Player) and events where poker played a role (such as the terrific account of poker and its relation to the Cold War).

And there are chapters on key aspects of poker history. The birth of Texas Hold'em, for example, the rise of the WSOP, and the detonation of the contemporary poker boom, which McManus dates to March 30, 2003, when the Travel Channel broadcast the Five Diamond World Poker Classic from the Bellagio. The book is particularly good on the ensuing boom (poker as a global phenomenon) and the current legal mess of the UIGEA.

McManus is an excellent stylist and storyteller, so the book is unfailingly entertaining. Structurally, he struggles a bit with chapters that belong in the book but don't have a neat slot to fit into (like the chapter on Gardena, California, and its important place in poker history). But some of these difficult-to-pigeonhole bits are excellent, like the chapter "Fooled by Randomness."

Most of the books reviewed in Card Player are designed to help you improve your play. But some are intended to help you appreciate the game you're playing--its history, its traditions, and its cultural impact. We are living in what must surely be the golden age of poker, with games spread around the globe in unprecedented numbers, with a year-long tournament circuit with staggering prize pools, and, for a few people, the chance to turn poker playing into a career. Read Cowboys Full to understand how this golden age came about--and to grasp that poker does have a meaning beyond the felt.

22 of 25 people found the following review helpful.
The Best Poker Book I have EVER read!
By POKER4FUN
Cowboys Full is the best book about poker I've ever read, and I've read just about all of them. The history of cards, of poker (draw, stud, high-low, hold'em, Omaha, H.O.R.S.E., even badugi!), Doc Holliday, Wild Bill Hickok, all the presidents and generals who played, the WSOP from its days at Binion's Horseshoe to 8,000 players at the Rio and on ESPN, the Andy Beal game, the science and technology of the game as it's now being played live and on the Internet. READ THIS BOOK!

8 of 8 people found the following review helpful.
A Masterpiece of Poker History and Lore
By Ashley Adams
This is a significant contribution to the poker literature. It is a wonderful, vibrant account of poker's history -- starting with its antecedent games and continuing up until the present televised and Internet version of our great American game. McManus' first book on poker, Positively Fifth Street, convinced me that he was a great writer and storyteller. This book convinces me that he is a fine researcher as well.
That this is a great history of a great game is true, but it doesn't do justice to the 500 page book. It is more a telling of great poker tales, intertwined with historical events that shed a new light on the importance of poker in our nation's history. In that sense it is also a psychological analysis of important moments of American history (like the Civil War, the development of the West, and the rise of Barack Obama) as seen through the lens of a poker player.
Those who might be intimidated by this books formitable length should know that unlike Positively Fifth Street, Cowboys Full does not have to be read as a single narrative (Though I read it cover to cover in three mammoth sittings -- so compelling are the stories). It is entertaining and informative in bits and pieces; each chapter standing alone. It could well sit on your nightstand for a year -- providing a nice small nugget of poker history and lore each night to entertain you -- and to fill your dreams.

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Thursday, January 14, 2016

@ Fee Download The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu

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The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu

The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu



The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu

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The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu

In the years between World War II and the emergence of television as a mass medium, American popular culture as we know it was first created--in the pulpy, boldly illustrated pages of comic books. No sooner had this new culture emerged than it was beaten down by church groups, community bluestockings, and a McCarthyish Congress--only to resurface with a crooked smile on its face in Mad magazine.

The story of the rise and fall of those comic books has never been fully told--until The Ten-Cent Plague. David Hajdu's remarkable new book vividly opens up the lost world of comic books, its creativity, irreverence, and suspicion of authority.

When we picture the 1950s, we hear the sound of early rock and roll. The Ten-Cent Plague shows how--years before music--comics brought on a clash between children and their parents, between prewar and postwar standards. Created by outsiders from the tenements, garish, shameless, and often shocking, comics spoke to young people and provided the guardians of mainstream culture with a big target. Parents, teachers, and complicit kids burned comics in public bonfires. Cities passed laws to outlaw comics. Congress took action with televised hearings that nearly destroyed the careers of hundreds of artists and writers.
The Ten-Cent Plague radically revises common notions of popular culture, the generation gap, and the divide between "high" and "low" art. As he did with the lives of Billy Strayhorn and Duke Ellington (in Lush Life) and Bob Dylan and his circle (in Positively 4th Street), Hajdu brings a place, a time, and a milieu unforgettably back to life.

  • Sales Rank: #894704 in Books
  • Published on: 2008-03-18
  • Released on: 2008-03-18
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.94" h x 1.49" w x 6.67" l, 1.51 pounds
  • Binding: Hardcover
  • 448 pages

Amazon.com Review
Amazon Significant Seven, March 2008: I may be alone here, but when I read Michael Chabon's The Amazing Adventures of Kavalier and Clay, a whole strata of American artists came to life for me. Ever since then I've been waiting for a book like David Hajdu's The Ten-Cent Plague to come along and show me the contours of this world. Anyone who remembers Positively 4th Street will recognize in this new book Hajdu's peerless ability to weave first-person recollections with an acute perspective of America at a pivotal moment in its cultural timeline. The rise of comics as a mode of expression, an outlet for entertainment, and, rather tragi-comically, as a target for censorship, couldn't be more compelling in anyone else's hands. In deft narrative strokes Hajdu creates a colorful, character-driven story of our first real--and lasting--counterculture (if the burgeoning popularity of graphic novels is any indication) and shows why we embrace it still.--Anne Bartholomew

From Publishers Weekly
Starred Review. After writing about the folk scene of the early 1960s in Positively 4th Street, Hajdu goes back a decade to examine the censorship debate over comic books, casting the controversy as a prelude to the cultural battle over rock music. Fredric Wertham's Seduction of the Innocent, the centerpiece of the movement, has been reduced in public memory to a joke—particularly the attack on Batman for its homoeroticism—but Hajdu brings a more nuanced telling of Wertham's background and shows how his arguments were preceded by others. Yet he comes down hard on the unsound research techniques and sweeping generalizations that led Wertham to conclude that nearly all comic books would inspire antisocial behavior in young readers. There are no real heroes here, only villains and victims; Hajdu turns to the writers and artists whose careers were ruined when censorship and other legal restrictions gutted the comics industry, and young kids who were coerced into participating in book burnings by overzealous parents and teachers. With such a meticulous setup, the history builds slowly but the main attraction—EC Comics publisher Bill Gaines's attempt to explain in a Senate committee hearing how an illustration of a man holding a severed head could be in good taste—holds all the dramatic power it has acquired as it's been told among fans over the past half-century. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
The movies and rock ’n’ roll have had brushes with censorship, but the comic-book industry was nearly wiped out in the 1950s by do-gooders concerned about their hypothesized detrimental effects on young readers. As Hajdu shows, comics were controversial right from their turn-of-the-century origins in newspapers, but the post–World War II development of lurid crime comic books depicting the exploits of violent gangsters aroused virulent opposition that intensified with the medium’s next step—gruesome horror titles. The latter became the target of newspaper crusades, the psychiatric establishment (led by Frederic Wertham, whose 1954 screed Seduction of the Innocent became a bestseller), congressional hearings, and censorship boards in more than 50 cities. The industry, a refuge for ethnic minorities and other outsiders who reveled in the freedoms gained by working under the radar of adult audiences, survived only through self-regulation in the form of a Comics Code that stripped comics of much vitality. As a telling coda, Hajdu appends a list of nearly 900 creators who, after the crackdown, never worked in comics again. --Gordon Flagg

Most helpful customer reviews

121 of 128 people found the following review helpful.
"I think Hitler was a beginner compared to the comic-book industry!"
By Kerry Walters
So thundered psychiatrist Frank Wertham in his 1954 Seduction of the Innocent, a book which accused comic books of breeding juvenile delinquincy (quoted on p. 6 of Hajdu's book). Today, Wertham's comparison between Hitler and comic books seems ludicrous. But at the time, millions of Americans took it seriously, and it brought down the comic book industry.

David Hajdu's wonderful The Ten-Cent Plague is a history of the culture war over comics that spanned the decade after the second world war. By the mid-40s, he claims, comic books were beyond doubt the leading form of popular entertainment, selling an astounding 80 to 100 million copies each week. Some 650 titles were released each month, and the industry employed around 1,000 writers, artists, and editors. The leading comic book publisher was EC, headed by the genius William Gaines.

The genre in those days, lead by EC, focused primarily on horror and crime, and some of the covers, interior artwork, and story lines could get gruesome: pools of blood, severed heads, stony-faced and scary killers. The artwork and storylines could get sexy too: heroines in filmy negligees, the occasional cleavage or bare foot showing. Middle class parents, egged on by a few religious leaders and political conservatives, began to express concerns, and those concerns grew into a national crusade against the "corrupting" influence of comic books. Editorials raged against them, politicians speechified against them, the Senate held hearings, and schools and churches sponsored comic book bonfires.

In an effort to salvage what it could, the comic book industry organized the Comics Magazine Association of America in 1954, and promised to watchdog its product by promoting "wholesomeness and virtue" (p. 319). But the resulting CMAA Code, written to placate the blue-noses, destroyed the comic book. Cops and other authorities were never to be depicted with "disrespect." No comic book could use the words "horror" or "terror" in its title. All "lurid, unsavory, or gruesome illustrations" were forbidden. Ditto on the depiction of the "walking dead, vampires, ghouls, werewolfs, and cannibals." Ditto on "words or symbols which have acquired undesirable meanings" (pp. 291-292).

You get the drift. The enforcement of this Code transformed comic books into "funny books." Interesting art and storylines disappeared in the wake of the Code, to be replaced with comics about anthropomorphized animals. But the kids (and adults) who'd avidly read the old comic genre wanted little to do with its antiseptic replacement. By the mid-1950s, title release per month had dropped to one-third its mid-1940s level, and 8 out of 10 comic writers, artists, and editors were out of work. Most of the titles released by EC disappeared overnight.

William Gaines rebelled against the death of the comic by publishing MAD, which in a roundabout way (sketched by Hajdu in his final chapter) inspired the underground revival of the comic book in the late 1960s. But before that resurgence, one of the most brutal massacres of any culture war fought in America gutted an entire genre of popular art, and in the process intimidated and de facto blacklisted hundreds of talented artists.

Hajdu's book is a fascinating, frightening read. My guess is that few of us--even those of us who, like me, were kids during the comic book purging era--are familiar with the witch hunt that Hadju chronicles. It's well worth knowing about, particularly in an era when a new front of the current culture wars seems to open almost every week.

30 of 31 people found the following review helpful.
Thoroughly Entertaining and Thought-Provoking!
By Dorian Tenore-Bartilucci
With THE TEN-CENT PLAGUE, David Hajdu does for comic books what his previous books did so brilliantly for music. Hajdu's research is exhaustive without being exhausting to read; THE TEN-CENT PLAGUE has the readability and vivid characters of a great novel as Hajdu tells his entertaining, thought-provoking account of the censorship debate over comic books in the 1950s, and how it trickled down into other aspects of pop culture and generation-gap clashes between youths and their parents. Instead of simply rehashing what comic fans already know, Hajdu digs deep into other areas, talking in-depth to the first-hand witnesses to these events, like the early comic creators who lost their jobs once people like Fredric Wertham and Estes Kefauver denounced comics as a corruptor of America's children -- you know, before heavy metal and video games and Fill In Your Favorite Bad Influence Here came along. :-) Hajdu brings the era and its struggles to life in a page-turner brimming with insight and affection. THE TEN-CENT PLAGUE is a must-read not only for fans of comics and pop culture, but for anyone intrigued with how censorship and power struggles shape society.

14 of 14 people found the following review helpful.
The evils done in the name of "good"
By mrliteral
Probably one of the greatest evils in society are the self-righteous moralists who want to rid the world of what they perceive as sinful, usually saying it's "for the children". Usually, the things they want to actually get rid of are merely items that encourage free thought or seemingly contradict their own narrow dogma. Thus today, we get those who want to ban Harry Potter books not because of any proven harm, but merely the fact that they don't fall into their own interpretation of good and evil. It's not enough to choose to ignore the items, but also to deprive others of their joy.

David Hajdu's The Ten Cent Plague details one such situation that occurred in the early 1950s and focused on comic books. This was an era when comics were at a creative and commercial peak, dealing with not only the superhero genre, but also horror, crime, war and romance. While some of it was over-the-top, it also provided entertainment and occasionally delivered a message as well.

The main villain in this piece is Fredric Wertham, author of Seduction of the Innocent, a book that alleged links between comic books and juvenile delinquency, links that were often weak at best, and completely fabricated in other cases. In this Legion of Doom, however, Wertham is merely the biggest name, but there are others as well, driven to hound the comic book industry out of existence. They would use book-burnings, boycotts and the police to get their way, and to a large extent, they would win. Due to their efforts, the Comics Code was instituted, resulting in comics that went from being fun (if edgy) to watered-down pap fit for only the youngest kids. It was like replacing Bugs Bunny and Homer Simpson with Baby Huey and the Care Bears.

It would take decades for the comic books to get back much of the creativity they lost, and commercially, they would never be as dominant again. Yet there were still heroes in this era - most notably Bill Gaines - but they could never quite grasp the significance of Wertham and company until it was too late. Around the only positive that came out of this period was Mad Magazine, which Gaines was able to squeeze past the Comics Code by changing its classification from comic book to magazine.

Hajdu's writing is always engaging. I would have liked a few more illustrations but that's a minor quibble. Overall, this is a good book of relatively modern history, not only giving a good look at another era, but also providing a valuable lesson that too many times, the ones who say they are protecting "the children" from evil may be doing the actual evil themselves.

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Wednesday, January 13, 2016

# Download PDF When I Was a Child I Read Books: Essays, by Marilynne Robinson

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When I Was a Child I Read Books: Essays, by Marilynne Robinson

When I Was a Child I Read Books: Essays, by Marilynne Robinson



When I Was a Child I Read Books: Essays, by Marilynne Robinson

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When I Was a Child I Read Books: Essays, by Marilynne Robinson

Marilynne Robinson has built a sterling reputation as a writer of sharp, subtly moving prose, not only as a major American novelist, but also as a rigorous thinker and incisive essayist. In When I Was a Child I Read Books she returns to and expands upon the themes which have preoccupied her work with renewed vigor.

In "Austerity as Ideology," she tackles the global debt crisis, and the charged political and social political climate in this country that makes finding a solution to our financial troubles so challenging. In "Open Thy Hand Wide" she searches out the deeply embedded role of generosity in Christian faith. And in "When I Was a Child," one of her most personal essays to date, an account of her childhood in Idaho becomes an exploration of individualism and the myth of the American West. Clear-eyed and forceful as ever, Robinson demonstrates once again why she is regarded as one of our essential writers.

  • Sales Rank: #560481 in Books
  • Published on: 2012-03-13
  • Released on: 2012-03-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.56" h x .88" w x 5.93" l, .75 pounds
  • Binding: Hardcover
  • 224 pages

From Booklist
*Starred Review* There is more food for thought in one of Robinson’s well-turned paragraphs than in entire books. Esteemed for her award-winning novels Gilead (2004) and Home (2008), Robinson is a consummate and clarion essayist. In her third and most resounding collection, she addresses our toxic culture of diminishment, arguing that as our view of society shrinks, public discourse coarsens, corruption spreads, education is undermined, science denigrated, spirituality and loving kindness are siphoned from religion, and democracy itself is imperiled. What has made America great, she reminds us, is our “heroic” focus on and investment in the public good. In the brilliantly corrective “Austerity as Ideology,” Robinson looks back to her Cold War childhood, during which America’s response to crisis was to ramp up our commitment to art and science. Now she fears that our obsession with “market economics” is putting us in danger of “losing the ethos that has sustained what is most to be valued in our civilization” as public schools, universities, libraries, and the free press come under siege. In “Imagination and Community,” Robinson lucidly and movingly explains how the imagination is the wellspring of healthy communities, and how profoundly reading enhances our capacity for sympathy. Intellectually sophisticated, beautifully reasoned with gravitas and grace, Robinson’s call to reclaim humaneness beams like the sun breaking through smothering clouds. HIGH-DEMAND BACKSTORY: The great success of Robinson’s novels will ensure interest in her brilliant reflections on the most urgent questions of our lives. --Donna Seaman

From Bookforum
When I Was A Child I Read Books, is by far Robinson's most political work to date, and is a defense of what she considers the grand traditions of American democracy—generosity, hope, and radical openness to new experience—waged against a society that seems to believe itself in irreversible decline. Robinson's great virtue as an essayist is her ability to combine a deep knowledge of this country's literary, intellectual, and religious canon with a demotic, impassioned tone that is American in the highest sense. —Charles Petersen

Review

“Brilliant . . . As the credo of a liberal Christian, Robinson's new book of essays stands on its own. But it is also an illuminating commentary on her novels . . . This collection is a rewarding reminder that the author's faith infuses every word she writes . . . Like every good preacher, Marilynne Robinson judges others while including herself--in theory at least--in the judgment.” ―Andrew Delbanco, New York Times Book Review

“With her newest book of essays, When I Was A Child I Read Books, Marilynne Robinson affirms that my deep admiration and respect for her are well-placed. ‘Every great question is very old,' she writes, and here, as has been the case throughout her career as a writer, the great questions concern her most. Robinson displays an exceptional gift for deciphering the zeitgeist and offering generous counsel . . . Not only is her book wise; it is full to the brim with clear, resonant, melodic prose. These essays do two things very well. First, they provide a clear, largely unflattering diagnosis of America . . . Second, her essays affirm the extraordinary meaningfulness of words . . . She wants to dig deeply into our minds, examine the history and biases that underlie our assumptions, and re-animate our consciousness . . . Every measured sentence in this book serves as a bracing antidote to the thoughtless bobble-headed chorus of consumerism, the bellicosity of atheistic scientism, and the monotonous, disorienting mantras of the economists. Robinson uses her extraordinary gifts as a thinker and writer to offer a close-up look at what our world is and how we got here, and she very deliberately complicates our assumptions . . . Robinson seeks to waken rather than enchant, and her deliberate complications shatter the simplistic, polarizing rhetoric that plays fast and loose with truth as it fumbles for sound-bite clarity . . . When I Was A Child doesn't offer much for the earnest optimist, eager to change the world. But it thunders with love, compassion, difficult hope and extraordinary wisdom.” ―Kurt Armstrong, Paste Magazine

“The Pulitzer Prize–winning novelist returns with a collection of essays that are variously literary, political and religious . . . Robinson is a splendid writer, no question--erudite, often wise and slyly humorous (there is a clever allusion to the birther nonsense in a passage about Noah Webster). Articulate and learned descriptions and defenses of the author's Christian faith.” ―Kirkus

“Author of the Pulitzer Prize–winning novel Gilead, Robinson weighs in with a series of tightly developed essays, some personal but mostly more general, on the Big Themes: social fragmentation in modern America, human frailty, faith. Her project is a hard-edged liberalism, sustained by a Calvinist ethic of generosity . . . In these times of the ever-ascending religious right, in the aftermath of what she sees as the ideologically secularist-driven cold war, Robinson bravely explores the corrosive potion of ‘Christian anti-Judaism' and what it really ought to mean to be ‘a Christian nation.'” ―Publisher's Weekly (starred review)

“There is more food for thought in one of Robinson's well-turned paragraphs than in entire books. Esteemed for her award-winning novels Gilead (2004) and Home (2008), Robinson is a consummate and clarion essayist. In her third and most resounding collection, she addresses our toxic culture of diminishment, arguing that as our view of society shrinks, public discourse coarsens, corruption spreads, education is undermined, science denigrated, spirituality and loving kindness are siphoned from religion, and democracy itself is imperiled . . . Intellectually sophisticated, beautifully reasoned with gravitas and grace, Robinson's call to reclaim humaneness beams like the sun breaking through smothering clouds . . . The great success of Robinson's novels will ensure interest in her brilliant reflections on the most urgent questions of our lives.” ―Booklist (starred review)

“The indomitable Marilynne Robinson radiates genius in her collection of essays.” ―Vanity Fair

“[When I Was a Child I Read Books] is the equivalent of an uncommon library ticket, an admission to the subjects that most obsess her: the frail human enterprise, faith and its absence, mysteries that elude language. . . This book is scholarly closework, as painstaking as a Victorian sampler but more subtle. She is determined never to undervalue or oversimplify. There is a sense that to be meditative is a necessary part of being alive. She is especially clear on the absurdity of seeing religion and science as adversarial . . . Robinson is adept at studying the small print and reading between the lines but she never forgets to look up at the stars.” ―Kate Kellaway, The Guardian

“When I Was a Child, by far Robinson's most political work to date, turns her old questions to the problems now directly confronting us. The book is a defense of what she considers the grand traditions of American democracy--generosity, hope, and a radical openness to new experience--waged against a society that seems to believe itself in irreversible decline . . . Robinson's great virtue as an essayist is her ability to combine a deep knowledge of this country's literary, intellectual, and religious canon with a demotic, impassioned tone that is American in the highest sense . . . Robinson is a representative of the grand tradition of liberal Protestantism, still carrying the flame for the likes of Jonathan Edwards and Paul Tillich . . . For those who prefer their liberal American dream in the language of Ralph Waldo Emerson, Walt Whitman, and Emily Dickinson, Robinson has, for the past three decades, been the standard-bearer.” ―Charles Petersen, Bookforum

“The greatest pleasures of this book are its provocations, which are inseparable from its prose. Ms. Robinson channels the cadences of Emerson and Whitman and says that she owes the stately shape of her sentences to her school-days reading of Cicero. ‘I seem to know by intuition a great deal that I cannot find words for,' she writes, ‘and to enlarge the field of my intuition every time I fail to find these words.' On the evidence of language itself, she marvels at the capacity of human perception. She describes the wonder expressed by a group of French students about the number of English words that describe light--glimmer, glitter, glisten, glean, glow, glare, shimmer, sparkle, shine--which testify to a human need for distinctions beyond the bare essentials. Words like ‘grace,' ‘soul' and ‘miracle,' she suggests, speak to registers of experience that even the most secular among us are reluctant to relinquish. When I Was a Child I Read Books may seem like a book addressed to Christians--some of the essays have the whiff of the pulpit--but Ms. Robinson's church is exceptionally broad. Her essays are psalms to an indivisible America.” ―Thomas Meaney, The Wall Street Journal

“At her best she's a wise, droll and incisive essayist. These pieces concern faith, education, family, writing and reading, and . . . they're enlightening and a pleasure to read . . . Some of the most effective and immediate essays in the collection deal with Robinson's decision to become a writer and how she approaches her craft . . . These pages will be of great interest to her many devoted readers and would-be novelists alike.” ―Kevin Canfield, The Kansas City Star

“It's never been easy to categorize Marilynne Robinson, whose new collection of essays . . . is no exception. Each of the pieces gathered here practices what Robinson preaches, combating the lazy habit of using ‘a straight-edge ruler in a fractal universe' . . . she works to free her readers from the ‘tendency to fit a tight and awkward carapace of definition over humankind,' in which we ‘try to trim the living creature to fit the dead shell' . . . When we are alone, Robinson suggests, we're best positioned for a ‘meditative, free appreciation of whatever comes under one's eye'--including other people, who we're otherwise apt to misread. As this collection makes clear, Robinson's own eyes read widely--and well.” ―Mike Fischer, Milwaukee Journal Sentinel

“Robinson's penchant for complex sentences and lofty subjects mirrors the thoughtfulness of what she wants to say. And while she may be an old-fashioned stylist, she is also a progressive thinker who yokes rigorous scholarship with profound attention to her subjects . . . Her new essay collection, ‘When I Was a Child I Read Books,' may best be served with a straight-back chair and a mug of piping-hot black coffee. But I say, strap yourself in. Robinson's words, girded by a scholar's seat and a stimulant, will sharpen you up . . . Having read these essays, I have a better understanding of the sort of mind that could create ‘Gilead,' a novel of quiet grace, and ‘Housekeeping,' a book so beautiful and other-worldy that at times it threatens to float away altogether.” ―Maggie Galehouse, The Houston Chronicle

“The latest turn in Robinson's thinking is toward politics, specifically her strong intuition of political crisis in America. She's talked politics before, but it's never been quite this intense or urgent . . . Besides the essays' tone, which is consistently heartfelt, moving from grave (‘We do not deal with one another as soul to soul.') to joyful (‘I love the writers of my thousand books.'), her political concerns give the book a kind of informal unity . . . She includes almost zero references to TV, movies, Facebook, celebs, or anything to do with pop culture. Her lonesome distance from the mainstream is eccentric, but it's also what gives her essays their strange power to diagnose America's discontents. It's a perspective that's simultaneously alienated and engaged, public and personal . . . if any of her thought somehow seeped out into America I think we'd be much better off for it.” ―Alex Engebretson, The Millions

“It is difficult not to quote Ms. Robinson at length, so finely calibrated are her sentences. Here, it's a tonic to see a rhetoric of such righteous anger turned, for once, against those who believe it is virtuous to attempt to deprive their fellow citizens of aid and succor . . . these essays represent what Robinson calls ‘an archaeology of my own thinking, mainly to attempt an escape from assumptions that would embarrass me if I understood their origins.' This is what education is for, and this book is a tool for those who would be archaeologists of their own thinking. Even when one disagrees with her, Ms. Robinson is always worth reading because she is as gifted a stylist as the English language has at present. Sentence after sentence demands to be reread for the pleasure the mind takes in well-made things . . . Anyone who has read Housekeeping (1980) or Gilead (2006) knows that she is a great novelist. It's time to recognize that Ms. Robinson is also a thinker of the first order, one of the finest we have ever had.” ―Michael Robbins, The New York Observer

“In an age when such American politicians as Michele Bachman display an astounding ignorance of the history of her own country . . . Robinson's essay collection [is] a valuable contribution to public discourse in the United States.” ―Philip Marchand, The National Post

“Robinson's country is at a political and moral crossroads, so she wants to remind her readers of its history, what it stood for and how far away it has moved from its founding principles . . . Her rhetoric is of the gentle, thoughtful kind that nevertheless hides a rapier, which she unleashes just when she needs it. Mary Wollstonecraft was once insultingly called a ‘hyena in petticoats' by a man who felt threatened by her intellect. Like Wollstonecraft, Robinson's intellect, too, is threatening. And if it can threaten us into action, is all the greater for that.” ―Lesley McDowell, The Independent

“When I Was a Child is a broadside defense of literature and classical liberalism that demands we include the unfashionable Old Testament as a foundation of both. Through rigorous citation and deep personal reflection, Robinson builds an excellent case . . . Over the book's 10 essays, Robinson systematically marshals text-based evidence that upends popular beliefs about faith, America and their uneasy commingling--all themes explored in her novels Housekeeping, Gilead and Home as well . . . When I Was a Child feels progressive in its belief that humanity has written stories that hold their virtue over millenniums. And her commitment to those texts is ultimately humble before all that we don't know.” ―August Brown, Los Angeles Times

“Robinson offers her essays in the face of this confusion, as ‘night thoughts of a baffled humanist' . . . She aims to defend both religion and humanism from their not-quite-so cultured despisers, many of whom may be found self-identifying as ‘religious' or as ‘humanists.' . . . Robinson takes aim . . . at those who would diminish the human person . . . Whatever else these new essays are--and they are many wonderful and interesting things--they are Robinson's determination not to diminish mystery, not to make foolishness of the world or the human person by forcing theories to limit our wonder at God, the human brain and mind, the cosmos. The essays are tonic for our adoration-starved religious and scientific cultures, bracing in their critique and hope-giving in the alternative way of seeing that they open up for us.” ―Wesley Hill, Books & Culture

“This is a rare writer about America and one it seems to me we need. Desperately. Whether writing about Jefferson or Johann Friederich Oberlin or ‘the dark gorgeousness' of the mind of Edgar Allan Poe, Robinson is a self-described ‘humanist' who says ‘the presence of human consciousness is a radical qualitative change in the natural order' . . . Her imagination of other lives, in these essays, defines an imperiled democracy to which, she says, we need to remain loyal . . . One of the year's stealthy great books.” ―Jeff Simon, The Buffalo News

“[Robinson] questions accepted opinion and helps us think through its implications and its reasonableness . . . Be ready to have certain assumptions challenged and to think through important issues while enjoying a master of prose.” ―Gordon Houser, The Wichita Eagle

“Most striking of all is Robinson's mental work ethic. She seems to be incapable of a lazy conclusion . . . Robinson's great strengths [are] independence and eccentricity . . . Robinson, though some of her views are well known, is never predictable, for her discipline is to look at every question as though she were considering it for the first time. It is impossible not to be fortified and enlarged by a few hundred pages in her company.” ―Stefan Beck, The Barnes and Noble Review

“A provocative--and deceptive--plainness is a constant feature of Robinson's work, which asks us to accept the hidden richness of the mundane . . . [When I Was a Child I Read Books is] the fascinating expression of a rooted and contrary mind.” ―John Broening, The Denver Post

“In a climate increasingly averse to compassion and unappreciative of curiosity, Robinson has published When I Was a Child I Read Books, a glimmering, provocative collection of essays, each a rhetorically brilliant, deeply felt exploration of education, culture, and politics . . . When I Was a Child is a brutally, beautifully intelligent jeremiad on the cynical state of American culture and politics, but Robinson is rare today in that she uses the language of faith to advance the most cultivated humanistic values all in an attempt to defend what she sees as an imperiled American greatness . . . When I Was a Child strives to burn off the blather and tame the wolfishness that currently bedevils our society.” ―Michael Washburn, Boston Globe

“These rich, uncompromising essays are not for everyone but--to make a Robinson-like distinction of my own--their rewards should be for anyone, of any faith, who cares to dive deeply into a distant world.” ―Emily Stokes, Financial Times

“What this collection does contain in abundance, though, are intelligent discourses on contemporary intellectual culture . . . Robinson . . . illuminates the cobwebbed corners of her mind. The effort required to relish the collected works presented here will be worth it.” ―Noori Passela, The National

“If there is any fear that the fast-moving world of the Internet and the iPhone has destroyed our powers of concentration, or our ability to think lucidly and beautifully, or to create surprising and powerful designs from philosophical concerns, that fear will be put to rest by Marilynne Robinson's new book of elegant essays . . . Robinson's voice is thoughtful and intimate, but she does some thundering, too, on ancient, complex and important subjects . . . Her ideas are unconventional, and she sees the world in surprising ways . . . Taut, eloquent and often acerbically funny, these essays present a formidable response to slack scholarship, an indignant refutation of the policies of punitive frugality toward the poor and a challenge to anyone who denies the power, mystery and significance of the human soul. Robinson's language is elegant and her reasoning precise, and reading these essays is like taking a draught of water from a cold spring. They offer us something rewarding, deeply essential and long-sought, even if we only realize it now.” ―Roxana Robinson, The Washington Post

“For Robinson, human beings--and especially, readers--must collectively imagine humanity, because imagination creates moral communities. It is through language--silent, personal, and solitary experiences of language -- that we engage in an ‘amazing human conversation,' one that delivers us to ‘place[s] across millennia, through weal and woe.' . . . [An] illuminating collection . . . What . . . ring[s] true in When I Was a Child are the intimate notes . . . In the title essay, Robinson writes lovingly about her childhood encounter with solitude that attuned her to mystery. It is this repeated emphasis on mystery that most differentiates this set of essays. ‘When I see a man or a woman alone,' writes Robinson, ‘he or she looks mysterious to me, which is only to say that for a moment I see another human being clearly.' Robinson's religious faith is learned and self-reflective, rooted in a lonesomeness that ‘allows one to experience . . . radical singularity, one's greatest dignity and privilege.' Robinson's form of religious faith requires relentless introspection and loneliness. It's a faith that rejects easy platitudes and easy answers.” ―Michelle Kuo and Albert Wu, The Los Angeles Review of Books

“Whether writing fiction or nonfiction . . . Robinson displays a compelling blend of intensity and austerity . . . In some of the . . . best moments [in When I Was a Child I Read Books], Robinson describes her life as a reader, with ‘my library all around me, my cloud of witnesses to the strangeness and brilliance of human experience.' She expresses gratitude for the books which have ‘taught me most of what I know....and trained my attention and my imagination.' And in the title essay, she recalls herself as a ‘bookish child in the far West.'” ―Carmela Ciuraru, Biographile

“Readers . . . have come to expect a blend of acute observation, deep learning, courageous assertion and compelling prose. Happily, Robinson's new book of essays, When I Was a Child I Read Books, provides readers with all of this and more: a rare combination of wisdom and beauty that transforms our vision of our current cultural moment . . . Robinson's book urges Americans to stop our herding and our name-calling, to refuse to engage in wolfishness and blather and to nurture the radical power of the individual self through the agency of the word--in short, to drop everything and read.” ―Angela Alaimo O'Donnell, America

Most helpful customer reviews

141 of 145 people found the following review helpful.
Thoughtful analysis of the responsibilities and blessings of a Christian life
By las cosas
This book consists of ten essays, mostly revolving around aspects of the Bible and Christianity. I would not have purchased the book had I known this, but found the essays deeply thought provoking. This is a book I will reread. The author is a thoughtful and believing Christian, and her understanding of what this means is the core belief from which she widely and deeply explores both the New and Old Testaments, and the nuance of language as understood by herself and others. There are entire sections of rigorous analysis when she sternly criticizes several recent Christian commentators of the Old Testament. And her sternest criticism is the lack of charity on the part of these critics, their willful blindness to the beauty of the language and unwillingness to read it on its own terms. Christians can reject, but not denounce, the Old Testament, which is not theirs to denounce. Show some respect, she insists.

And she shows enormous respect for both the New and Old Testament. There are close readings of various translations of the Bible, showing for example instances when charity is translated as love and reminding us of the incredible historic importance of making the Bible available in the local vernacular, a task which caused more than one translator to be killed by a jealous church.

Today in the western Christian world, and particularly in the United States to which the author largely addresses this book, words are a much devalued currency. Millions of words blabbing along daily, immediately replaced by another million. The result is an unavoidable cheapening of words, wherever we find them. The author uses a minimum of words in her essays. She is sparse, which in some cases results in an obliqueness. But each word is carefully weighed, and she insists that we pay attention, that we follow her with the same care and gravitas that she expands on these essays. As readers we are very much the students of this long-time teacher.

The author asks, demands, that we closely examine the text of the book that forms the core of her and presumably the reader's, religion: Christianity. She lost me in that assumption, but the persuasiveness of her textual argument kept me fairly riveted to her analysis, particularly on the importance of laws in the Old Testament and the importance of Moses within that context as the precursor of Jesus' teachings. As a Christian she examines the teachings of the Bible and their relationship to her world, noting with sorrow and anger the failings of the present world, particularly in the United States. But she also describes the Bible as a novelist and teacher of creative writing, reminding us of the beauty of the images, the unsparing vividness of the stories. She laments that Old Testament translations by Christians are often "laundered to remove complexity and loveliness." In another essay she states that Christians have accepted, generation upon generation, the stewardship of the remarkable narrative that is the Bible. I found this a wondrous concept, that a book, even a book as well known as the Bible, needs the constant stewardship of the people studying that book to have a continued relevance, and that this stewardship must include a reverence. "This is too great a narrative to be reduced to serving any parochial interest or to be overwritten by any lesser human tale. Reverence should forbid in particular its being subordinated to tribalism, resentment, or fear."

I point out the essays on the Bible because I found them the most thought provoking. But there are also essays that for example discuss 19th century social activists and evangelicals (as that term was defined at the time) such as Oberlin; and, growing up in a world of big, difficult books, Latin teachers and a respect for learning in small town Idaho. She deplores what she sees as the current minimization of human nature and the essence of human beings which she argues can not fully be understood without understanding human beings as created in the image of God. "Lacking the terms of religion, essential things cannot be said." I find these provocative and very old-fashioned statements, but surely it is a gift she has given us in this book that we can be provoked, that we can strive to understand what she so strongly implores us to consider.

The essays are a combination of discursive and rigorous, though unfortunately they veer from one to the other without signposts or logic and the persuasiveness of the arguments decreases. When this occurs, when an exploration of the apophatic and its relationship to a writer's search for the unsaid suddenly veers into a digression about 'people' thinking the United States is too heterogeneous, I feel whip-lashed. The carefully argued statement, the beautifully constructed sentences are replaced by facile statements that are disquieting. The author sets a high standard for herself, and for the reader, in her carefully articulated thoughts, so the lapses or shifts are the more unsettling. She has two pet peeves in this book: fundamentalist Christians (though that is my shorthand, not hers) and the free market (which she also refers to as the inscrutable financial economy). She makes a fair effort to explain the concerns of the former, but is often dismissive in describing the later.

But these are relative nits. I would recommend this book to any person interested in a meditation and analysis of a text that is the cornerstone of a religion at the center of historical and current United States. Practicing Christians living in the United States should particularly find this book a wondrous and thought-provoking journey.

41 of 43 people found the following review helpful.
Very, very smart
By Debnance at Readerbuzz
I'll go ahead and say it: Marilynne Robinson is too smart for me. I can be a lazy reader, seeking the quick answer, the easy answer.

This is not a book for lazy readers. It is not a book for simple readers.

Robinson is thoughtful and compassionate and deep. She sees past the first obvious answer and the second obvious answer and offers explanations that are unexpected and which embrace all we bring to a book. She is spiritual without being dogmatic and she is kind without leaving truth behind.

A book I need to read again. More slowly next time.

46 of 50 people found the following review helpful.
Cogent
By Stephen T. Hopkins
I read each of the ten essays in Marilynne Robinson's collection, When I Was a Child I Read Books, in a single sitting on separate days. I needed to engage my wits to follow her thorough and thoughtful arguments, and then needed a rest afterwards to absorb what I read. She must be the kind of teacher for whom alert students should schedule free time after her class for recovery. In many respects, she comes across as a writer's writer, with her careful choice of words and deliberative style. There may not be a better contemporary description of liberal Christianity and its sources and demands. Readers of her novels will gain insight from these essays and may consider re-reading the novels in light of the revelations from these essays. Any reader who appreciates fine writing and cogent reflection should consider reading the book.

Rating: Three-star (Recommended)

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** Fee Download Thank You for Your Service, by David Finkel

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Thank You for Your Service, by David Finkel

Thank You for Your Service, by David Finkel



Thank You for Your Service, by David Finkel

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Thank You for Your Service, by David Finkel

From a MacArthur Fellow and the author of The Good Soldiers, a profound look at life after war

The wars of the past decade have been covered by brave and talented reporters, but none has reckoned with the psychology of these wars as intimately as the Pulitzer Prize-winning journalist David Finkel. For The Good Soldiers, his bestselling account from the front lines of Baghdad, Finkel embedded with the men of the 2-16 Infantry Battalion during the infamous "surge," a grueling fifteen-month tour that changed them all forever. In Finkel's hands, readers can feel what these young men were experiencing, and his harrowing story instantly became a classic in the literature of modern war.
In Thank You for Your Service, Finkel has done something even more extraordinary. Once again, he has embedded with some of the men of the 2-16―but this time he has done it at home, here in the States, after their deployments have ended. He is with them in their most intimate, painful, and hopeful moments as they try to recover, and in doing so, he creates an indelible, essential portrait of what life after war is like―not just for these soldiers, but for their wives, widows, children, and friends, and for the professionals who are truly trying, and to a great degree failing, to undo the damage that has been done.
The story Finkel tells is mesmerizing, impossible to put down. With his unparalleled ability to report a story, he climbs into the hearts and minds of those he writes about. Thank You for Your Service is an act of understanding, and it offers a more complete picture than we have ever had of these two essential questions: When we ask young men and women to go to war, what are we asking of them? And when they return, what are we thanking them for?

One of Publishers Weekly's Best Nonfiction Books of 2013
One of The Washington Post's Top 10 Books of the Year
A New York Times Notable Book of 2013
An NPR Best Book of 2013
A Kirkus Reviews Best Nonfiction Book of 2013

  • Sales Rank: #239855 in Books
  • Published on: 2013-10-01
  • Released on: 2013-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.77" h x .97" w x 6.01" l, 1.06 pounds
  • Binding: Hardcover
  • 272 pages

Amazon.com Review
Amazon Q&A for Thank You For Your Service. Chris Schluep, Editor at Amazon, interviews David Finkel, author of Thank You For Your Service.

Some books just sneak up on you and you're never the same after. I'd heard very little about David Finkel's Thank You For Your Service before reading it, and I hadn't read his previous book, The Good Soldiers, so my expectations were muted going into it. That changed quickly. This book is so personal, so moving, that I devoured it. Although the subject matter is difficult, you grow with the book as you read. One might even expect it to be a little dry and boring—it is not. David Finkel's nonfiction account of soldiers returning from combat is one of the best books I've read in a long time. I'll leave you with this blurb from author Katherine Boo, who couldn't have summarized my reading of the book (and hopefully yours) any better:

“I’m urging everyone I know to give Thank You For Your Service just a few pages, a few minutes out of their busy lives. The families honored in this urgent, important book will take it from there.” - Katherine Boo, National Book Award–winning author of Behind the Beautiful Forevers.

Read on for an interview with David Finkel —

Chris Schluep: Describe your research. How much time did you spend with the returned soldiers in the book?

David Finkel: The short answer is a year and a half, but the more accurate answer is ever since early 2007. I say that because my research really started when I embedded with the 2-16 infantry battalion during its fifteen-month deployment to eastern Baghdad during the Iraq War “surge” of 2007-2008. The story of what happened to those soldiers became my first book, The Good Soldiers and The Good Soldiers is what allowed and informed Thank You For Your Service, which is the second volume of the story. In Iraq, I was with Adam Schumann on the day he so guiltily left the war, and Tausolo Aieti on the day he was blown up and his dreams began. I met Nic DeNinno there and was there on the day that James Doster died. After The Good Soliders was published in 2009, it became clear that the story was only partly told. So many of the soldiers, home now, and so many of their families, were tipping over so many edges. Their war had become an after-war, and so I began traveling to Kansas, where the 2-16 is based, to see what I might be able to write. That brings me back to the short answer of eighteen months, which was how long I spent with the Schumanns, the Aietis, the DeNinnos, the surviving family of James Doster, and the rest of the people documented in Thank You For Your Service. That’s how long it took for me to feel confident that the story I’d be writing would feel true to a reader and true to them as well.

CS: When did you decide that Thank You For Your Service should be the title? Was it always the working title? What were your thoughts behind naming it that?

DF: I had a different title in mind when I was writing the book. Let’s just say it had the phrase “suicide room” in it, and when I mentioned it to someone at the publishing house, the reaction was: “That’s terrific. By the way, are you trying to put us out of business?” Or something like that. The reaction was better when I suggested Thank You For Your Service. Everyone liked it immediately – my editor, my agent, the folks in publicity -- except, for some time, me. I was concerned that people would think I was being sarcastic, or ironic, or bitter, or that I was expressing my own sugary gratitude. Instead of it being a title that would reflect the journalism inside the covers, I worried that it would instead be seen as reflecting an opinion of mine, and I’ve tried hard in Thank You For Your Service to keep any hint of my opinion out of the work. What finally turned it for me was coming up with an answer that, if I were asked about the title, would neatly explain my intentions: These are some of the people you’re thanking, and this is what you’re thanking them for.

CS: Did your opinion of the war and the people in it change between writing The Good Soldiers and writing this book?

DF: Well, I try hard to keep my opinions out of my work, and I’m reluctant to bring opinion into the mix now. To me, the emphasis should be on the soldiers and their families because they were – and are – the ones in the midst of it. Can I recast the question to: Have their opinions changed between coming home from the war in 2008 and now? The answer: absolutely, although I can only speak anecdotally, based on the people I’ve spent time with. It’s worth emphasizing that they are among the wounded ones and that most of the people deployed to Iraq or Afghanistan are unwounded and presumably doing fine. Among the subset of the mentally wounded, though, which has been estimated at between 20 and 30 percent of the two million U.S. troops who have been deployed into the two wars, which works out to roughly 500,000 or so people, one of the profound changes in them is reflected in this line from the book: “while the truth of war is that it’s always about loving the guy next to you, the truth of the after-war is that you’re on your own.” In other words, in addition to the grief and guilt so many of these people carry, there’s also a widening sense of isolation and lonesomeness, which has led to an ever-deepening wondering of what their war was all about. Their initial sense of mission is largely gone, replaced by in some cases anger and in many cases a churning feeling of bewilderment.

CS: How did writing this book change you?

DF: Since I’m now nearly seven years older than when I began these books, maybe these changes would have happened anyway, but I’m probably a little sadder than I used to be, and also more grateful than I used to be. What else? I like ending a day with wine on my front porch more than I used to. I like shenanigans less than I used to. I grew up in a house where the threat of suicide was present for several years, so it's been interesting to revisit that. I think of war now not only intellectually but viscerally. I dream about it sometimes, but not as much as I did. I’m glad my friends now include soldiers, and that their friends now include someone like me.

Amazon.com Review
An Amazon Best Book of the Month, October 2013: How do you make war personal? It’s not easy, especially when writing about a war that the public has basically given up on (or was never that interested in to begin with). Descriptions of violence that most of us will never see can lose their potency and trail off toward the abstract; it happens in even the best novels and nonfiction. But what David Finkel has done is to follow the troops home from Iraq to cover their “after-war.” Their struggles and suffering back in the States are easier for us to relate to, and Thank You For Your Service is an absolutely mesmerizing account of the pain and hope that they carry from day-to-day. This is an important book, and there are great truths inside, none more powerful than when Finkel writes: “while the truth of war is that it’s always about loving the guy next to you, the truth of the after-war is that you’re on your own.” --Chris Schluep

From Booklist
*Starred Review* Finkel stays with the men of the 2-16 Infantry Battalion, whom he shadowed in The Good Soldiers (2009), who return home to Ft. Riley, Kansas. Plagued with a litany of physical and psychological wounds labeled with such deceptively benign acronyms as PTSD and TBI, these soldiers are still fighting the good fight every day. Only this time, the war takes place within themselves, on the streets of their hometown, in their homes, and in the personnel offices of every employer who can’t give them, or won’t let them keep, a job. The collateral damage, to use military jargon, is also significant: wives whose anger levels exceed their husbands’; widows unable to accept their fate, who go to unhealthy lengths to keep memories alive. Although the new “war recovery” push in military health care has become a billion-dollar industry, military suicides have overtaken those by civilians for the first time in history. It is impossible not to be moved, outraged, and saddened by these stories, and Finkel’s deeply personal brand of narrative journalism is both heartbreaking and gut-wrenching in its unflinching honesty. When it comes to caring for the nearly 500,000 mentally wounded veterans of the long wars in Iraq and Afghanistan, it is a case of a mission most definitely not accomplished. --Carol Haggas

Most helpful customer reviews

142 of 146 people found the following review helpful.
This is what they're talking about, when they're talking about war stories
By Nathan Webster
Commenting on this book should start with the elegiac cover image of nameless soldiers packed into a transport plane - small, faceless and an honest visual portrayal. That's what soldiers looked like, going overseas or coming home: tired and small and grinding out another day. As this easily five-star book explains, that grind continues long after the plane ride ends.

In interviews, author David Finkel has made clear he did not use the title ironically - as he said, when one says 'thank you' this book describes what those words are thanking a soldier or their families for.

This book follows soldiers and family members first chronicled in Finkel's The Good Soldiers, which told the story of an Iraq deployment in 2007-8. The years since have given Finkel the time and space to tell a post-war story with honest perspective.

Finkel scrupulously avoids the first-person narration so self-indulgently common in many wartime stories and memoirs. He does not pass judgement, or editorialize. He witnesses and chronicles events and conversations, but only rarely can a reader say with confidence what Finkel actually thought. That's a compliment - the narrative becomes the subject's story, whether it's Sgt. Adam Schumann, dealing with crippling PTSD, or Amanda Doster, who lost her husband, or others. With this objective focus, I rarely felt manipulated or emotionally distracted by a writer's demand that I feel something - the descriptions do that without needing any artificial help.

The book should make a reader angry and frustrated, first at the system that makes it so difficult for soldiers to get the clear-cut help they need - mostly because that help doesn't yet exist in simple terms. Everyone's trying - the book describes ample programs and functions and meetings and therapies, all of which try to find the common thread that can solve the problem. But they're learning on the fly, and it's not there yet. Second, a reader's aggravation is often directed at the soldiers - in one scene, it doesn't make sense why Schumann and his wife Saskia would get into a drag-out fight over a car radio station. Why can't he just relax? Why is he so keyed-up over nonsense? But that's the point - it doesn't make sense. And there doesn't seem to be an answer, which explains Schumann's honest and bitter frustration, which is more than matched by his wife's. While the couple remains together at the end of the book, it doesn't seem very hopeful.

Amanda Doster represents the hundreds of wives and mothers (and husbands) who lost their loved ones. She's fine financially, with a house paid for, and her kids apparently well taken care of. But all her future plans and expectations are over, and nothing has yet replaced them. It's heartbreaking, because like with Schumann, there is no switch to solve the problem. "Thank you" doesn't do it.

The book's success is that it provides the long-term context lacking in most wartime narratives. By following these men and women in years after the war, we're presented a much more honest account based on earned experience, not hope or theories. While "The Good Soldiers" is a wartime classic, it's very much rooted in a past time. "Thank You" provides a more lasting and meaningful - and ultimately, American - story.

One valid criticism of the book could be that it reinforces the "broken soldier" narrative, as though every veteran of the war is equally damaged and unable to function. I'll admit that more than once I thought to myself 'why can't they just get it together?' which misses the point that they certainly would if they could.

Hundreds of thousands of veterans came home fine, but thousands didn't. For those who complain this book reinforces a negative stereotype of a "few" damaged soldiers, my question would be what's the right number before it would be okay to focus on them, to make sure we don't forget their side to the story? Two? 200? 20,000? 200,000? If the system struggles to support the after-war needs of ANY of our veterans, I would say we need a close look at that. That's part of the deal. They don't just get paid to fight; they get paid to serve - and this after-war is part of that.

I'm an Iraq veteran myself (in 1991), and like Finkel, I embedded as a journalist in Iraq different times from 2007-09 (including part of the time Finkel describes in "The Good Soldiers"). One of the soldiers I met in '07, and again in '09, was injured in an IED attack that killed the guy sitting next to him; later, a friend of his was shot during their squad's patrol, "the second time I looked in somebody's eyes, who was dying," he said. I don't keep in touch much, but I know he's still on active duty today, an Army recruiter and senior NCO, as good humored and funny as he was back then. I'm glad that most of the soldiers I met seemed to have come home okay, heading on to college, jobs, or still on active duty - but of all those men, I'm sure some didn't and I just don't know.

I read a complimentary advance review copy from the publisher.

57 of 62 people found the following review helpful.
A well deserved thank you
By Robin
Thank You for Your Service chronicles the slow and painful journey of soldiers profiled in The Good Soldiers, and their families to recover from war. These men, and one widow, mainly want just to get back to normal. The problem is that that very little in their lives is normal. Not only is PTSD an ever present waking nightmare, money troubles, career problems and the strain of raising children under incredible pressure is more than some can bear.

If there were an effective cure, or even a good treatment for PTSD, ineffective treatment would be less frustrating to read about. We'd be turning the pages waiting for the upturn in the story. This book takes us on the journey of treatment but mostly it's about the disease, and what it does. I read about these men, wives beaten, children raised in stress, listening to constant fighting and my heart ached. These families are so young. The wives are little more than girls, but have responsibilities that would crush much more experienced people. Most seemed isolated from their families, with no aunts, uncles, parents or grandparents to share the burden.

This terrible problem needs national attention--I don't know of a recent veteran who isn't worried about at least one friend. Many young veterans have lost good friends, to suicide. There are veterans groups, doctors, the sometimes hapless VA, but no easy answers.

But at the same time I worry that this book might make people nervous about returning veterans, the vast majority of whom, do not suffer from the long term effects of PTSD.

When my son went off to war, as a Marine, he explained to me that the risk of PTSD increases with each deployment. He came home of sound mind, and in one piece. After four years and two deployments to Afghanistan he decided to come home. We were glad he'd decided not to tempt fate,

I hate it when I tell people that my son was a Marine and they wince. He's a freshman in college, courteous, and years more mature than his peers in school. Adjusting to civilian life is not easy but most young soldiers come home and contribute greatly to their communities. They hear some "thank you's" and deserve them.

0 of 0 people found the following review helpful.
Brings you right into daily living
By William
A very enlightening read for me. The book follows the attempts at recovery of several Iraq war vets who were traumatized by their experience. The author does a great job of relating and interweaving the endeavors and difficulties of the vets, their wives, and the VA staff who treat them. For sure it is not pretty and the discord and anger within the families is near constant.

This is just raw material that brings you right into daily lives, and the author does not apply any spin nor look for good or bad actors. You get to witness the good intentions as well as the self centered tendencies that lead to anger and dysfunctional behavior. By both the vets and their wives. It's not explored explicitly but one can only imagine the trauma visited on their young children at such a vulnerable age.

Good writing and it is engaging to read, though it can feel relentlessly heavy at times. One's heart does open up.

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