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John Adams: Party of One, by James Grant

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An acute examination of a paradoxical U.S. president.

John Adams was an undiplomatic diplomat and an impolitic politician--a fierce revolutionary yet a detached and reluctant leader of the nation he helped to found. Few American public figures have ever been more devoted to doing the right thing, or more contemptuous of doing the merely popular thing. Yet his Yankee-bred fixation with ethical propriety and fiscal conservatism never stood in the way of his doing what was necessary. Adams hated debt, but as minister to the Netherlands during the Revolution, he was America's premier junk-bond salesman. And though raised a traditional Massachusetts Congregationalist, Adams was instrumental in bringing about the consecration of the first American Episcopal bishops. He was a warm and magnanimous friend and, on occasion, a man who fully vindicated the famous judgment of a rival he detested. Adams, said Benjamin Franklin, "means well for his country, is always an honest man, often a wise one, but, sometimes, and in some things, is absolutely out of his senses."

James Grant examines this complex and often contradictory founding father in the most well-rounded and multi-faceted portrait of Adams to date. Going from his beginnings on a hardscrabble Massachusetts farm to the Continental Congress to the Court of St. James and the White House, Grant traces the words and deeds of one of our most learned but politically star-crossed leaders.

• Sales Rank: #776288 in Books
• Published on: 2005-03-16
• Released on: 2005-03-09
• Original language: English
• Number of items: 1
• Dimensions: 9.34" h x 1.76" w x 6.24" l,
• Binding: Hardcover
• 544 pages

From Publishers Weekly
Starred Review. This new biography by Grant, who has written previously on financial history (Money of the Mind), gives us John Adams's life in vivid detail. In his New England childhood, the amorous and "bookish" Adams grew up in a four-room farmhouse, the eldest of three children—"by prevailing standards of fertility, almost an only child." The heart of the book chronicles Adams's involvement in the Revolution, from his early praise of the Boston Tea Party through his stint as postwar diplomat in France. His presidency seems almost an afterthought, with almost as much space devoted to fleshing out the details of his narrow victory . One might have liked a richer depiction of Adams's friendship, falling out, rapprochement, and brilliant correspondence with Jefferson. But if that storied friendship gets short shrift, Adams's personal thoughts about wealth, and his worries about luxury corrupting the American republic, are afforded just the sort of detail one expects from a writer with Grant's financial acumen. He ably joins the shelves of recent books on the founding fathers. For Grant's sake, one hopes that David McCullough whetted, rather than sated appetites. If this biography is not quite as grand as McCullough's, it is every bit as eloquent and deserves a wide reading. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
In the current Adams revival, the second president comes in three sizes: large (John Adams, by David McCullough, 2001); medium (Grant's volume); and small (John Adams, by John Diggins, 2003). The latter concentrated on Adams' contentious presidency, so those desiring the full Adams in half McCullough's length will choose Grant. A financial journalist, Grant astutely appraises one of Adams' unsung achievements--arranging foreign loans that financed the War of Independence; indeed, Adams' 10 years as a diplomat (1778-88) strike the author as his subject's signal contribution to the American Revolution. Grant is less admiring when it comes to Adams' personality, conditioning his praise with amusing asides about Adams' social and political gaucheries. As the book's subtitle implies, Adams was little influenced by opinions about him: he was a libertarian, not a democrat. Grant is excellent at developing Adams' devotion to liberty, honed by British policies that affronted him and turned him into a revolutionary. In Grant's fine synthesis, Adams on the page is the pious, ambitious, and loving man he was in life. Gilbert Taylor
Copyright © American Library Association. All rights reserved

Review
"Grant's wise and witty portrayal of John Adams deserves to go to the top of the lengthening list of biographies of the several Founding Fathers. No portrayal of Adams and his times is as perceptive, solidly grounded in the sources, and as delightfully written as is this book." --Paul C. Nagel, author of Descent from Glory: Four Generations of the John Adams Family and The Adams Women: Abigail and Louisa Adams, Their Sisters and Daughters

"Grant’s John Adams: Party of One should become the standard one volume on the second President’s life. Jim Grant is a virtuoso financial historian, American historian and master of the English language. From Grant, John Adams gets his just reward--a deeply researched, honest, marvelously written biography." --Lewis Lehrman,Lewis E. Lehrman, Co-Chairman, Gilder Lehrman Institute of American History
 
"This is much more than the curmudgeonly, financially-sophisticated view of a financially sophisticated curmudgeon you might expect of Mr. Grant, author of four notable books on finance and financial history. Well-wrought and scrupulous, John Adams: Party of One is written with elegance and a subtle understanding that rises to eloquence where eloquence matters, and builds to affectionate and moving truth." --Roger Kennedy, Director Emeritus, The National Museum of American History

"In this first-rate biography, Jim Grant delivers an effervescent life of John Adams that sparkles with classic wit, droll charm, and an engaging whimsy that perfectly suits both the subject and the period. Going beyond the humorous anecdotes and satirical asides that enliven his narrative, however, Grant sketches a poignant portrait of a doughty, stubborn, and many-sided man who defies easy generalizations. Whether as a lawyer, patriot, diplomat, or president, John Adams was a certified American original--a 'party of one,' as the subtitle intimates--and this biography, brimming with verbal riches, proves no less singular than its protagonist." --Ron Chernow, author of Alexander Hamilton

Most helpful customer reviews

62 of 63 people found the following review helpful.
A book as avuncular as its subject.
By David J. Gannon
John Adams is going through a bit of a revival these days-a development about which he no doubt would be both pleased and puzzled. This is the third Adams biography I have read in the past year, also taking in the recent books by John Diggins and David McCullough.

All three books give Adams his due-something largely denied him in his own time. They capture the iconoclastic nature of his personality as well as his intellectual power and accomplishments. Diggins focuses on Adam's Presidency, so his narrative is somewhat restricted, and , in fact, his style is as well. McCullough on the other hand is his devilishly detailed self, sometimes to the extent of burdening the reader with more than he cares-or needs-to really know about things incredibly trivial and marginal to the story at hand.

For my money, this biography by Grant is the best produced so far. I believe it does the best job of truly capturing the essence of Adams-his powers, his struggles, his insecurities, as well as capturing the total picture of both his personal and professional lives.

At 530 pages, the book is expansive enough for the true historical aficionado without becoming tedious to the more casual historical reader. Moreover, grant is more oft able to put forward a fresher, more energetic view than is the more plodding and cumbersome McCullough.

In the end, once one has finished the book, it's truly hard not to admire Adams for his accomplishments and his truly unique story. At the same time, it's also hard not to admire Mr. grant for finally putting out such a spectacular biography for a man who truly deserved one.

An excellent book through and through.

23 of 23 people found the following review helpful.
Adams the Patriot
By Dennis Phillips
Over the last decade or so there has been a great revival of interest in John Adams and a corresponding positive reevaluation of his accomplishments. Much of this renewed popular interest in our second president has been due to David McCullough's best selling biography and it is therefore hard not to compare this work to Mr. McCullough's excellent tome. Doing so would reveal that the McCullough book is more folksy, easier to read and gives the reader a much more warm feeling toward Mr. Adams while Mr. Grant is much more to the point, academic and does not hesitate to point out his subject's flaws.

John Adams' most notable fault, besides his well-known ego and stubbornness is his virulent anti-Catholicism which is notably absent from other biographies. The loathing he feels for all things Catholic is by no means an attractive feature of Adams' personality and Mr. Grant is to be commended for not glossing over this blot on the Adams legacy. While this kind of bigotry was by no means unusual for those times, especially in Puritan New England, a man of Adams' stature and intelligence should have risen above such sentiments.

Otherwise, Grant paints a very engaging picture of Adams, a man who in most respects I can relate to in many ways. Like Adams, I am most happy at home surrounded by my books and this love of books is a distinguishing trait of Adams' personality. As is his love for the simple life of a farmer, a trait that Grant brings to life with a story from London. It seems that during Adams' time as Minister to the Court of St. James someone noticed the diplomat walking along with his head down in what the observer took to be a state of deep thought. Grant checked Adam's diary for that day and found that the future president was looking down at the manure along the street and mentally comparing it's quality to the quality of the manure produced on his Massachusetts farm. He found the London manure to be inferior. While more academic than the McCullough book, this book is not without it's folksy stories.

Mr. Grant has concentrated on Adams' service during the Revolutionary period and there was plenty of service to concentrate on. Adams' work in the Continental Congress and as a diplomat clearly places him on a level with Washington and Franklin as a founding father. Moreover, Adams, unlike Washington and Franklin, was not a wealthy man and he sacrificed his most productive years to his country. At one point saving America from financial ruin while almost going under himself. Grant does a masterful job of portraying Adams' role in this period and shows that the Revolution might have had a very different outcome if it weren't for John Adams. The people of the United States owe this man a great deal more than most people realize and this book makes that fact abundantly clear.

All in all this is a good book that I found very enjoyable. There is very little time spent on the Adams presidency or his twenty-five years of retirement but that can be found elsewhere. There probably should have been a little more attention paid to Adams' complicated relationship with Thomas Jefferson for that relationship reveals a great deal about both men. That too however, can be found elsewhere. The writing is clear and easy to read except that the author has a tendency to rely a little too much on quotes, especially early in the book. There is nothing wrong with quotes but many writers have a tendency to string too many of them close together and to use some that are far too long. This tends to cause the text to bog down and despite what some writers think, it contributes nothing to the reader's feel for the times. Still, this is a very readable, informative and truthful biography of John Adams and is a book that I am happy to add to my surroundings.

27 of 28 people found the following review helpful.
Far better than McCullough -- an indispensable biography
By R. B. Bernstein
One might not expect a veteran economic journalist to produce one of the best biographies of John Adams ever written. But JOHN ADAMS: PARTY OF ONE defies expectations again and again, just as John Adams did. Written with clarity and grace, with respect for the primary sources and the existing historical and biographical scholarship on Adams and his time, JOHN ADAMS: PARTY OF ONE is an excellent study of its subject. Grant is particularly astute in his analysis of a focus of Adams's diplomatic activities during the 1780s -- his negotiations and renegotiations of the many loans that helped finance the new nation's quest for independence and its struggles to survive in the community of nations. Grant's dubbing of Adams as "America's premier junk bond salesman" is both funny and precise. The main advantages that Grant's book has over that by McCullough are that Grant's book is shorter, clearer, not at all filled with its own importance, and willing to take John Adams seriously both as a politician and a political thinker. Grant is willing to do the hard intellectual and writing work to convey to general readers the context of Adams's thought, the substance of his ideas, and the differences between his political philosophy and those of his contemporaries, including Jefferson and Paine. Even if you invested in McCullough's tome, buy and read this book. It is one of the best books on its subject ever written, having a great deal to say to general readers and to scholars alike.

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* Fee Download Franco's Crypt: Spanish Culture and Memory Since 1936, by Jeremy Treglown

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An open-minded and clear-eyed reexamination of the cultural artifacts of Franco's fascist Spain

True, false, or both?

Spain's 1939-75 dictator, Francisco Franco, was a pioneer of water conservation and sustainable energy.

Pedro Almodóvar is only the most recent in a line of great antiestablishment film directors who have worked continuously in Spain since the 1930s.

As early as 1943, former Republicans and Nationalists were collaborating in Spain to promote the visual arts, irrespective of the artists' political views.

Censorship can benefit literature.

Memory is not the same thing as history.

Inside Spain as well as outside, many believe-wrongly-that under Franco's fascist dictatorship, nothing truthful or imaginatively worthwhile could be said or written or shown. In his groundbreaking new book, Franco's Crypt: Spanish Culture and Memory Since 1936, Jeremy Treglown argues that oversimplifications like these of a complicated, ambiguous actuality have contributed to a separate falsehood: that there was and continues to be a national pact to forget the evils for which Franco's side (and, according to this version, his side alone) was responsible.

The myth that truthfulness was impossible inside Franco's Spain may explain why foreign narratives (For Whom the Bell Tolls, Homage to Catalonia) have seemed more credible than Spanish ones. Yet La Guerra de España was, as its Spanish name asserts, Spain's own war, and in recent years the country has begun to make a more public attempt to "reclaim" its modern history of fascism. How it is doing so, and the role played in the process by notions of historical memory, are among the subjects of this wide-ranging and challenging book.

Franco's Crypt reveals that despite state censorship, events of the time were vividly recorded. Treglown looks at what's actually there-monuments, paintings, public works, novels, movies, video games-and considers, in a captivating narrative, the totality of what it shows. The result is a much-needed reexamination of a history we only thought we knew.

• Sales Rank: #1363844 in Books
• Brand: Brand: Farrar, Straus and Giroux
• Published on: 2013-08-13
• Released on: 2013-08-13
• Original language: English
• Number of items: 1
• Dimensions: 9.17" h x 1.24" w x 6.40" l, 1.24 pounds
• Binding: Hardcover
• 336 pages

Features

• Used Book in Good Condition

From Booklist
Literary scholar Treglown, author of acclaimed biographies of Roald Dahl, Henry Green, and V. S. Pritchett, here offers a thoughtful, erudite hand grenade of a book that takes issue with contemporary narratives about Spanish cultural life during the Franco dictatorship (1939–75). Examining various works of fiction, journalism, and art, as well as public controversies about museums, graveyards, and other centers of historical gravity, Treglown argues that our understanding of culture under Franco has (ironically) been muddied by efforts to cultivate cultural memory of the period. Such efforts have, he suggests, been weakened by “sentimental politicization, escapism, complacency, and ignorance” as well as the general unreliability of memory, and the result is (again, ironically) both a persistent cultural amnesia and an unhealthy fixation on the past. Whether or not they share his concerns about cultural memory, readers interested in postwar Spanish art, literature, or politics will appreciate and likely learn from Treglown’s deep knowledge of these subjects. --Brendan Driscoll

Review

“A discerning, provocative book, part travelogue, part reflection on how memory passes into history, and part cultural narrative, Franco's Crypt establishes that much more was going on during Franco's regime than is usually credited. Touching on prickly issues with the pragmatic detachment of a foreigner, Mr. Treglown shows that subversive elements were at play in art, literature and cinema, and that a cautious yet irreversible process of modernity had begun long before Franco's death . . . Franco's Crypt [is] an unflinching addition to the literature on contemporary Spanish history and a cautionary tale about the nature of the beasts invoked by the political manipulation of bad memories. It also serves as a thought-provoking study on artistic expression under authoritarian regimes.” ―Valerie Miles, The New York Times

“Franco's Crypt . . . provides by far the best, and most objective, brief introduction to Spain's memory wars to be found in any language . . . Mr. Treglown offers a stimulating new reading of the chief milestones of Spanish culture since 1939. In doing so, he highlights the vitality of the country's artistic activity under Franco, subjecting the standard leftist narrative of a culturally stale Francoist Spain to sharp contradiction.” ―Stanley Payne, The Wall Street Journal

“[Treglown] brilliantly captures the ways that circumstances affect writers' lives and work in accounts of his own visits to gravesites, in his stories of monuments and archives, and in profiles of novelists, historians, filmmakers, and architects grappling with an autocratic regime . . . Behind the lines, Treglown observes, many artists and writers refused both to act as propagandists or to be silenced. This is where his book is especially powerful. His inquiries into the Spanish past recover experiences and efforts that don't fit neatly into the rival rhetorics. Franco's legacies had deep effects throughout Spain but were more complex than has been acknowledged . . . Franco's Crypt questions both the fabrication of Franco's legitimacy and the one-dimensional view that his regime crushed all creative voice and expression . . . [Treglown] is unsparing in his indictments of the regime, but this does not prevent him from showing how Spaniards created art and literature even in the depths of the dictatorship, with much independent work accomplished before Franco's death. Treglown's account overturns the conventional view that the transition to democracy had to wait until Franco's death.” ―Jeremy Adelman, The New York Review of Books

“Franco's Crypt, the latest book by the British literary critic Jeremy Treglown, is so refreshing. In his focus on the surprising richness of Spanish culture since the war, Treglown pushes back against a knee-jerk pro-Republican perspective--not by apologizing for the Nationalists but simply by abstaining from projecting his own moral stance on the culture of the period . . . To explain how the Spanish have come to terms with the war and Franco's rule, Treglown narrates a series of personal encounters with people and places in contemporary Spain, weaving them together with his examinations of cultural artifacts, including public works, paintings, movies, and novels. His analysis is anything but simplistic. He shows how the day-to-day cultural reality of the Francoist period was much more complex and less planned from above than most portrayals suggest.” ―Victor Pérez-Díaz, Foreign Affairs

“Jeremy Treglown is an accomplished editor and literary critic, who has published three splendid biographies . . . He approaches his subject with the affectionate enthusiasm of an outsider--curious, well-informed, but not deeply entangled in the political struggles he describes with admirable evenhandedness . . . Treglown raises some important questions about historical memory and introduces readers to a number of neglected writers and filmmakers. Those who want to know more about Spain's troubled past and challenging present will find a great deal of useful and interesting material in this book.” ―James J. Sheehan, Commonweal

“Jeremy Treglown's Franco's Crypt: Spanish Culture and Memory Since 1936 is such a necessary book: it is the first--at least in English--to investigate Spain's attempts "in recent years . . . to ‘reclaim' its modern history.” ―James McAuley, The Daily Beast

“Treglown studies the Spanish art, literature and public works produced during and just after Franco's rule and which he rightly thinks have been neglected by critics and journalists outside Spain . . . Treglown is right . . . that ‘memory politics' is essentially an open front in the country's ongoing culture wars, and that disenchantment and opportunism have festered because of unique historical circumstances.” ―Jonathan Blitzer, The Nation

“[Treglown] argues, in a forthright and original analysis, that Spanish culture and the memory of war have been steadily colonised and manipulated by the demands and pressure of international ideologies . . . The conventional view of the Franco years is that they were a time of sterility, when artistic expression was censored and opponents of the regime were arrested, tortured and imprisoned . . . By painstaking inquiry he shows that the psychological wounds of the battlefield were in fact a powerful inspiration for writers, artists and film-makers, and that much of the work published or exhibited was a direct challenge to the values of Franco's regime. He concludes that popular mythology has exaggerated the extent to which this work was ever subject to dictatorial control . . . One of the many pleasures of Franco's Crypt is that it draws our attention to a long list of Franco-era writers and film-makers whose work is unfamiliar or forgotten but who deserve to be translated or re-screened today.” ―Patrick Marnham, The Spectator

“An ambitious study of seven decades of Spanish 'culture and memory' . . . Treglown's interplay of history with personal narratives is skilful and incisive. Equally perceptive is his illustration of the ways artists and writers were able to circumvent the constraints of censorship during the 36 years of Franco's dictatorship. Indeed, his book amply demonstrates that 'any notion that Franco's Spain was an artistic desert is the opposite of the truth' . . . Humans, Treglown reminds us, negotiate present and future, even when the ghosts of the past come back to haunt the living.” ―Mercedes Camino, Times Higher Education

“At the heart of this enthralling book is the exhumation of a Spanish culture far too recent to have been forgotten, and too rich to have been dismissed out of disdain for the dictatorship. Whilst Treglown has much to say on the way the period has been recalled by more recent writers such as Javier Cercas and Antonio Muñoz Molina, his great accomplishment is the reinstatement of what went before . . . Close in its engagement and alive to the complexity of its subject matter, Treglown's book reminds us just how reductive we are being when we talk of ‘Franco's Spain'.” ―Michael Kerrigan, Financial Times

“Spain under Nationalist dictator Francisco Franco was not a mute, traumatized wasteland, but a country with a complex, imaginative culture that deserves to be remembered, according to this probing study. Treglown surveys an eclectic range of cultural artifacts from the Spanish Civil War, the Franco period, and Spain's modern democratic era--everything from monuments and hydro-electric dams, to video games and the latter-day movement to unearth the mass graves of Republican opponents shot by Nationalist forces. He unflinchingly registers the crimes of the Franco government, but argues that sophisticated, even subversive voices were tolerated and at times nurtured by the regime: novels with ambivalent attitudes toward the war and the sides that fought it, challenging art, films that satirized Franco-ite mores. Treglown presents subtle and perceptive critical readings of unjustly neglected works, showing how far they depart from the caricature of bland conservatism that some apply to the culture of the Franco era. But he also advances a deeper argument about modes of historical awareness, contrasting the confrontational and sometimes simplistic commemorative politics of democratic Spain with the oblique, symbolic but still rich expressiveness of the more repressed Franco period. Treglown's elegant and thoughtful meditation shows us that authoritarian power is neither monolithic nor immune to the soft power of civil society and individual creativity.” ―Publishers Weekly

“This is an erudite and at the same time pleasurable and intriguing book about Spain's historical memory that gives the best and most thought-provoking portrait of the culture of the Franco era and its aftermath. Jeremy Treglown shows the reader poignant examples of commemoration of atrocities and their erasure--bland assurances of reconciliation and durable antipathy. Informative, searching, and disturbing, Franco's Crypt updates what V. S. Pritchett called ‘the Spanish temper.'” ―Paul Freedman, Chester D. Tripp Professor of History, Yale University

“Franco's Crypt is the most comprehensive, most perceptive book on Spain I have read in a long time. I'm full of admiration for the scale of Jeremy Treglown's undertaking, for its fine balance between storytelling and reflection, and for its subtle and deep political and aesthetic judgments, which touch on practically everything that irritates or pains me most about my country. Normally these matters are presented abroad with exasperating stereotypes, and at home with intolerable factionalism. Spain, so obsessed with memory, is extraordinarily forgetful. This is a book that must be read, in Spain and abroad, by anyone who wants to understand the country's history, her present, and her future.” ―Antonio Muñoz Molina, author of Sepharad and two-time winner of Spain's Premio Nacional de Narrativa

“How should a country remember civil war and dictatorship? Or is it better to forget? Jeremy Treglown has written an insightful and deeply humane account of Spain's attempts to dig up its past both literally, by searching with backhoes for mass graves, and imaginatively, through novels about survivors, films about tango, and paintings of screams. Franco's Crypt is an indispensable guide to Spanish culture in the twentieth century, and a provocative reflection on the ambiguities of truth-telling.” ―Caleb Crain, author of Necessary Errors

“A thoughtful, erudite hand grenade of a book that takes issue with contemporary narratives about Spanish cultural life during the Franco dictatorship (1939–75). Examining various works of fiction, journalism, and art, as well as public controversies about museums, graveyards, and other centers of historical gravity, Treglown argues that our understanding of culture under Franco has (ironically) been muddied by efforts to cultivate cultural memory of the period . . . Whether or not they share his concerns about cultural memory, readers interested in postwar Spanish art, literature, or politics will appreciate and likely learn from Treglown's deep knowledge of these subjects.” ―Brendan Driscoll, Booklist

“Anyone who admired Pritchett's writing will find Treglown's book astute, incisive (sometimes to the point of being trenchant), and extremely valuable in the effort to hold this great writer's life up to art's defiant reflection.” ―Richard Ford on V. S. Pritchett: A Working Life

About the Author
Jeremy Treglown is a British writer and critic who spends part of every year in Spain and has written about the country for Granta and other magazines. His previous books include biographies of Roald Dahl, Henry Green (which won the Dictionary of Literary Biography Award), and V. S. Pritchett (which was short-listed for the Whitbread Biography Award and the Pol Roger Duff Cooper Prize). Formerly the editor of The Times Literary Supplement and a fellow of the New York Public Library's Dorothy and Lewis B. Cullman Center for Scholars and Writers, he has taught at Oxford, University College London, Princeton, and the University of Warwick, and has written for The New Yorker and The New York Times Book Review.

Most helpful customer reviews

9 of 11 people found the following review helpful.
History and Memory
By A. Wilde
This is one of those welcome cases in which publisher-provided reviews are accurate. This book is passionate, thoughtful and honest, a rare combination on this subject. Treglown is a foreigner who has expressed his manifest love for Spanish culture, history and people in a series of carefully considered essays in light of current battles over national memory. His perspective is that of an "insider-outsider," sympathetic and deeply-informed but also capable of taking some distance from contemporary polemics. His analysis of many decades of cultural production - novels, films, histories - is revisionist and calls to mind to Henry Rousso's magisterial study, The Vichy Syndrome. I would not have chosen to call it "a hand-grenade of a book," like one of the reviewers. That's Hollywood hype and the author's intent is much more serious. But it IS stimulating and provocative throughout; more a sophisticated guide through a mine-field.

6 of 8 people found the following review helpful.
Incredible work
By Caroline Angus Baker
When opening this book, a reader could easily expect to sit down an examine Franco’s effect on Spanish art during his dictatorship. Instead, this book extends far further, into many aspects of the Franco period, so much so that art ends up being only a fraction of the story.

The first part of Franco’s crypt gives a clear introduction to the Franco period. The book titles refers to Valle de los Caídos, where Franco is buried outside Madrid, and his behemoth is discussed, along with other monuments to the time period. The book talks about Spain’s left and how the crypt is a symbol for all things horrid, while also managing to be a figure for the Spanish right, their religion and their vast power under Franco. The opening of the book delves into the subject of bodies buried in unmarked mass graves throughout Spain, and goes through the reality of digging up such a grave. The section is laced with a feeling of resignation; that after all this time, whose bodies are they and the reasoning behind digging is uncertain.

The author gives a feeling that ‘memory’ is not such a simple beast; rather that the name encompasses many things. This could be certainly true, as memories and history are merely a recollection of the winners in a heated battle. With Spain being divided, by being its own enemy, all ideas, social and cultural norms, politics and attitudes are up for debate.

One chapter is dedicated to dam building in Spain under Franco. The voice of the book pulls back and forward between talking of the need to progress and the results of such ambitious, and sometimes failed, projects as well as the reality of what it did to the poorer people, who saw no benefit of the projects. This back-and-forward feeling in opinions distinguishes itself throughout the book.

What this book does do is lay out all the various elements of life under Franco, and how it is perceived in modern times. There can be no one element which accurately portrays Francoism and its effects, rather embracing that all walks of life, levels of wealth and social standing, and everyday opinion shape what is called ‘history.’ Treglown takes a (well-needed) swipe at the Spanish Biographic Dictionary, done by the Royal Academy of History in 2011. The glaring pieces of detail left out, and the additions and exclusions in this so-called encyclopaedia of Spain’s history is the perfect analogy for how Spain is viewed today.

This book does tell much of arts during Franco’s reign. To say Franco suppressed the arts is an unfair comment. The book talks of great artists such as Joan Miró, Antoni Tàpies and Antonio Saura. It talks of Spanish art making its way around the world, to be seen by overseas audiences more so than ever before. Writer Camilo José Cela won the Nobel Prize for literature. Filmmakers Pedro Almodóvar and Luis Buñuel were able to produce their films in Spain (though Buñuel, fresh from exile, had his work again banned). The book makes little mention of artists whose arts was not selected for greatness, and why, and a recurring theme throughout the book is that women barely managed to scrape their way into the history books. While Spain had its own share of female painters and writers, it seems fair to say women were not able to make much headway in the art houses of Spain. Treglown touches on the fact a feudal system still persisted among artists; not many artists were working class, no doubt out of the need to earn a living as best they could. While notable exceptions to this class divide are celebrated, it does highlight the inequality of the age.

Franco’s Crypt, page 102 – ‘Besides, while in the nineteenth century all the talent painters had to emigrate, in the Franco period they were once again living on the Peninsula. Did the unexpected development occur because of or despite the regime?’

Treglown answers that the regime did neither or both. Franco allowed Spanish artists to speak and their word spread worldwide, thus creating an image of Spain. Whether Franco liked it or not, we will never truly know. The book does not dwell much on drama or performance art, or on poetry, which is a shame.

One area of considerable divided option is the author’s chapters on the transition to democracy in the 1970′s. Opinion (or propaganda) tends to say that the left were hushed up during this period, and that the voices of the people went unheard during this period. Treglown gives examples of media accounts, historical studies and publications and documentaries which spoke out in this period against Franco, and of past crimes. He also shows that opinions of leftist Spain did have a voice. However, the so-called ‘pact of forgetting’ does remain in place, and those guilty were never tried for crimes, so to what effect these limited voices had is questionable. A roll-call of those in power after the transition says a lot of the effect of leftist ideas for change.

The reality of the era is that Franco modernised his country. After war in the 30′s, the violence of the 40′s and the struggling 50′s, Spain did begin to prosper in the 60′s, by becoming a US ally, with all important tourism and through economic growth. The book does its best to sit on the fence in the opinions of Franco and his regime, in an effort to tell truths otherwise hidden. However, it shows without doubt that Spain lacked any decent authority figures for a long period. Some argue the Catholic right-wingers lost much of their hold on Spain towards the end of Franco’s reign, but a quick look who has influenced Spain since Franco, and at the laws being created in Spain in 2013 by the PP government, suggests an evil seed has been allowed to flourish. Liberalism have have got hold for some time, but the future remains murky for Spain.

Treglown should be praised for putting together a book so laden with information. This is no summer-sun read, but if you want to learn about Spain, understand the country you have moved to, or wish to make sense of a divided nation, this is the best book written with an unbiased prose in a long time. I can’t be certain it shows that Franco wasn’t the oppressor he was made out to be, but it shows that despite the regime, creativity and the human spirit continued to fight back. I am a unashamed leftie and won’t praise anything Franco achieved, but this book does its best to take on both sides of the divide.

0 of 0 people found the following review helpful.
Reflections on Spain’s “Memory Wars”
By Albert A. Nofi
A summary of the review on StrategyPage.Com

'British biographer Treglown addresses two interrelated subjects in this work, remembering and memorializing the Spanish Civil War, and the Spanish art and culture of the Franco and post-Franco eras. Reflecting recent trends in scholarship on Spain, Treglown avoids knee-jerk criticism of Franco and the Nationalists, and, despite clear sympathies, criticizes the Republic and the Loyalists when appropriate. The book is divided into two parts with the first part, “Sites and Sights,” covering physical manifestations of the war and the regime, such as graves, memorials, graphic art, and even dams. Treglown covers the meaning and symbolism involved, and the importance of the recent increase in the search for mass graves (though noting that there seems little interest in mass graves left by the Republicans) and the monumental crypt in the Valle de los Caídos, in which Franco actually takes second place to José Antonio. The second and longer part of the book, “Stories and Histories,” looks at commemoration in literature and film. Of particular interest here is that despite the Franco regime’s opposition to modernism or realism, a surprising number of writers, artists, and several film makers did some excellent work, but received little international recognition due to overall hostility to anything emanating from “Fascist” Spain. While the book throws little light on the Civil War proper, it’s certainly a useful read for anyone interested in Spanish history in the twentieth century, or in issues of memory and commemoration.

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# PDF Download Behind the Mask, by Yangsook Choi

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Halloween is coming. “What are you going to be?” the children ask one another. Kimin says he will be his grandfather. “Going as an old man is not very scary,” they tease. What the children don’t know is that Kimin’s grandfather was a Korean mask dancer. And Kimin doesn’t know that the mask holds a secret for him.
With vibrant illustrations, Yangsook Choi joins Korean and American folk traditions in her story about a boy who finds a link to his grandfather, behind the mask. Behind the Mask is a 2007 Bank Street - Best Children's Book of the Year.

• Sales Rank: #1181310 in Books
• Published on: 2006-10-03
• Released on: 2006-10-03
• Original language: English
• Number of items: 1
• Dimensions: 10.25" h x .34" w x 8.98" l, .73 pounds
• Binding: Hardcover
• 40 pages

From School Library Journal
Kindergarten-Grade 2–When his friends ask him what he will be for Halloween, Korean-American Kimin tells them that he will be his grandfather. The children don't think that it will be very exciting to dress as an old man, but the boy knows better. Before he died, his grandfather had been a famous mask dancer in Korea, and Kimin has two boxes of costumes, photos, and memorabilia from his career. He picks a mask that had scared him years before when he had visited his grandfather and shows his friends some dance moves as they go trick-or-treating. The children go to his house and all end up dancing and looking at the beautiful masks. The illustrations in muted fall colors enhance the story beautifully, and include endpapers with the stylized masks depicted. This is an evocative look at a Korean tradition and an interesting intergenerational and multicultural story for Halloween.–Judith Constantinides, formerly at East Baton Rouge Parish Main Library, LA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
A Korean American boy finds a unique way to celebrate Halloween in this original picture book. After his grandfather's death, Kimin misses him and feels a little afraid of the chests containing photos of his grandfather performing a traditional Korean mask dance as well as the clothes and frightening masks that he wore. Halloween approaches. When Kimin tells the other children that he will go as his grandpa, they laugh and joke about his choice. But when he dons the mask and robe on Halloween night, his costume and dance earn their respect. As Choi notes, Halloween is not just a time for scary costumes and candy, but also a time for honoring the dead. Ultimately, Kimin's unusual choice brings him closer to his grandfather. Quiet and well crafted, the story manages some subtle emotional shifts as well as the smooth weaving of one tradition into another. The author's note fills in more background about the mask dance. An interesting fusion of cultures in a story appealing to children. Carolyn Phelan
Copyright © American Library Association. All rights reserved

Review
"Satisfying.  Choi's text-and-image layouts and cross-generational subject matter recall Allen Say's work on heritage."  --Publishers Weekly "A unique look at Halloween, this is a comforting story about death and some of the traditions of Korean culture."  --Kirkus Reviews "An interesting fusion of cultures in a story appealing to children."  --Booklist "The . . . story of a tentative, solitary boy who makes the shy person's great discovery:  put on a mask and you are liberated into sociability. . . the old man and the tuna dance down the road and into friendship."  --The New York Times Book Review "An evocative look at a Korean tradition and an interesting intergenerational and multicultural story for Halloween."  --School Library Journal

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2 of 2 people found the following review helpful.
Not just a Halloween story
By Linda Kissling
Kimin, a Korean-American boy, finally decides to dress as his grandfather for Halloween. But this is more than a mere Halloween story. It is a touching look at how the American Kimin finds a connection with his Korean grandfather, as well as the remarkable role the grandparent held in their cultural ancestry. He had been a mask dancer, the significance of which the author's note briefly explains. Beautifully painted replicas of masks and glimpses of clothing and decor carry the feel of Korea though the book.

An exquisitely executed book.

3 of 4 people found the following review helpful.
Dance by moonlight
By E. R. Bird
Around early October, children's booksellers and librarians perform synchronized shudders as an influx of bad Halloween titles swamp bookshelves everywhere. You can't get away from them. Will the parents walk off with the repugnant tale of a little witch who just wants to be loved or something ironically sacchrine involving a boy who learns to share his candy? Whatever the case, the sheer piles of Halloween-inspired dreck is heady. With that in mind, a book like Yangsook Choi's, "Behind the Mask" comes across as a breath of fresh air in the midst of all this garbage. Choi tells a measured tale of a boy's wish to have the best and scariest costume for Halloween and throws in a good measure of Korean history and culture along the way. Consider this book the antidote to all the colorful horrible Halloween books that end up clogging the kiddies' brains.

Kimin has a problem. A Halloween problem. He has no idea what to dress up as this year, and his mom isn't being much help. All she's done is suggest that he look through his grandfather's old belongings stuffed away in two heavy boxes. Kimin is aware that his grandfather was once a famous dancer in Korea, but he's just uncovered a hitherto buried memory from when he was younger. When he was very little, Kimin spied on his grandfather late one night, only to find that the beloved relative had transformed his own face into something horrific. Now, going through the old boxes, Kimin discovers a scary mask that is EXACTLY the face the boy thought he saw that night. Now everything is clear for Kimin, and better still, he's found his new costume. His choice of disguise comes off as a hit with the other kids, but when Kimin accidentally bruises his family's priceless family heirloom it's his mother he'll have to explain everything to in the end.

Choi makes certain to end her book with a useful Author's Note at the back, explaining fully what a Talchum, or mask dance, really is. Now I'm not entirely certain why great Korean-American picture books are more plentiful than picture books from many other cultures these days. Maybe it's just my own perception, but when you've such high quality titles like Linda Sue Park's, "The Firekeeper's Son" and "Bee Bim Bop" alongside, "The Have a Good Day ?", by Frances and Ginger Park, you begin to take notice. This is by no means Choi's first book for children, but for those of us who are unfamiliar with her work, it makes for an ideal introduction. The story itself is intriguing. I was particularly interested in Kimin's repressed memories of seeing his masked grandfather and how that played into the plot. The last image in this book is of the boy asleep under the formerly "scary" mask, which gives the story a lasting feel of comfort. For me, the illustrations were touch and go. Some of them, like Kimin staring longingly out his window on a dark creepy night, have a wonderful tone and feeling to them. Others, like group shots of children on the playground, come across as two-dimensional and flat. By and large these illustrations carry the story along well (though my husband pointed out the Charlie Brown-ish shirt on the cover as a touch distracting).

For those amongst you who might want to pair this title with another dance inspired picture book, consider, "Little Sap and Monsieur Rodin" by Michelle Lord. Both books use similar illustration styles, but while one speaks of traditional Korean dance, the other concentrates on the dancing style of young girls in Thailand. The two together would make for an eclectic storytime. Original, interesting, and fun, this book is bound to garner itself some well-deserved attention.

1 of 1 people found the following review helpful.
A revealing, unusual take on Halloween fun.
By Midwest Book Review
Yangsook Choi's BEHIND THE MASK tells of a different kind of Halloween in which Kimin says he's going as his grandfather - not a fun prospect to the other kids. But Kimin is Korean and his father was a Korean mask dancer, holding some surprises for his grandchild's choice. Kids in grades 2-3 will find it a revealing, unusual take on Halloween fun.

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^^ Ebook My Grandfather's Gallery: A Family Memoir of Art and War, by Anne Sinclair

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A singular man in the history of modern art, betrayed by Vichy, is the subject of this riveting family memoir

On September 20, 1940, one of the most famous European art dealers disembarked in New York, one of hundreds of Jewish refugees fleeing Vichy France. Leaving behind his beloved Paris gallery, Paul Rosenberg had managed to save his family, but his paintings―modern masterpieces by Cézanne, Monet, Sisley, and others―were not so fortunate. As he fled, dozens of works were seized by Nazi forces and the art dealer's own legacy was eradicated.
More than half a century later, Anne Sinclair uncovered a box filled with letters. "Curious in spite of myself," she writes, "I plunged into these archives, in search of the story of my family. To find out who my mother's father really was . . . a man hailed as a pioneer in the world of modern art, who then became a pariah in his own country during the Second World War. I was overcome with a desire to fit together the pieces of this French story of art and war."
Drawing on her grandfather's intimate correspondence with Picasso, Matisse, Braque, and others, Sinclair takes us on a personal journey through the life of a legendary member of the Parisian art scene in My Grandfather's Gallery. Rosenberg's story is emblematic of millions of Jews, rich and poor, whose lives were indelibly altered by World War II. Sinclair's journey to reclaim her family history paints a picture of modern art on both sides of the Atlantic between the 1920s and 1950s that reframes twentieth-century art history.

• Sales Rank: #287642 in Books
• Published on: 2014-09-16
• Released on: 2014-09-16
• Original language: English
• Number of items: 1
• Dimensions: 8.49" h x .88" w x 5.70" l, 1.00 pounds
• Binding: Hardcover
• 240 pages

Review

“A riveting family memoir of a singular man-betrayed by his country and sentenced to a life of exile-that is also "a detailed and important record of 20th century art.” ―Judy Bolton-Fasman, The Boston Globe

“In shifting back and forth from the Vichy years to the early '20s to the aftermath of the war, Ms. Sinclair offers revealing glimpses into what made the gallery such a prime target for the Nazis.” ―Hugh Eakin, The Wall Street Journal

“My Grandfather's Gallery paints a vivid portrait of a moment of exceptional brilliance in French artistic life…the speed and greed with which it was so brutally destroyed, and the efficiency with which these deeds of destruction were covered up and forgotten.” ―The Spectator (UK)

“More memoir than biography, this book's fascination comes from the feeling that the reader is discreetly looking on, brought up close to the author's own emotional experience as she roams back and forth across time…like a set of wistful glimpses, meticulously analysed, into a past that emerges as truly another country.” ―Sue Roe, The Guardian (UK)

“[A] splendid memoir…Sinclair calls attention to the difficulties of searching out the past and of grappling with what is found there.” ―Publishers Weekly

“Readers interested in WWII and art under fascism will find this a fascinating read. Sinclair's memoir contextualizes yet another aspect of this tumultuous time.” ―Booklist

“An intriguing window into the art scene of the early to mid-1900s.” ―Kirkus Reviews

About the Author

Anne Sinclair is Paul Rosenberg's granddaughter and one of France's best-known journalists. For thirteen years she was the host of 7 sur 7, a weekly news and politics television show for which she interviewed world figures of the day, including Bill Clinton, Mikhail Gorbachev, and Madonna. The editorial director of Le Huffington Post (France), Sinclair has written two bestselling books on politics.

Most helpful customer reviews

41 of 42 people found the following review helpful.
interesting, informative and moving
By Cloggie Downunder
My Grandfather’s Gallery is a memoir by journalist and French TV host, Anne Sinclair. Sinclair was also the model for the statue of Marianne, the national emblem of France, the irony of which was not lost on her when she was required to prove her French ancestry for renewal of identity documents in 2010. This bureaucratic incident led Sinclair to research the life of her maternal grandfather, Paul Rosenberg, a well-known Parisian art dealer who was stripped of his French identity during World War Two by the Vichy government because he was Jewish. Using published works and personal archives from her grandfather’s gallery as well as from Musee Picasso, the house of Henri Matisse and Musee National D’Art Moderne, including letters, photographs, and journal articles, Sinclair details Paul Rosenberg’s career, his exile to the United States and eventual return to France. The shocking looting of priceless artworks by the occupying German forces, French collaborators and opportunistic (and often trusted) friends, acquaintances and employees is also described. Paul himself stated: “We recovered some paintings looted by the Germans, or by dishonest Frenchmen. But I am not going to complain, it’s as nothing when you look at the horrors that the Nazis inflicted on human beings of all races, creeds and colors.” As well as discovering the depth of Paul’s friendships with his clients, in particular, Pablo Picasso, Sinclair uncovers some disturbing facts about her grandparents that she regrets learning. There are some amusing anecdotes about the family (“In the Loevi household, you didn’t button up in the face of adversity; you complained a lot and wallowed in your misfortune.”) and famous artists. There is also a heart-warming prologue regarding a plaque placed on the façade of 21 rue La Boetie in Paris, the site of the former Galerie Rosenberg. This is a memoir that will appeal to art lovers and those with an interest in the history of twentieth century art in France. It is flawlessly translated from French by Shaun Whiteside and is at once interesting, informative and moving.

8 of 8 people found the following review helpful.
NAZI EVIL STILL COMING TO LIGHT.....
By Yankeelin
I liked it- hence the 4 stars. Did i love it? I might be one of the few who can't say i did. And i think it's because i initially felt like i was tripping over my own feet when the book started...it felt stilted- and that might be the translation? I just didn't think it easily flowed...

HOWEVER! That said, i must add that the subject matter was intriguing to me since i'd JUST watched a documentary on PBS ( or maybe the History Channel ) in which Paul Rosenberg and his art collection was part of the topic.
Hitler and his miserable band of monsters did their best to destroy an entire culture and its population and luckily , P.R. was able to escape , but just what did happen to the thousands of art works he owned?
This book was written by Rosenbergs granddaughter- a star in her own right, about her research into her family and French history of the era.

7 of 7 people found the following review helpful.
Avoiding her own headline making news, the author dips into her family past somewhat repetitiously
By J. S. Schachter
Anne Sinclair returns and pays homage to her grandfather, a man she never appreciated, admiring her father instead. There is a "reveal" well into her story that helps her understand him. Her writing is disappointing for a successful TV personality.

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Cervantes' tale of the deranged gentleman who turns knight-errant, tilts at windmills and battles with sheep in the service of the lady of his dreams, Dulcinea del Toboso, has fascinated generations of readers, and inspired other creative artists such as Flaubert, Picasso and Richard Strauss. The tall, thin knight and his short, fat squire, Sancho Panza, have found their way into films, cartoons and even computer games. Supposedly intended as a parody of the most popular escapist fiction of the day, the 'books of chivalry', this precursor of the modern novel broadened and deepened into a sophisticated, comic account of the contradictions of human nature. Cervantes' greatest work can be enjoyed on many levels, all suffused with a subtle irony that reaches out to encompass the reader.

• Sales Rank: #1407920 in Books
• Published on: 1986
• Number of items: 1
• Binding: Hardcover
• 846 pages

From Library Journal
Cervantes's masterpiece Don Quixote , Henry Fielding's favorite novel, was also much admired by Fielding's contemporary Smollett, who published a vigorous, highly readable translation in 1755. Eighteenth-century collections will be enriched by this edition (not reissued since the 19th century, and never published in America), which includes Smollett's life of Cervantes, his note on the translation, and his annotations to the novel. The foreword and introduction by Fuentes, however, are disappointing; concentrating on Cervantes and his times they tell us almost nothing about the raison d'etre for this edition, Smollett's translation. Smollett's pungent, jocular prose is ideally suited for his task; his translation makes a delightful alternative to the various attempts to render Don Quixote into modern English. Peter Sabor, English Dept., Queen's Univ., Kingston, Ont.
Copyright 1986 Reed Business Information, Inc.

Review
"Cervantes's masterpiece is lucky to have found so perfect a translator as the flamboyant Smollett. The rambunctious personalities of author and translator are ideally matched."

Language Notes
Text: English, Spanish (translation)

Most helpful customer reviews

45 of 48 people found the following review helpful.
Well translated, Well produced; I Recommend this Edition
By Eric D. Knapp
It's been a long time since I've read Don Quixote, and that last time it was in a scholarly sense (meaning, I was forced to read it). I enjoyed it, and thought about reading it again, so I picked up the tattered, coverless, mass-market paperback that was pressed so tightly against the inside veneer of the bookshelf that it was literally stuck there. My first impression brought back a memory (and what might actually be some sort of phobia) -- footnotes! There were literally so many footnotes, attempting to explain the translation in order to make it more readable, that it distracted /irritated /frightened me, and I crammed the book right back where I found it.

I went on a quest for a footnote-free edition, and on the suggestion of a friend picked up the "new Grossman translation". I picked it up and flipped through the pages (the softcover edition)... there were some footnotes in there, but not too many, and they seemed to, for the most part, to explain spanish terms or old currencies and the like. No case of footnotes outweighing text on any given page... so that was a good start and an immediate salve for my (admittedly bizarre) footnote phobia.

That's how I came to own this version of Don Quixote. Now that I have it, I can say:

I don't miss the footnotes (not that I of all people would), because the text is extremely readable without explanation. The story seems jauntier and more funny than I remember... although I am no scholar, and can not read the original due to my own linguistic failures, I can only assume that this more joyful gait is owed to the translation. Go Grossman!

Another important point: the production quality of the paperback edition is phenomenal -- what other publishers should strive for. The paper is heavy and opaque yet it holds well, the pages (and the cover) feeling very fluid in the hand. It sounds silly, but with a ~1000 page novel, it makes a big difference. I was able to hold the book in one hand and read comfortably. Also, the generous wings on both covers came in handy when a bookmark or paper scrap could not be found to mark my place. Go Harper Perrenial!

I wont critique the actual story here, as that has been done to death. I will keep my critique to this wonderful, straightforward, footnote-lite, feel-good edition. And this is it: I highly recommend it, a beautiful and proudly-built edition that is certainly as worthy of literary study as it is an enjoyable and entertaining way to relax. Now go and tilt at a windmill, or something.

1 of 1 people found the following review helpful.
I loved this book when I read it a few years ...
By Shane
I loved this book when I read it a few years ago in my World Literature class. I loved it so much that at the time it had become my all time favorite novel. I read it off and on through the years, and I have always loved it, but now something has changed. The characters and the overall story is still highly enjoyable, but I will admit, the side stories are kind of boring and slow down the enjoyment of the novel, like little entertainment speed bumps. Quixote and Sancho are still hilariously stupid, and insane, but every time I have to hear the tragedy of some scorned lover, or love triangle, I now find myself yawning. I guess outside the confines of a classroom with in depth analysis of the novel, these little segments are a drag. I review based off of entertainment, and I still say this novel is a solid 4 out of 5 stars for entertainment, for it is practically slapstick comedy filled with violence, vomit, and poo, but it is classic so it is taught in classrooms, awesome!

0 of 0 people found the following review helpful.
My new favorite classic
By Jessica B.
Don Quixote has the humor of Nacho Libre and a weird blend of fantasy and reality that I can only compare to Galaxy Quest. I. Loved. This. Book. I was surprised how funny it was. Like laugh-out-loud funny with crude potty humor (my favorite) and violence that the Three Stooges would love. For example, Don Quixote does something absolutely crazy until I can’t stand him but then he gets the crap beaten out of him so I felt sorry for him and kind of liked him again until, of course, he does something crazy again. It actually takes a while to get tired of that cycle because it manages to be funny every time. By the time I was tired of it, Don Quixote started to change and develop more. The story is tragic, too, so it has some depth (but even the tragedy manages to be kind of funny).

If you read this novel in high school and feel like you didn’t read the same book as me, YOU DIDN’T. You need to read the Edith Grossman translation. It’s amazing. It flows well. It’s modern enough to understand yet she worked hard to keep as much of the context of the time period and language as possible. The style feels similar to reading Jane Austen. It’s not totally modern but not old enough that it’s hard to understand. Edith’s footnotes in this novel were great. They gave context when needed. They pointed out plot holes that I didn’t even notice like someone in the room talking even though the author never mentioned them coming in. She also did her best to explain the word play humor that sadly didn’t translate to English. If you’re still not convinced to read it because it’s long, I can tell you that the reason it’s so long is because there are chivalric novellas inserted into the narrative. They’re good stories but if you are intimidated by how long it is, you could skip these novellas.

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~~ Download Ebook This Changes Everything: The Relational Revolution in Psychology, by Christina Robb

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We are, therefore I am: an introduction to and political history of the psychology of relationships.

In 1977, Carol Gilligan published the essay "In a Different Voice," describing the discrepancy in morality and self-expression between men and women. In a radical break with the Freudian school that dominated psychology, Gilligan and her peers identified relationships rather than the notion of self as the foundation of our psychological and physical states. Initially met with patronizing indulgence by colleagues, this essay, along with early work by the psychiatrists Judith Lewis Herman and Jean Baker Miller, would go on to radically alter the way we understand the psychology of women, shed new light on misunderstood conditions such as post-traumatic stress disorder, and inspire a trove of bestselling and sometimes controversial books--ranging from Reviving Ophelia to Raising Cain and The Courage to Heal to You Just Don't Understand--that focused intense concern on childhood development, women's relationships, and psychological trauma. In This Changes Everything, the Pulitzer Prize-winning journalist Christina Robb tells the story of relational psychology and recounts the untold work of a pioneering group of psychologists--mostly women--who at times took monumental risks, crossing boundaries and breaking institutional taboos, in order to fully understand the ways in which relationships shape our every experience of the world.

• Sales Rank: #329379 in Books
• Published on: 2006-02-21
• Released on: 2006-02-21
• Original language: English
• Number of items: 1
• Dimensions: 9.24" h x 1.60" w x 6.28" l,
• Binding: Hardcover
• 480 pages

From Publishers Weekly
Robb, a former Boston Globe staffer, presents a celebratory history of the pioneering women psychologists who in the '70s began to challenge traditional concepts of the self and of women's psychological "deficiencies," and advanced their own women-centered theories. Robb opens by describing how Harvard psychologist Carol Gilligan came to write her groundbreaking In a Different Voice, which argued that for women the idea of the self is intimately bound up in a network of close relationships. Robb goes on to describe how other women psychologists and psychiatrists—including Jean Baker Miller, Mary Belenky, Lisa Hirschman, Judith Lewis Herman and Janet L. Surrey—arrived at similar findings. Disseminating their ideas via consciousness-raising groups in the Boston area, these women regarded gender differences as "systemic rather than essential." Through research organizations and bestselling books, they dramatically revised notions of childhood development, incest, posttraumatic stress and sexual pleasure. Drawing on interviews, Robb mingles her subjects' personal and professional histories with case histories that illustrate their theories, and with the commentaries of other experts in related fields. Although Robb's admiring tone is sometimes cloying and she generalizes about women, her richly anecdotal history is a must-read for all those interested in the field of women's psychology. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"Christina Robb turns up the volume on a few quiet women who discovered the missing link between feminist politics and female reality. Their contribution to relational psychology really did 'change everything'--and Robb paints an exciting portrait of this paradigm shift."--Jennifer Baumgardner, co-author of Manifesta: Young Women, Feminism and the Future

"This Changes Everything provides a long overdue service to three remarkable women whose contributions to our collective understanding of gender, politics, and psychology are truly immeasurable. Like many, much of my work is founded on these women's insights so it was wonderful to learn about their experiences as educators both inside and outside of their fields of expertise." --Rosalind Wiseman, author of Queen Bees and Wannabees

"It is deliciously appropriate that in reading this fascinating account about relational psychology, you will become intimately connected with the psychologists who developed the field. This Changes Everything movingly and absorbingly describes their struggle to legitimate an entirely new, out-of-the-box way of thinking about human beings. Their work is nothing short of revolutionary: It has had an undeniable impact on politics, feminism, human rights movements, and, of course, personal relationships--literally changing people's lives. You will learn not only the history of relational psychology but about the very things you need to know to make and sustain fruitful human connections."--Leora Tanenbaum, author of Slut! Growing Up Female With a Bad Reputation and Catfight: Rivalries Among Women--From Diets to Dating, From the Boardroom to the Delivery Room

"At last we have an erudite and exciting history of the pioneers of relational psychology. Robb's narrative makes a page turner of a most unlikely story-- a group of feminist academics who changed the world one research paper at a time."

--Mary Pipher, author of Reviving Ophelia

About the Author
Christina Robb was for more than twenty years a writer for The Boston Globe, where she was part of a team of journalists who won the Pulitzer Prize for National Reporting in 1983. This is her first book.

Most helpful customer reviews

24 of 26 people found the following review helpful.
Exceptionally Good!
By Dr. Richard G. Petty
The philosopher Ken Wilber first alerted to the work of Carol Gilligan. I was already aware of some of the work of Jean Baker Miller and Judith Lewis Herman and the revolution in psychology that they had spawned. But some of the details I did not known and they are captured in the remarkable narrative of Christina Robb's book.

Almost thirty years ago, Carol Gilligan wrote an essay entitled "In a Different Voice," that was subsequently expanded into a book that I recommend highly. She described the marked discrepancies in morality and self-expression between men and women. For women, the whole notion of self tends to be inextricably bound up in a web of close relationships. Women tend to be more diligent about maintaining and nurturing these relationships, and inter-personal details tend to be more important to them, than they are for most men. At the time that she started writing about this, much psychological thinking in the United States had not yet dragged itself out of the confines of the post-Freudian theorizing that had dominated American psychology for decades. Gilligan and her co-workers identified relationships as the foundation of our psychological and physical states. At the time, the idea that men and women might tend to think and relate in different ways was anathema. I did a brief stint in Boston around that time, and it was pretty clear what could and could not be thought about. Despite the incredible liberal and intellectual traditions at Harvard, there were clearly some "no go" areas in psychology; gender differences being just one of them. Gilligan's work was courageous, and taken together with the findings of psychiatrists Judith Lewis Herman and Jean Baker Miller, would ultimately lead to radical alterations in the way that we understand the psychology of women. Are these gender differences social, political or biological? The answer is, I think, yes: all of the above.

Christine Robb has managed to capture the quiet revolution that these scientists introduced, and which is still being felt today. Though it is surprising how often discussion of gender differences are still omitted from much work on self-psychology. In an otherwise wonderful book - The Self in Neuroscience and Psychiatry, edited by Tilo Kircher and Anthony David - there is scarcely any mention of gender.

I would not normally expect to get through a 450-page book at one sitting: I'm not a speed-reader! But this is so well written and the biographies and interviews so enthralling, that I did indeed polish it off at one sitting. Though I feel sure that I shall return to it in the future.

Though this is a big juicy book with pages of references and a bibliography, I'm going to make a prediction that it is going to be one of those rare cross-over books that will be read not just by academics and psychology students, but also by people who really are interested in knowing more about themselves and understanding relationships. It wouldn't surprise me at all if this one gets featured on Oprah! It's that good.

Highly recommended!

6 of 6 people found the following review helpful.
You won't be able to put it down... and then you'll give it to your friends!
By Harriet L. Schwartz
This is one of the best books that I have read in a long time. Part intellectual history, this book traces the work of Jean Baker Miller, Carol Gilligan and others who revolutionized how we think about development, relationship, and psychology. The storytelling is wonderful and engaging as we are taken back to those revolutionary days in the Boston area when these women took on the power structures of their universities and the psychology profession. We hear how these women stood strong and supported each other. Along the way, we gain greater insight into women's voice and growth-in-relationship and thus learn more about these essential theories. This book was engaging and inspiring!

4 of 5 people found the following review helpful.
Boston Globe rules OK
By F. Weston
Christina Robb has achieved an easily assimilable description of the relational approach taken by the many women practitioners of academic psychology and psychtherapy who refused to accept the standard male-led, soulless,rigid technologies and thinking of the late 1970s and early 80s. That changes were needed to paychology's paradigms was first proposed by Carol Gilligan a student of the renowned moral rsearcher Lawrence Kohlberg. She and subsequent small informal groups of women extended the world's knowledge and understanding of difference and undercut the assumption that women's moral reasoning was inferior to that of men. It wasn't , it was different - not worse, just different. Thanks Christina Robb for explaining the history and development of revolutionary psychological thinking. Which raises the question. What action resulted?

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