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Yet my eye is drawn once again,
Almost against its wishes,
To the figure in the shadows,
Willowy, and clean-shaven,
As if he simply wandered in
Between mending that fuse
And washing the breakfast dishes.
--from "The Bearded Woman, by Ribera"

Sven Birkerts has said, "It is not usual for a poet of Muldoon's years to have an oeuvre disclosing significant shifts and evolutions. But Muldoon, more than most, is an artist in high flight from self-repetition and the deadening business of living up to created expectations." The body of work in Poems 1968-1998--a comprehensive gathering of Paul Muldoon's eight volumes---finds a great poet reinventing himself and recreating the business of poetry. The thirty-year effort of Muldoon's career thus far, is altogether like a fascinatingly mutable climate in which each freshening period brings---as his first collection was predictively titled---new weather.

Sales Rank: #1978521 in Books
Published on: 2001-04-18
Released on: 2001-04-18
Original language: English
Number of items: 1
Dimensions: 9.00" h x 1.25" w x 6.00" l, 1.87 pounds
Binding: Hardcover
479 pages

From Publishers Weekly
The best, most-honored Irish poet of the generation after Heaney, "the man who could rhyme knife with fork" (as another poet quipped), Muldoon finds his collected work seeing print a few months before his 50th birthday not bad for a farmer's son from Armagh. Though it includes no new poems, this big brick of a volume does make available several long-out-of-print early books, and it serves better than Muldoon's older selecteds to reveal the full range of his prodigious talents. There is the Frostian, anecdotal Muldoon of early work like "The Big House": "I was only the girl under the stairs/ But I was the first to notice something was wrong." There is the evasive, tough-guy Muldoon who wrote narrative poems, like "The More a Man Has the More a Man Wants," about terror and gangsters in his native Ulster. There is the brilliantly canny and understatedly moving family elegist. There is the Muldoon whose oeuvre includes all shades of romantic and erotic emotion, from sexual disgust ("Aisling") to long-married tenderness ("Long Finish"). There is the writer of serious, terse, effective political verse, the author of 100 haiku about suburban New Jersey, and the Muldoon who recreated the sonnet in his own image. And, most famously, there is the postmodern comic, who claims to be "my own stunt double," and who explains in another recent poem: "A bird in the hand is better than no bread./ To have your cake is to pay Paul." Muldoon (who now teaches at Princeton and Oxford) may yet expand his range even further; for now, the Muldoons are all here, in force and in bulk. Most readers of poetry will need to deal with them. (Apr.) Forecast: The eight or so separate Muldoon volumes on the shelves had the effect of putting off first-time readers, and making a diverse body of work seem diffuse. This collection corrects both problems, and makes Muldoon's first half-century a one-shot buy for libraries and consumers alike. If reviewers take this chance to sum up the career, this book could put Muldoon in Heaney's neighborhood.
Copyright 2001 Reed Business Information, Inc.

From Booklist
Carlos Fuentes claims the English language's luck consists of someone Irish coming along every generation or so and reinventing it. Muldoon--reared in Northern Ireland, long resident at Princeton, recently professor of poetry at Oxford--is today's reinventor. His language is heightened, experimental, and also utterly mundane, even coarse. His subjects match the language, what with trips on mescaline chockablock with bucolic landscapes. The luck of this collection is that it is long and dense enough to show the poet wrestling not only with craft--his intricate and often hidden rhymes show, right from the start, his obsession with form--but also with the reason for poetry in a technological age. In an early poem Muldoon describes meeting with a younger poet "rambling on / About pigs and trees, stars and horses"--this is Muldoon's own younger self come calling, challenging him to move beyond the conventional poetic subjects. The trees and stars never utterly disappear, though, but arrive in movies and French philosophy, pub crawls and Romantic poets, Irish language and Belfast murders, in a great swirl of fresh and durable language, as if they were bedrock revealed by a cataclysm. Patricia Monaghan
Copyright © American Library Association. All rights reserved

Review
"'Among discriminating readers of new poetry, no one's stock is any higher than Paul Muldoon's...For sheer fun, verve, wickedness and grace, he has no rivals.' Michael Hofmann, The Times Drawing on Paul Muldoon's eight major collections, Poems 1968-1998 allows readers old and new to take the full measure of the writer whose 'influence on the otherwise torpid aesthetics of post-war poetry alone makes him the most significant English-language poet born since the Second World War.' (Stephen Knight, Times Literary Supplement) 'Muldoon's technical resources - his formal imagination, range of allusion, lexical abundance and rhyming panache - have only expanded with the years, and the wit that deploys them is sharper than ever.' Mick Imlah, Observer 'No other poet now writing charts so gracefully that narrow track between open and closed form, tradition and innovation.' Michael Donaghy, Sunday Times"

Most helpful customer reviews

28 of 34 people found the following review helpful.
Glibly Great~Greatly Glib
By Teop Tnomrev
If glibness can be elevated to greatness, then (as critics like to say), Muldoon has no peer. But that's a big "if". I picked up this volume based on a recent New York Times article where I read that (just in case you haven't heard yet) he is a Professor of Poetry at both Oxford and Princeton, having been inducted into the former at the tender age of 20. Surely, dear reader, you must know by now the unparalleled list of professorial poets produced by Oxford & Princeton? Need I name names?
I nevertheless like Pual Muldoon's poetry. I recommend it and it's fun to read, but his book of poems from 1968-1998 could hardly be considered a string of pearls.
What you will and won't get.
His is like snapshot poetry. Don't expect extended metaphor, conceits, or any overall development in the way of imagery or narrative. His is a quick wit and quick eye. Reading his poem is like setting fire to a box of matches. There's no smoldering pathos hear. His fire leaps from matchtip to matchtip, word to word, until the whole of it goes up in an exciting little burst of flames.
His poetry has been compared to Donne, but similarities are thin. For example, Donne was singularly known for the difficulty of his metrical writing. Expect no metrical daring from Muldoon. He doesn't write by numbers. Muldoon's difficulty can be summed up, I think, by this tidy comparison. Reading Muldoon is like listening to someone else's phone conversation. You will only ever hear half the conversation.
The earlier books in this collected poems are the most accessible and, in certain ways, the more enjoyable. You'll find those matchtip lines like: "Once you swallowed a radar-blip/of peyote/you were out of your tree..." This makes for fun reading.
The book "Madoc: A Mystery", however, dating from 1990 indulges in a stellar example of poetic onanism. Clearly, the writing of Madoc brought great pleasure to the author, but I personally doubt this book will mean much to anyone not having a fetish for erudite cleverness. Clearly, the Princetion professor Muldoon is having a long distance conversation with his Oxford counterpart. You will have to wiretap if you really want to get this stuff. For example:
"[Galen]
"It transpires that Bucephalus is even now
"pumping jet
"of spunk into the rowdy-dow-dow
"of some hoity-toity little skewbald jade."
Get it? If you do, this bud is for you.
The final book "Hay", is the best of them. Even if a portion of the poems strike one as little more than deliciously worded doggerel, the fun of Muldoon's wit evens the whole of it out. "I've upset the pail/in which my daughter had kept/her five-`No, six'-snails." Substitute "reader" for "daughter" and you get the idea.
By the way, did you know he was professor of poetry at Princeton AND Oxford???

9 of 10 people found the following review helpful.
I love Paul Muldoon...
By Elizabeth Easton
...I really do. The common criticism of Muldoon is that his constant use of mythical/literary allusion and Irish colloquial vocabulary makes him very difficult (if not impossible) to understand. I would argue, however, that this is Muldoon's point, especially in regards to his many elegies. Muldoon himself cannot access and express the depth of his mourning, and the diffult language he exposes the reader to assures that his feeling of insufficiency is not lost on anyone else. In my view, this is a brilliant and beautiful approach to modern elegy.
All of that being said, it is impossible not to get lost in Muldoon's beautiful language and rhythm. Reading even one verse of a Muldoon poem can keep me going for a whole day. Don't read him if you're afraid of doing a little thinking, but keep in mind that not all of his allusions are meant to be understood. Just enjoy.

10 of 13 people found the following review helpful.
A Poet of the First Order
By Incantessimo
I first encountered Paul Muldoon when he came to my university to give a reading and a seminar talk. When I picked up a photocopied packet of his poems and started to read through them, I was confused, then intrigued, then thrilled. When Muldoon arrived a few days later for the poetry reading and the seminar discussion, I was further impressed by this wonderful man, who has a deep understanding of poetry and language.
These poems are not "easy". Many of them require multiple readings to begin to understand them (although some are quite straightforward, but these are rare). However, Muldoon's use of language, his sense for sounds, his near-obsession with rhyme, and his inventiveness are qualities so far above most other contemporary poets that, well, what can I say? He's the real thing. Today, like Geoffrey Hill, he's very well regarded in the UK, and virtually unknown in the USA. This is tragic. A century from now, the names of Hill and Muldoon will be known, and most US poets will be forgotten - but that's another topic.
If you like difficult but beautiful poetry, pick this up. If you are into pretty easy, conversational verse that you can grasp from a first reading - stay away!

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** Download Perfection Salad: Women and Cooking at the Turn of the Century, by Laura Shapiro

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Perfection Salad presents an entertaining and erudite social history of women and cooking at the turn of the twentieth century. With sly humor and lucid insight, Laura Shapiro uncovers our ancestors widespread obsession with food, and in doing so, tells us why we think as we do about food today. This edition includes a new Introduction by Michael Stern, who, with Jane Stern, is the author of Gourmet magazine's popular column Roadfood and the book Eat Your Way Across the U.S.A.

Sales Rank: #1586187 in Books
Brand: Farrar, Straus & Giroux
Published on: 1986-03-01
Ingredients: Example Ingredients
Original language: English
Number of items: 1
Dimensions: 8.50" h x 1.03" w x 5.76" l,
Binding: Hardcover
288 pages

Amazon.com Review
Perfection Salad, a dish that won its creator first prize in a 1905 cooking contest, consisted of pristine molded aspic containing celery, red pepper, and chopped cabbage. Laura Shapiro, author of this eponymous social history, part of the Modern Library Food series, takes the salad as a model for the domestic science movement, an intriguing women's crusade of the late 19th and early 20th centuries. Bent on convincing housewives that the way to domestic order lay in cooking "dainty" nutritional meals from sanitary ingredients in "scientific" kitchens, the movement helped give birth to our mass-market food scene, with its reliance on home economics precepts, processed convenience foods, and no-cook cooking--our cuisine of boil-in bags and microwave frozen dinners. Entertaining and informative, but also unexpectedly moving, the book chronicles in numerous intriguing stories the ways in which an impulse to liberate women from the drudgery and imprecision of daily food preparation led to its debasement. It's a fascinating story, of interest to anyone who wonders why and how we cook and eat--and think about food--as we do.

Beginning with portraits of early domestic movement reformers such as Catherine Beecher and Mary Lincoln, and investigating institutions like the Boston Cooking School, home of Fannie Farmer, the Mother of Level Measurements, the book then pursues "scientific cookery" into its mid-20th-century manifestation. "With the help of the new industry of advertising," Shapiro writes, "the food business was able to reflect Mrs. Lincoln's values [of food-production uniformity] by keeping its achievements in packing, sanitation, convenience, and novelty at the forefront." But greater ills ensued: the effect of the reformers, Shapiro contends, was to encourage women to become docile consumers tethered to commercial interests--and to rob our vigorous cooking and eating traditions of their rich life. In making that point, Perfection Salad reveals its true subject: the cultural priorities that defined American 20th-century life and, finally, the sorry nature of the order they established. --Arthur Boehm

From Publishers Weekly
A journalist who has written extensively on aspects of feminism, Shapiro presents a well-researched history of women as nutritional revolutionaries during the late 19th and early 20th centuries. This serious study is lively entertainment, spiced by the author's wit and wry perceptions. Through her, we discover clues to the motives of women who turned American kitchens into laboratories, run according to the dicta of the Boston Cooking School and similar establishments that proliferated across the country. The most memorable of the culinary movers was Fannie Farmer, whose cookbook was published in a modest 3000-copy edition in 1896. Stories about Farmer and other domestic scientists of the period add strong appeal to Shapiro's report. So do the parallels between early feminists and today's advocates of equal rights. It is somber to realize, as the author emphasizes, that fear of significant power for women "even over themselves" kept their aims restricted. By 1900, they had settled for the status of experts in home economics instead of independence.
Copyright 1986 Reed Business Information, Inc.

From Library Journal
In documenting the history of the American domestic science movement at the turn of this century, Shapiro's very readable book helps explain why middle-class Americans developed a preference for a cuisine that sacrifices taste to the pure and the plastic. It was an era when science was in ascendency, and the leaders of the domestic science movement hoped to change the eating habits of the nation and to do away with the irrational methods of traditional housekeeping. How these women succeeded and where they failed is a fascinating story. A good bibliography nicely supplements this admirable book, which should appeal to a wide audience. Highly recommended. Joyce S. Toomre, Russian Research Ctr., Harvard Univ.
Copyright 1986 Reed Business Information, Inc.

Most helpful customer reviews

35 of 37 people found the following review helpful.
This book blew.my.mind.
By GadgetChick
It's a rare book that brings you into the subject deftly, can explain details without getting lost in them, and reserves most judgment until the end, and then provides insightful and thought-provoking commentary. This book is a fascinating exploration of how, in the interests of preserving American cuisine, the home, and women's place in it, home economists came into vogue in the early part of the 20th century, and damn near came close to wrecking everything they set out to save.

I love to cook, but among other working moms I'm friends with, I'm the exception. Women either hate cooking, don't mind cooking but don't know what to fix, or just flat out don't know how to cook. An awful lot of my friends rely heavily on fast food or packaged meals on a regular basis to feed their kids. I have long thought that there was a place in the schools for a revival of home economics, done better than what I and my classmates got in 7th grade - one year divided into a semester of sewing (let me tell you, that didn't take - almost no one I can think of sews), 1/2 a semester of cooking, and 1/2 a semester of a combination "household economy" (budgeting, nutrition, etc.) and sex education unit. Our cooking teacher freely admitted she hated cooking (she also wasn't exactly informative in the sex ed component either - her advice was "wait until marriage" and she showed her own childbirth video in class, if you can believe that) and her own distaste for cooking certainly didn't help us learn. By the time I got to high school, home ec was the "easy A" class you only took if you weren't in the college prep track (we had three coursework tracks - college prep, A and B, and home-ec was in the "B", or lowest, track). That meant that myself and my fellow students got through 8th-12th grade, four years of college, and possibly grad school, our 7th grade home ec year was far behind us. I always felt like there had to be a better way to teach people about the necessary life skills of cooking, household management and nutrition - something that would be more practical and stick with people a little better.

Now, after reading Perfection Salad, I understand why my home-economics class was so worthless and I've changed my mind about reinstituting home ec into high schools - I think it would be a throwback to some very bad traditions that are better off left in the past.

Home economists were responsible for basically enslaving women in their homes - convincing women that the home and the kitchen was the only place they would find moral, religious, or emotional fulfillment; that they had no place in man's world, and that the ills of society (poverty, disease, alcoholism, malnutrition, truancy, delinquency, infidelity, etc.) were due to women's failings to fully embrace their moral duty to keep a clean house and cook "scientific" meals for their family. If you want to know why women got so fed up with being at home - fed up enough that they left their homes for the workplace in the 60s and 70s - it's all here. And it turns out that the decline in home cooking - that so many conservatives have blamed on the women's movement, and held up as the reason for the obesity epidemic - actually began in the 1950s, when home economists put a full-court press on women to give up the "old ways" of preparing food and to use "convenient and hygenic" prepackaged foods. It turns out that in the 1950s, women were told cooking wasn't as important as being sexually attractive to their husbands. So much for the "feminists are to blame for all the world's ills" theory.

This is an absolutely wonderful and amazing book. I can't speak highly enough about it. It explains so much about why we have the attitudes towards food that we do, and how we might be able to find our way back to a healthier way of eating. Back in the timeframe the book discusses, it was actually seen as a good thing that women would buy prepackaged meals from the market rather than cook "unscientific" food in "unhygenic" kitchens. Now, women are doing just that and we've found out it's bad for us. I have a particular aversion to people like Christopher Kimball from Cook's Illustrated, who purports to have the "best" recipe and method for cooking anything, regardless of culinary traditions, cultural differences, and personal taste, and is extremely strident in his promotion of his own product over others (recently writing with obvious disgust in the New York Times about user-contributed recipes on the web, which aren't as scrupulously developed as his own). Now I realize there have been New Englanders like this for over a century, trying to tell women they know better and that women should put their own instincts about how to feed their families aside in favor of "researched" methods. I honestly believe that a huge part of why women don't cook more now is that they're intimidated by culinary perfectionism and mixed messages from people like Kimball - put dinner on the table, but do it our way, which may require more time or skill than you have, but that shouldn't matter, if you want to do the "right" thing.

If you like food, like cooking, and want to understand a LOT about feminism, food politics, the history of the women's movement, etc., you cannot miss this book. I can't wait to get Something From The Oven, Shapiro's book about cooking in the 1950s.

21 of 22 people found the following review helpful.
Fascinating and scholarly read
By Kindle Customer
Foodies and feminists alike should read this book. As part of the Modern Food Library reprints, chosen by Ruth Reichl (who is known for her good taste and her own laudable literary contributions - "Tender at the Bone" and "Comfort Me with Apples"), "Perfection Salad" describes all the elements present at the turn of the century that combined to forever change the way Americans view food. Food, its preparation and presentation became a female obsession in an time where the kitchen was really the only arena in which a woman could rule. The female nutritionists and cooks from that era seemed bent upon exerting control on SOMETHING, and that something turned out to be food - with sometimes terrible consequences. After reading "Perfection Salad", I understood the recipes that my grandmother (born in 1898) and my mother after her learned and served. Don't be frightened by the scholarly look of "Perfection Salad" - there are hilarious nuggets in the text - like color-themed menus (everything green and white, for example), putting everything into gelatin for the sake of "daintiness" (no messy lettuce leaves hanging out of your mouth) and covering absolutely anything and everything with "white sauce". For more laughs, peruse "The Gallery of Regrettable Food" by James Lileks in which he has gathered some of the most revolting-looking photos of the consequences of "Perfection Salad".

10 of 11 people found the following review helpful.
Ever wonder where pineapple-marshmallow salad comes from?
By mbluth1
This highly readable, beautifully researched book provides a fascinating look into American "cuisine" circa 1850-1920. The Boston Cooking School and other institutions promoted Americanization through cooking conducted on scientific principles, although immigrants proved reluctant to give up their "coarse and unsavory" meals for triumphs of digestibility such as the following, served to President Wilson on his first day in office: "cream of celery soup, fish with white sauce, roast capon with two white vegetables, a fruit salad,and a dessert made with gelatin, custard, and whipped cream"(212). Other triumphs included a salad made of bananas and pimentos bound together with mayonnaise and whipped cream and, later, grapefruit pieces mixed with dessert mints. Often funny and always interesting, this book
also helps readers to understand the convenience food mania of the 1950s.

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Friday, April 18, 2014

> Ebook The BFG, by Roald Dahl

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"Well, first of all, " said the BFG, "human beans is not really believing in giants, is they? Human beans is not thinking we exist."

Sophie discovers that giants not only exist, but that there are a great many of them who like to guzzle and swallomp nice little chiddlers. But not the Big Friendly Giant. He and Sophie cook up an ingenious plot to free the world of troggle-humping -- forever.

Sales Rank: #36997 in Books
Brand: Farrar, Straus & Giroux
Published on: 1982-11-01
Released on: 1982-11-01
Original language: English
Number of items: 1
Dimensions: 9.59" h x .89" w x 6.42" l, 1.04 pounds
Binding: Hardcover
221 pages

Amazon.com Review
Evidently not even Roald Dahl could resist the acronym craze of the early eighties. BFG? Bellowing ferret-faced golfer? Backstabbing fairy godmother? Oh, oh ... Big Friendly Giant! This BFG doesn't seem all that F at first as he creeps down a London street, snatches little Sophie out of her bed, and bounds away with her to giant land. And he's not really all that B when compared with his evil, carnivorous brethren, who bully him for being such an oddball runt. After all, he eats only disgusting snozzcumbers, and while the other Gs are snacking on little boys and girls, he's blowing happy dreams in through their windows. What kind of way is that for a G to behave?

The BFG is one of Dahl's most lovable character creations. Whether galloping off with Sophie nestled into the soft skin of his ear to capture dreams as though they were exotic butterflies; speaking his delightful, jumbled, squib-fangled patois; or whizzpopping for the Queen, he leaves an indelible impression of bigheartedness. (Ages 9 to 12)

Review
“Roald Dahl and Quentin Blake are uncanny in their understanding of what children like to read and see. Sophie, an eight-year-old orphan, is kidnapped by the BFG (Big Friendly Giant) and taken to Giantland, where [her] alliance with the BFG and the queen of England results in the capture of the nine evil giants. Children will enjoy this book.” ―The New York Times Book Review

About the Author

Roald Dahl is one of the most successful and well-known of all children's writers. His books, which are read by children the world over, include James and the Giant Peach, Charlie and the Chocolate Factory, The Witches and Matilda.

Most helpful customer reviews

60 of 62 people found the following review helpful.
I fall for Matilda every time
By M. Heiss
I confess -- I love the book "Matilda."

A total fantasy novel lies behind the mask of a British school tale.

Roald Dahl crossed the line into the utterly unbelievable by making his villains so incredibly bad. It's preposterous, and funny. So while this is a book that prominently features bullying, intimidation, horrible insults, and violent mistreatment of children, it isn't scary at all -- instead, it is funny.

It's the vocabulary words and the quality of the writing that get me. Superb.

As a read-aloud mom, who can read it and share the laughs with my family, I love this book. Still, I have to caution parents to pre-read it before you give it to your children. There is over-the-top anger, name-calling, and violence directed at kids -- and the kids take revenge in dangerous and harmful ways. We treat this the same way we treat Tom and Jerry or Sylvester and Tweety bird -- total fantasy. Don't behave like that. Isn't it funny?

Parents are the best judges. Give it a try.

Parent notes: truly awful name-calling, raging adults, parental abandonment, revenge against adults, mixing chemicals for revenge, lots of Forbidden Words, and a nice message in there about practice gets you to your goal.

7 of 7 people found the following review helpful.
Don't buy the Kindle version--pages missing!
By Echo
There's something wrong with the formatting. There's pages that won't download and it's very frustrating trying to read a story that has several pages missing.

0 of 0 people found the following review helpful.
The Big Friendly Giant is a BIG hit!
By Amanda J Branum
My daughter is going into the 3rd grade this year and I really wanted to teach her that most books are even better than the movies that are made about them. When I read that The BFG movie would be coming out this summer I figured this would be a wonderful opportunity. Immediately she was drawn to the book when she realized author Roald Dahl is the genius behind many of her other beloved favorites! The BFG did not disappoint! It was full of Dahl's signature made up whimsical words and just enough mild humor to keep both kids and adults chuckling. We loved learning all about the BFG and all that happens in Giant Country. The story develops at a nice steady pace and the events that the Big Friendly Giant and the human bean Sophie go through keep you wanting more and more. We haven't seen the movie yet, but I do think my lesson of books first movie second has really hit home with my little reader. If your looking for a great family read or something to spark your imagination we highly recommend the BFG!

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Wednesday, April 9, 2014

>> Ebook , by Nightfall: A Novel, by Michael Cunningham

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Peter and Rebecca Harris: mid-forties denizens of Manhattan's SoHo, nearing the apogee of committed careers in the arts―he a dealer, she an editor. With a spacious loft, a college-age daughter in Boston, and lively friends, they are admirable, enviable contemporary urbanites with every reason, it seems, to be happy. Then Rebecca's much younger look-alike brother, Ethan (known in thefamily as Mizzy, "the mistake"), shows up for a visit. A beautiful, beguiling twenty-three-year-old with a history of drug problems, Mizzy is wayward, at loose ends, looking for direction. And in his presence, Peter finds himself questioning his artists, their work, his career―the entire world he has so carefully constructed.

Like his legendary, Pulitzer Prize–winning novel, The Hours, Michael Cunningham's masterly new novel is a heartbreaking look at the way we live now. Full of shocks and aftershocks, it makes us think and feel deeply about the uses and meaning of beauty and the place of love in our lives.

Sales Rank: #542481 in Books
Published on: 2010-09-28
Released on: 2010-09-28
Original language: English
Number of items: 1
Dimensions: 8.49" h x .97" w x 5.80" l, .82 pounds
Binding: Hardcover
256 pages

Features

Fiction Drama

From Publishers Weekly
Contemplating an affair that never was, SoHo art dealer Peter Harris laments that he "could see it all too clearly." The same holds true for Cunningham's emotionally static and drearily conventional latest (after Specimen Days). Peter and his wife, Rebecca--who edits a mid-level art magazine--have settled into a comfortable life in Manhattan's art world, but their staid existence is disrupted by the arrival of Rebecca's much younger brother, Ethan--known as Mizzy, short for "The Mistake." Family golden child Mizzy is a recovering drug addict whose current whim has landed him in New York where he wants to pursue a career in "the arts." Watching Mizzy--whose resemblance to a younger Rebecca unnerves Peter--coast through life without responsibilities makes Peter question his own choices and wonder if it's more than Mizzy's freedom that he covets. Cunningham's sentences are, individually, something to behold, but they're unfortunately pressed into the service of a dud story about a well-off New Yorker's existential crisis.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Peter Harris, a dispirited Soho gallery owner in his midforties, arrives home to find his wife in the shower and marvels at how lithe she looks through the steam, then realizes that he’s admiring her much younger brother. Called the Mistake, or Mizzy, he’s a lost soul, a junkie and moocher as sexy as he is manipulative. Mizzy appears just as Peter, brooding, romantic, and self-deprecating, is grappling with his failings as a father and an art dealer. Ceaselessly observant, Peter senses, or hopes for, “some terrible, blinding beauty” that will topple his carefully calibrated life, and why shouldn’t it be his alluring, feckless brother-in-law? Even if this mad infatuation stems from Peter’s deep grief for his brilliant and fearless gay brother, who died of AIDS. In his most concentrated novel, a bittersweet paean to human creativity and its particularly showy flourishing in hothouse Manhattan, virtuoso and Pulitzer winner Cunningham entwines eroticism with aesthetics to orchestrate a resonant crisis of the soul, drawing inspiration from Henry James and Thomas Mann as well as meditative painter Agnes Martin and provocateur artist Damien Hirst. The result is an exquisite, slyly witty, warmly philosophical, and urbanely eviscerating tale of the mysteries of beauty and desire, art and delusion, age and love. --Donna Seaman

Review

“The novel is less a snapshot of the way we live now than a consideration of the timeless consolations of love and art in the shadow of death, and its resolution--inevitable yet startling, like the slap of a wave--is a triumph.” ―The New Yorker

“Rather witty and a little outrageous . . . for pure, elegant, efficient beauty, Cunningham is astounding. He's developed this captivating narrative voice that mingles his own sharp commentary with Peter's mock-heroic despair. Half Henry James, half James Joyce, but all Cunningham, it's an irresistible performance, cerebral and campy, marked by stabbing moments of self-doubt immediately undercut by theatrical asides and humorous quips. . . a cerebral, quirky reflection on the allure of phantom ideals and even, ultimately, on what a traditional marriage needs to survive.” ―Ron Charles, The Washington Post

“[Cunningham] makes you turn the pages. He tells a story here, but not too much a story. You aren't deadened by detail; you're eager to know what happens next.” ―Jeanette Winterson, The New York Times Book Review

“Where art and humanity converge and where they part form a double helix in By Nightfall and account for the novel's most considered and lovely prose. Cunningham's observations of our desperate search for the real fill and break the heart.” ―Ellen Kanner, Miami Herald

“So many of Cunningham's physical descriptions read like confident prose poems, where you imagine what's left between the lines . . . As a testament to the richness of the literary imagination, ‘By Nightfall' is a success. You can't read this novel without the sense of how worlds can be found in a drop of water, or in an offhand comment, or in the curve of a vase. . . ‘By Nightfall' is a meditation on beauty, and it has its own indelible qualities of beauty.” ―Matthew Gilbert, Boston Globe

“Beauty, in its infinite variety and its power to transfix and seduce and delude, is a central theme of ‘By Nightfall,' the latest from the author of the Pulitzer-Prize-winning novel ‘The Hours.' Add the mysteries and fears of aging and mortality to the agenda, and you have echoes here of Oscar Wilde and Thomas Mann . . . the attentive reader is rewarded with a wise and exhilarating epiphany at the end.” ―Misha Berson, The Seattle Times

“Cunningham can really write. And so he transforms a set of predictable elements into an unpredictable and engrossing read. ‘By Nightfall' is an exemplar of the crossover megahit that authors of all genders and genres dream of: an entertaining page-turner that's bound for, and deserving of, literary eternity . . . There's nothing minor about Cunningham's heart, or his talent. ‘By Nightfall' deserves every superlative it has summoned.” ―Meredith Maran, San Francisco Chronicle

“[Cunningham's] vigorous explorations of art and its meaning--along with a thick veil of eroticism--keep the pages turning.” ―Eric Liebetrau, People

“Cunningham has again pulled off his trick of combining the novel of ideas with the juicy read. The characters in ‘By Nightfall' deceive, spy on and gossip about one another; but while all that is going on, ‘Nightfall' also studies the concepts of beauty and genius as they are expressed in the contemporary art world . . . The verdict: ‘By Nightfall' is a delicious book and will make a fine movie, as did ‘The Hours' and ‘A Home at the End of the World.' A straight man who suddenly falls for his wife's brother may seem like a stretch for mass appeal--but then didn't Mrs. Dalloway?” ―Marion Winik, Newsday

“In this rueful, daring and expansive novel, Cunningham gives us deep and thrilling access to the mind and heart of a searching, cynical, self-deprecating-except-when-he's-self-aggrandizing modern male.” ―Pam Houston, More

“There are sentences here so powerfully precise and beautiful that they almost hover above the page.” ―Karen Valby, Entertainment Weekly

“Beautifully written. . . Cunningham manages to perfectly capture post-9/11 New York City, with keen observations about anxiety, fidelity, aging, the art world and the somewhat impossible pursuit of what we think of as happiness.” ―Very Short List

“A ravishing and witty tale of yearning and hubris.” ―Donna Seaman, The Kansas City Star

“The result is an exquisite, slyly witty, warmly philosophical, and urbanely eviscerating tale of the mysteries of beauty and desire, art and delusion, age and love.” ―Donna Seaman, Booklist (starred review)

“Michael Cunningham's newest novel, ‘By Nightfall,' is a slim book that takes on some big issues: the evolving relationship of long-married couples, the often-fraught bond between parents and their adult children, the duty siblings have to one another. But it also enlarges to consider the role that beauty plays in our lives and the necessarily one-sided nature of our relationship with it. ‘By Nightfall' is philosophy masquerading as a story.. . . Instead of a novel overflowing with flesh and sweat, rage and craziness, Cunningham has given us a well-considered treatise.” ―Nancy Connors, The Plain Dealer

Most helpful customer reviews

122 of 131 people found the following review helpful.
"You've always been in love with beauty itself. You're funny that way."
By Michael J. Ettner
The play of emotions and themes with which Michael Cunningham is most adroit -- love, loss, desire, despair, mortality -- are again engaged in his new novel set in present-day Manhattan. But take note: the epigraph Cunningham has chosen for "By Nightfall" is a line from Rilke's "Duino Elegies": "Beauty is nothing but the beginning of terror." That, Cunningham signals, will be the novel's all-encompassing theme: the pursuit, use, and misuse of beauty.

The principal characters in "By Nightfall" are Peter Harris, a 44-year-old contemporary art dealer, and his wife Rebecca, an editor of an arts and culture magazine. As a gallery owner, Peter's occupation is that of a "servant of beauty." He has begun to suffer existential dread: "[a] conviction, in the face of all evidence to the contrary, that some terrible, blinding beauty is about to descend and, like the wrath of God, suck [the world] all away, orphan us, deliver us, leave us wondering how exactly we're going to start it all over again."

The plot, modestly scaled, is set in motion by the appearance of Rebecca's much younger brother Ethan (age 23), a beautiful but flawed and directionless young man who's interested in doing "something in the arts." Ethan's brief stay with the couple in their spacious SoHo loft will upend all three lives.

"By Nightfall" is written in a combination of voices: at times there is a third person omniscient narrator, sometimes a second person interlocutor, but principally we are caught within Peter's own ruminations. The lasting effect is a story told through Peter's eyes. While this brings a unity to the novel, it also can be a handicap. When events, ideas and emotions come to us filtered through his fears and sensibilities, the narrative sometimes falls into a rut, trapped by the insular sound of Peter conducting a hothouse conversation with himself. The reader yearns for more self-sufficiency on the part of other characters -- persons we are meant to, and want to, care about. Happily, Cunningham is terrific with dialog, and the frequent conversational segments -- animated, stylish, and verbally agile (these are New Yorkers, after all) -- oxygenate the narrative.

Cunningham's most popular novel, "The Hours," gained strength from the interconnectedness, across time and space, of three extraordinary women. The new novel, less ambitious and focused on one man, does not achieve similar standing. This is not surprising when you consider the following thought that comes into Peter's mind -- a view, I suspect, shared by the author:

"We--we men--are the frightened ones, the blundering and nervous ones; if we act the skeptic or the bully sometimes it's because we suspect we're wrong in some deep incalculable way that women are not. Our impersonations are failing us and our vices and habits are ludicrous and . . . we have no idea about anything that actually matters."

Some are likely to dismiss "By Nightfall" as privileged and claustrophobic, but I think enough others will have a different take. Yes, the setting and tone are highly literary, with frequent allusions to high culture sources ("Ulysses" and "The Dead"; "The Great Gatsby"; "Death in Venice"; the real-life doomed affair of Rimbaud and Verlaine). That's what you expect from Michael Cunningham. But at the same time, in what is one of his shortest novels, Cunningham manages to cover a broad range of topics of interest to many readers, not the least of which is relationships. When tracing Peter and Rebecca's histories, Cunningham uses his extraordinary skill at conveying the enduring connections within families. He is best with younger characters, especially sibling relationships. He traces the pangs of growth beyond adolescence as surely as he captures our fears of growing old and dying.

You cannot gainsay the beauty of Cunningham's writing, his knack for filling in the perfect detail, his intelligence and empathy. As for magic, Cunningham convincingly creates a bevy of working artists who are part of Peter's world, devising for each a unique aesthetic and then conjuring up rooms full of their artworks, all minutely described. Other reviewers will doubtless cite their own favorite passages, but for me the one that stands out is a terrific set piece in which we follow the footsteps of the insomniac Peter in the wee hours of the night as he meanders through the irregular streets of lower Manhattan. It is an unexpected, charmed sequence.

Cunningham once introduced the author Joan Didion at a public ceremony with this observation: "Our most significant writers record us for future generations." With that in mind, I think we would do right to add "By Nightfall" to the record.

45 of 49 people found the following review helpful.
Forced writing makes for disappointing read
By Kristin
I thought The Hours, A Home at the End of the World, and Specimen Days were all wonderful. By Nightfall has the same beautiful prose, but it lacks many elements that make the others great.

For one, the characters just aren't that likable. In every other one of his novels, I could find something to relate to or sympathize with in every man, woman, gay, straight, young, old, contemporary, historic person. In By Nightfall, I found Peter to be pathetic, his wife flat, and his brother-in-law a whiny child.

I also like Cunningham for the deep ideas he can effortlessly mix into his stories. In this case, it was more like he was trying to mix a story into his deep idea, and it was unsuccessful. There was too much thinking about life and beauty and not enough life and beauty actually happening. On top of that, the constant musing nature let to redundant vocabulary--evanescent, crepuscular, ineffably. I like a perfect word as much as (if not more than) the next person, but when I start noticing the same words being repeated, that tells me you're trying to stretch a 30-page idea into a 230-page novel. Kind of jarring.

Perhaps I shouldn't fault Cunningham for trying to move on and do something new (based on this novel, perhaps HE is having an existential crisis over the nature of his own art), but at the same time, I really miss the triangular, interweaving stories that spoke more to me than this forceful presentation of a theme.

52 of 59 people found the following review helpful.
Not so Cunning(ham)
By Charles L. Ross
I did not find any of the characters, including the often naked young man with the nice ass (God help me) appealing; nor interesting. After endless paragraphs describing in detail the colors of every (or so it seems) neighborhood in New York City, including some of the outer boroughs, the story picks up; although before reaching the end, there is still interrupting, interfering stream of consciousness from not only the protagonist but from the narrator, sounding exactly alike. Without all of this--without the Tom Ford suits and the Prada skirt and the name of every taxi driver--it would have made a good short story. Instead, the endless parade of marching phrases, separated from one another by commas and semicolons--so that the punctuation becomes another character? or perhaps a Greek chorus?--and yet connected through the listing of everything that might make them the same; or different, if you fear death. (And isn't it human to be afraid? Especially of death.) The pseudo-philosophical ramblings on art are tepid and grow tedious (and I majored in art). The openings of parentheses are to lead us into Peter's mind, but when there are (sometimes) five to a sentence, all insipid, they do not close fast enough for me. No thought can be said once but must be doubled, perhaps tripled, with another way of saying exactly the same thing. Still. Each sentence, every word is carefully selected, almost religiously (maybe), as though it were measured by a metronome. The book is WRITTEN. And it is a chore to read.

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## Free Ebook Antonin Artaud, Selected Writings, by Antonin Artaud

Free Ebook Antonin Artaud, Selected Writings, by Antonin Artaud

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Sales Rank: #955174 in Books
Brand: Farrar, Straus & Giroux
Published on: 1976-01-01
Ingredients: Example Ingredients
Original language: English
Number of items: 1
Dimensions: .0" h x .0" w x .0" l, .0 pounds
Binding: Hardcover
661 pages

Language Notes
Text: English, French (translation)

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Michael Luggio
Absolutely great collectors edition. Perfect as described.

15 of 17 people found the following review helpful.
Tome essential to all theatre artists
By A Customer
Studying Artaud is one way of taking a deep dive off into the realm of the unknown. His struggle to fully comprehend and describe lucidly his thought process and the clockwork of his soul; his obsessive desire and drive to break beyond the mundane level of median psycological theatre to rediscover the fiery roots and potent magic of the theatre event; and his visionary words---all of these combine to give us a man who was deep, profound and troubled---hence, utterly human, and truly inspirational to any theatre artist or artist in general. This translation of some of his most essential writings is essential to anyone who wishes to study the avant garde theatre. His influence is at times lucid and clearly defined; at other times, one sees that the myth of Artaud has distorted what the actual man wanted and worked for. In dealing with any artist who has created such a controversy (in his own time as well as in our time), one has to approach his work with the discipline of a tightrope walker. And Sontag's work provides the researcher with a straight, keen and powerful translation. Among the other translations of Artaud, this one is the best anthology available for the experienced researcher and the burning initiate. Read it as an athlete of the heart.

11 of 14 people found the following review helpful.
Artaud: what and where and how were you thinking?
By Mr A ODonnell
Selected Writings isn't an easy read. I jumped around a lot. This stuff is the most intense stuff I've ever come across. Artaud is one of the most important writers to rationalise beyond logic. His ideas on Van Gogh prove, beyond doubt, that his sense of aesthetics was far more acute than his contemporaries. They always said weird stuff about Neitszche, how he was more 'in touch with himself' than other writers or, indeed, society at large. But Artaud explodes that idea, since he continually toys with his own sense of himself to the extreme. Reading Artaud for prolonged periods is like going beyond this (his) sense of self to another place, something completely new and agonizing. His ideas abouty the theatre are quite well established but there is other stuff here. The poems, monologues and just the sheer variety of 'inner scenarios' at play here really astounds you. 'To have done with the judgement of God' must be the most extreme form of self expressed mental torture around! (incidentally, am I correct in thinking there is a recording of this piece knockin' around?) Anyways, please take a slice of the insanity, you never know where it will lead you...

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Monday, April 7, 2014

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A paleontologist awakens us to the "extinction event" that human activity is bringing about today The natural world as humans have always known it evolved close to 100 million years ago, with the appearance of flowering plants and pollinating insects during the age of the dinosaurs. Its tremendous history is now in danger of profound, catastrophic disruption. In Terra, a brilliant synthesis of evolutionary biology, paleontology, and modern environmental science, Michael Novacek shows how all three can help us understand and prevent what he (and others) call today's "mass extinction event." Humanity's use of land, our consumption, the pollution we create, and our contributions to global warming are causing this crisis. True, the fossil record of hundreds of millions of years reveals that wild and bounteous nature has always evolved not quietly but thunderously, as species arise, flourish, die off, and are replaced by new species. We learn from paleontology and archaeology that for 50,000 years, human hunting, mining, and agriculture have changed many localities, sometimes irrevocably. But today, Novacek insists, our behavior endangers the entire global ecosystem. And if we disregard--through ignorance, antipathy, or apathy--the theory of evolution that developed with our modern understanding of the Earth's past, we not only impede enlightenment but threaten any practical strategy for our own survival. The evolutionary future of the entire living planet depends on our understanding this.

Sales Rank: #2702526 in Books
Published on: 2007-11-13
Released on: 2007-11-13
Original language: English
Number of items: 1
Dimensions: 8.86" h x 1.56" w x 6.61" l, 1.76 pounds
Binding: Hardcover
480 pages

From Publishers Weekly
Paleontologist Novacek (Time Traveler) tells the story of our ecosystem and warns that humans are transforming it so drastically that it may not be habitable in the future. Discussing the evolutionary processes that led to the diversification of all life, he asserts that people who reject the theory of evolution impede efforts to preserve the ecosystem because they ignore the importance of biological diversity. To demonstrate biodiversity's crucial role, he considers the evolution of flowering plants and the myriad insect species that pollinate them, stressing that as we decimate these insect populations, we interfere with the very core of what has been built by evolution. Extinction is normal during the course of evolution, but studies cited by the author show that every year tens of thousands of species may now be going extinct, thousands of times faster than they would naturally do so, as humans exploit the ecosystem by cutting forests, exhausting sources of fresh water, polluting the air, destroying habitats, depleting the ocean and introducing invasive species to new habitats. We can avoid this, Novacek contends, if we learn to appreciate the history of our ecosystem in all its beauty and complexity, and have the will to reverse our destructive course. His timely book, with its wealth of lucidly presented information, should go a long way toward promoting this appreciation. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"This beautifully written volume draws on a lifetime of experience with fossil organisms to place the challenges of the present in context. Clearly written, and filled with wisdom and hope for the future, Terra should be read by everyone who cares about the future of our planet and wants to do something about it." --Peter H. Raven, President, Missouri Botanical Garden and George Engelmann Professor of Botany, Washington University in St. Louis

"This is a great read. Michael Novacek’s book vividly portrays the human folly and cavalier disregard for Terra, our only home, and he puts the environmental crisis in its most profound context. This is a masterful hundred-million-year biography of our unique planet of life—how it came to be, how it works." —Thomas Lovejoy, President, The Heinz Center for Science, Economics and the Environment

Terra is a much needed book on the human condition that could have been written only by a paleontologist with a thorough, field-based knowledge of evolutionary and environmental biology. Starting with the birth of Earth’s modern ecosystems, in the Age of Dinosaurs, Novacek explains how the living environment came together in a way that yielded humanity, and why our careless destruction of it is a profound and eternal loss. —Edward O. Wilson, Harvard University

"Terra is one of the important books of our time—and it will change the way you think about the world around you. Novacek’s coup is that he not only brings the past to life but shows how it holds the keys to our future. The extraordinary breadth of his accomplishments as a scientist gives his book a powerful combination of authority, wit, and humanity. Reading Terra, it is hard not to feel humbled being a steward of a planet so ancient, wondrous, and fragile as our own." —Neil Shubin, Provost, Field Museum of Natural History, Chicago

About the Author
Michael Novacek, senior vice-president and provost of science at the American Museum of Natural History, is the author of Time Traveler (FSG, 2002) and Dinosaurs of the Flaming Cliffs (1996). He lives in New York City.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Extraordinary
By Invictus
I have read many science books, particularly in the area of biology, and cannot recall having read any biological work as good as Terra. But I am an old man and perhaps have forgotten.

It is true that the book is not particularly easy to read, but only because the author has diligently tried to compress a lot of information into it. My feeling is that since he has taken so much trouble to write this magnificent work, he is entitled to have me take a fair bit of trouble to read it. It must surely be at least one of the best books ever written for non-specialists on the history of life on Earth.

Any person who is an evolutionist -- and there are supposed to be many -- would find it a challenge to read the work and adhere to his or her former views.

Novacek, though he says little about himself, must be a very fine fellow. His enthusiasm for the histories of species gone millions of years ago is infectious. And of course, what he has to say is relevant to the here and now; it makes one takes seriously the possibility that we attach too much importance to our human squabbles and prejudices, when our species itself may turn out to be simply a relatively short phase in the life of the Earth.
INVICTUS

5 of 6 people found the following review helpful.
Accessible and serious
By Bryan Walker
The book is readily accessible to the non-scientist and offers many insights into the complexities of the evolution of our ecosystem. It is full of fascinating detail always tied into a broad overall picture. Darwin's theory of evolution is seen as essential to our understanding of our past and of the dangers which now confront us. (Novacek was involved in the splendid Darwin exhibition put together by the American Museum of Natural History which I was fortunate to be able to see when it was recently brought to the Auckland Museum here in New Zealand.)

Novacek writes very well. In style his book is a happy combination of relaxed, sometimes personal, narrative and authoritative general overview.

Although a pleasant and interesting read Terra carries the deeply serious message that we are on the verge of a species extinction of massive proportions and that we must (and hopefully can) take the necessary steps to avert catastrophic climate change.

As a general reader interested in Darwinian evolution and deeply concerned at the dangers posed by anthropogenic global warming I found myself deeply engaged by this book.

1 of 1 people found the following review helpful.
To Pillage the Garden:
By LastRanger
Paleontologist Michael Novacek has written another fine book. Terra is nothing less than the story of life on earth and the ecological forces that govern its evolution. A chance encounter with a wayward hyena starts you on a journey through time, from life's raw beginning over 500m YBP through the long eons of changing conditions to, at last, the world of today. The author covers a variety of subjects and addresses some of the vital issues that threaten our present day ecosystems. From the start, life has faced one challenge after another; changing climate, moving into new habitats, invaders from other habitats and geological forces that push life to the brink of extinction. With each barrier breached comes a new beginning for any organisms that survive the change. Extinction and recovery are a recurring theme for life on earth and Novacek covers the three main ones in some detail; the end Permian event that seems to be the biggest one yet, the K/T event that ended the Mesozoic and ushered in the Cenozoic and the mysterious event just within the last 13,000 years that saw the end of some Mega-Fauna in many parts of the world. What caused these extinctions: volcanoes, extraterrestrial impacts, major climate change or a combination of causes? Humans may have had a hand in the last one. Each theory proposed spurs intense controversy and endless debate that shows no sign of letting up. But there's more to Terra than just past extinction. Humans have been exploiting the natural world for most of our history but starting with the industrial revolution things really took off. Decades of harmful land use, unrestrained consumption of natural resources, pollution on a unprecedented scale all put our present day ecosystem at risk. Terra is truly a marvelous book and no review, including this one, can do it justice. The full breadth and range of the author's knowledge on the many subjects covered in Terra is astounding. You may not agree with all of his conclusions but if you'r at all interested in the history of life on earth, the current health of our ecosystem and what role humans are playing in the environmental problems that we are now facing then you may find this to be a fascinating read. In 1962 Rachel Carson published Silent Spring and now, some 50 years later, Michael Novacek gives us a 21st Century take on some of the same issues.
I had no technical problems with this Kindle edition.

LastRanger

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Saturday, April 5, 2014

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Resuscitation of a Hanged Man is Denis Johnson's most fully realized novel to date, an enthralling and shattering reading experience, which probes the mysteries of faith, hope and love.

Sales Rank: #2621293 in Books
Published on: 1991-03-05
Original language: English
Number of items: 1
Dimensions: 9.30" h x 1.01" w x 6.28" l,
Binding: Hardcover
224 pages

From Library Journal
Leonard English, a failed suicide from Kansas, arrives in Provincetown, Massachusetts, in bleakest November to begin a new life as a private detective. The first thing he notices is that the women in town look remarkably mannish; then he realizes that they are men. The one real woman he meets is gay, but he pursues her anyway. A self-proclaimed "knight of faith," English tries to embrace Catholicism, but the local priest doubts his sincerity. Cut off from God and convinced that a secret paramilitary group is on his trail, English arms himself for a violent last stand. Johnson, author of the noir classic Angels (1983), here rehabilitates the Kierkegaardian religious novel. At once hilariously funny and profoundly serious, Resuscitation of a Hanged Man is philosophical fiction of the first order and a minor masterpiece of New England local-color literature.
- Edward B. St. John, Loyola Law School Lib., Los Angeles
Copyright 1991 Reed Business Information, Inc.

Review
"The God I want to believe in has a voice and a sense of humor like Denis Johnson’s."—Jonathan Franzen
"One of the best and most compelling novelists in the nation."—Elle
"Johnson is an author who has captured the zeitgeist of American experience as surely as Twain, Hemingway or Ellison."—Andrew Hubner, New York Post
"An utterly brilliant and original talent, a novelist who reminds us just how wonderful fiction can be."—The Philadelphia Inquirer "A classic…the touch of one of the finest novelists living today."—Richard Eder, Los Angeles Times Book Review

About the Author
Denis Johnson is the author of The Name of the World, Already Dead, Jesus' Son, Resuscitation of a Hanged Man, Fiskadoro, The Stars at Noon, and Angels. His poetry has been collected in the volume The Throne of the Third Heaven of the Nations Millennium General Assembly. He is the recipient of a Lannan Fellowship and a Whiting Writer's Award, among many other honors for his work. He lives in northern Idaho.

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6 of 6 people found the following review helpful.
Strange, but good
By Henry Platte
This novel is quite bizzare. Not just garden-variety modernist bizzare, either. Odd things happen. Nothing is predictable; problems are solved in the most impossible ways, and relationships undergo incredible, unbelievable contortions - I can't explain why it works, but after closing it, and after blinking a couple of time and thinking _Boy_ was that weird, I had a sense of having finished something very profound. I think that for once Denis Johnson is completley on top of his game. He's incredibly talented, and he always displays that talent, but his other novels sometimes take _effort_ to appreciate - if you know what I mean - but here, you really have the sense that he knows more than you, that he's holding all the cards, that he knows exactly where the story is going and what effect he wants it to have on you. I think the fact that he could make a cohesive story around such a group of oddballs with such an outrageous plot is testament enough to his ability, but it's also a very good read. That said, it is really, really bizzare, and doesn't _settle_ easily - which I guess is the point, since the vision it holds out is one without much comfort and with a great deal of horror and grotesquery - but I generally prefer books which are at least somewhat more human.

18 of 20 people found the following review helpful.
The magical talent of a born poet
By Robert Bezimienny
It seems unlikely that anyone affluent and successful, or, to use a borrowed phrase, comfortable and powerless, would go in search of anything. Therefore Denis Johnson depicts characters in need, whose only true choices lie in how to fail, and they search endlessly for things, things as disparate as their own souls, meaning in the world, the love of another human being, a sensible ordering of their own thoughts. Their quests bear the taint of madness and of poetry - it is not surprising that they, his protagonists, not least Lenny English in this novel, cultivate ecstatic relationships with their gods, for such relationships blur all too readily into madness.
*
First and foremost Johnson is a poet. He prises moments and emotions from the depths of ordinariness and sets them wet and gleaming before our eyes. He gives us an insight into a human mind, its particular way of seeing (and avoiding) the world. Consequently, plot is of secondary importance, yet nevertheless this tale has twists and surprises enough to carry the reader steadily along, calmly swimming through events while waiting for the next unsettling insight, the next beautiful passage of prose.
*
It's also very funny. The humour can come from absurdity, or just from his ear for smart...conversation. He's read Kerouac and moved a long way on from there. In fact, Johnson is plain better than Kerouac.
*
If you like literature, then this novel is essential, as is Johnson's poetry, collected in "The Throne of the Third Heaven of the Nations Millenium General Assembly", and his short story collection "Jesus' Son".
*
It's interesting to compare what he's doing with the projects of other, perhaps more feted, contemporary American authors - say, Richard Powers or Don Delillo. For mine, Johnson has fathomed his own soul far deeper than either of these men, and he is not ashamed to expose himself, and he has sharpened his means of so doing. In contrast, Delillo's characters appear soulless, hiding from themselves and his readers; Powers presents people in fractions, their shiny sides open for view, with sneaky peeks at their libidos, and their darker sides miraculously forgotten or rationalised - both these writers of encyclopedic fiction feel almost cowardly when set beside Johnson's work, and neither of them can tell a joke; their prose is often laboured and stupidly erudite, with no hope of attaining the grace of Johnson's, yet their books are without doubt amongst the best being written today. So how good does that make Johnson? Most probably he is a god-forsaken genius. More people need to know about him. For the sake of the world, read his books and spread the word.

4 of 4 people found the following review helpful.
Outstanding book...
By Clark
This book was quite enjoyable. It is impossible not to get submerged into the story, Johnson hooks you and never lets go. Denis Johnson is a master of the English language. It seems like every word is necessary for the story. Johnson has a focus on providing the reader a well-written novel that lacks useless page filling words. Resuscitation of a Hanged Man makes you question your own life. This book is truly a work of art. A+ for Denis Johnson and Resuscitation of a Hanged Man.

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Monday, April 7, 2014

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Saturday, April 5, 2014

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