Minggu, 31 Mei 2015

! Download PDF Georgia O'Keeffe: One Hundred FlowersFrom Knopf

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Georgia O'Keeffe: One Hundred FlowersFrom Knopf

Produced in a pocket-sized, jacketed paperback format, Phaidon's miniature editions make ideal gifts and desirable possessions. Each book features a wealth of finely reproduced colour images. This concise edition captures the ageless and absorbing quality of Georgia O'Keefe's highly distinctive paintings of flowers, each of which draws the viewer into the most minute of details and, in turn, into another world.

  • Sales Rank: #1031389 in Books
  • Published on: 1987-10-12
  • Released on: 1987-10-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 19.75" h x 14.25" w x 1.25" l,
  • Binding: Hardcover

From Publishers Weekly
Flower paintings comprise more than one-fourth of O'Keeffe's total output. Callaway spent years tracking down these huge, colorful pictures, many of them in private collections; over half of the 100 oils, watercolors, pastel and charcoal sketches reproduced here have never before been published. O'Keeffe's best flower pictures are masterpieces of organic form, metaphors of the unfolding of the inner self. Some of the paintings are brash in their erotic associations, outrageous color contrasts and overblown size; a few even suggest Pop Art. Other pictures employ garish color combinations, still others look clumsy, or static and unrealized. But on the whole, this volume is a glorious discovery. Its publication marks the centennial of O'Keeffe's birth and ties in with a retrospective exhibition that tours nationally.
Copyright 1987 Reed Business Information, Inc.

Review
'Real little treasures.' (World of Interiors)

From the Inside Flap
Miniature Edition

Most helpful customer reviews

0 of 0 people found the following review helpful.
One Star
By Amazon Customer
so tiny

14 of 15 people found the following review helpful.
A thorough and consice overview of O'Keeffe's flowers.
By Jennifer (NIHILITYx2@cs.com)
A picture is worth a thousand words; and one hundred pictures that happen to be O'Keeffe's are priceless. The works accurately portray the artist's keen eye for the beauty found in the smallest of mother earth's gifts: the flower. The book is an overall thorough and concise summary of the artist's most prized achievements.

9 of 10 people found the following review helpful.
"It's your world, for a moment"
By wiredweird
So said O'Keefe in describing what it's like to hold a flower and really to look at it.

O'Keefe managed to convey some of that wonder in paint. She grew them to huge size, setting them at or above human scale. She drew them in scorching colors, like "Poppy" or "Oriental poppy," or in stark lights and darks ("Jimson weed" and "Black hollyhock"). She displayed them with human passion, possibly drawing parallels between a plant's organs of regeneration and a human's ("Red canna" and "Yellow sweet peas"). Whatever you see in these - and different people will see differently - they are monumental presentations of something we think of as small and delicate. By itself, that's a message: the big and the small are equals in the world, when considered at their proper scale.

Maybe it's not fair to O'Keefe's ouvre to isolate one part of it like this - she preferred to show her work with a better balance of subjects and styles. These wonderful paintings deserve attention of their own, though. Some of the paintings are up to six feet tall and seven wide - even at 12"x10", book can't capture the full drama of the work. Still, it's an amazing collection.

//wiredweird

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Jumat, 29 Mei 2015

^^ Free Ebook Elia Kazan: A Life, by Elia Kazan

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Elia Kazan: A Life, by Elia Kazan

Elia Kazan's varied life and career is related here in his autobiography. He reveals his working relationships with his many collaborators, including Harold Clurman, Lee Strasberg, Clifford Odets, Arthur Miller, Tennessee Williams, Marilyn Monroe, Marlon Brando, James Dean, John Steinbeck and Darryl Zanuck, and describes his directing "style" as he sees it, in terms of position, movement, pace, rhythm and his own limitations. Kazan also retraces his own decision to inform for the House Un-American Activities Committee, illuminating much of what may be obscured in McCarthy literature.

  • Sales Rank: #382651 in Books
  • Published on: 1988-04-12
  • Released on: 1988-04-12
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 848 pages

Amazon.com Review
One of the most important theater autobiographies of the 1980s, Elia Kazan: A Life, has finally been released in paperback. The extra decade adds to the book's poignancy and its value: a history of backstage personalities and politics in the 20th century is included in this release. Elia Kazan was a founding member of the Group Theatre, was among those shouting "Strike! Strike!" on the legendary opening night of Waiting for Lefty, directed the two greatest Broadway dramas ever--Death of the Salesman and A Streetcar Named Desire--and earned countless other credits, but he also played a flawed role in the greatest real-life moral drama of his era: the McCarthy Communist witch hunts of the 1950s. Kazan offered names to the House Un-American Activities Committee. He cut his conscience to fit the fashion of the time, and his conscience continues to bleed. Though this book is framed, like so much of Kazan's best stage and film work, as a lifelong search for man's proper relationship to society, the book serves as a massive explanation and apologia for Kazan's one monumental lapse. He lived his life intensely, a life in which a single word could transform you, where a misdeed might be "never forgotten or forgiven." Such were the times, and Kazan captures them with appropriate drama.

From Publishers Weekly
Flashes of sudden insight or eloquence keep the reader turning the pages of Kazan's garrulous 864-page autobiography. The famous director, now 78, apparently wanted it all: comfortable domesticity (provided by three wives) and a bachelor's sexual freedom. An ambitious Anatolian of Greek ancestry craving acceptance in America, a bourgeois adventurer, a truth-teller and wearer of masksthese paradoxes in his own character are the driving force of his life and career. Kazan, an ex-Communist, makes no apologies for his agonizing decision to name names before the House Un-American Activities Committee during the McCarthy era. Focusing on Death of a Salesman, America, America and many other plays and films he directed, his expansive memoir includes cutting portraits of Lillian Hellman and Arthur Miller, as well as glimpses of Odets, Cagney, Bankhead, Monroe, Brando, Goldwyn, dozens more. Kazan is candid about his own flaws and generous in his assessment of others. Photos not seen by PW. 35,000 first printing.
Copyright 1988 Reed Business Information, Inc.

From Library Journal
Noted director Kazan has written a candid account of his amazing life. After years of struggle to be an actor, Kazan found his theatrical forte in directing. In the 1940s he was the toast of both Broadway and Hollywood, with such productions as A Streetcar Named Desire and Death of a Salesman , and films such as East of Eden. The 1950s brought problems with the House Un-American Activities Committee, with which he cooperated (in a controversial decision) after much soul-searching. Kazan is frank about his constant extramarital affairs. Most fascinating are the characterizations of friends such as Arthur Miller, Tennessee Williams, etc. Overlong, perhaps, but always interesting, this is an important addition to collections. Marcia L. Perry, Berkshire Athenaeum, Pittsfield, Mass.
Copyright 1988 Reed Business Information, Inc.

Most helpful customer reviews

47 of 49 people found the following review helpful.
Elia Kazan--What A Life!!!
By Joe Cuddihy
Before I read this book, I knew a little about Elia Kazan. For example, I knew that he had been a successful Hollywood film director in the late forties and early fifties. Indeed, I had seen some of his films: East Of Eden, in particular, came to mind. I had also read somewhere that he had also been a prominent and successful theatre director on Broadway; that he had given the likes of Marlon Brando and James Dean their first starts; that he was one of the influential people behind the advent of the Method Acting style; and finally, that he had been a `friendly' witness-that means naming names, of course--at the HUAC hearings in the early fifties: what a snake, I thought!
But hey, I've now read the book, and I know the real story and the real Elia Kazan. The book is an 800+ page epic. And an epic in every sense of the word. Kazan's autobiography is a long, brooding, and fascinating recall of his eventful life. He has, as he acknowledges in the later pages, lived a variegated and full life, he has no regrets about any of it, and he realises that he has been fortunate to have led such an interesting life. And `interesting' it certainly is. The book, though, is no glamorous odyssey of a life lived in Broadway and Hollywood; neither is it a chronicle of the great and the good of America's creative talent. Yes, there are valuable insights and vivid portraits of people like Harold Clurman, Lee Strasberg, Clifford Odets, Arthur Miller, Tennessee Williams, Marilyn Monroe, Marlon Brando and John Steinbeck. You will also meet some of Hollywood's movie moguls, particularly Darryl Zanuck at Fox. Yes, those stories are told, but all in the context of the main enterprise: the laying down for posterity of the intimate detail of the life of one of America's most celebrated creative talents of the middle of the twentieth century. Kazan unashamedly reveals his inner thoughts, his recollections, reasons, reminiscences and experiences-whether they show him in a good, bad or indifferent light. The book is brutally frank and you can only admire the author's unstinting honesty-possibly a cathartic aspect to the work aided Kazan along the way.
Remarkable for a book of this size, there is never a hint of unevenness or flagging. It's an enthralling, engrossing book from start to finish. Much of life's rich tapestry, to use the euphemistic cliché, is explored here. Kazan is clearly an astute and perceptive observer of life. Life essentially means human beings, of course, and this brings us to the essence of the book, human nature, particularly the behaviour between man and woman. Manipulation, expediency, lust, deceit, hurt, love, the passion and the platonic: it's all here in a very stark black and white. Yet still the book continually sparkles, even when the reader faces some genuinely sad and pitiful moments, particularly relating to Kazan's fiercely supportive and loyal first wife, Molly. There is no cherry-picking of `the good times' in this book: highs and lows, triumph and disaster, they all co-exist side by side. Kazan doesn't shirk from revealing his overwhelming determination at the time to have his cake and eat it ie. a loving wife at home and a passionate mistress outside.
Apart from the inherent problems that male/female relationships spawn, if you forgive the pun, Kazan also talks extensively about his rather frustrating and unfulfilling time at college; his less-than-perfect relationship with his father; reflections on the life of a Greek immigrant family trying to make their way in the `new world', in this case, New York; more reflections on Greeks, this time those living in another `foreign' country, Turkey (where Kazan's parents had emigrated from), and the altered behaviour necessary to survive amongst `the enemy'; and, of course, he describes the whys and wherefores of his `friendly' HUAC testimony, and the subsequent vitriol directed against him as a consequence from many quarters, including so-called `friends'; we learn of the unsavoury modus operandi of both the Communist Party in America and the HUAC authorities in the late forties and early fifties; and Kazan's single-mindedness and determination as, post-HUAC, he persevered and produced his best work as a film director; also, an interesting account of how Kazan's second wife, Barbara, and her confused but brave struggle against cancer; and so on.
The book is a courageous and brutally honest self-expose, if you like, of a man who has remained largely silent over the years. He doesn't gloss over his extra-marital activities, and the hard-heartedness and guile required on his part to maintain his passionate love for his mistress and, at the same time, his more platonic love for his first wife. This reflects the `insoluble' (Kazan's word) nature of man's relationship with the opposite sex.
The book is beautifully-written-quality throughout--and the prose intimate, inviting and lucid. The honesty and intimacy of Kazan's words, as he describes his thoughts, feelings and rationale at the time, ensure that you live his life with him, and by the end of the book, you also feel you've been through one hell of a life.
Over a year ago, I read an excellent book called A Child Of The Century, Ben Hecht's autobiography, published in the fifties. I never thought I'd read another autobiography to match or surpass it. I have, and it's called A Life, by Elia Kazan. Waste no more time and buy this book. Alternatively borrow it or steal it, but whatever you do, read it!!

22 of 22 people found the following review helpful.
More than politics, women seem to be Kazan's bete noire.
By A Customer
Kazan has written a stunningly truthful autobiography that should be read and savored. Here is "Gadge" an icon of mid-century American theatre and film spilling it out all over the page. From his unfulfilled teenaged longings for blonde American girls, to his first marriage in which he felt trapped, but stayed on and on, to the many affairs he indulged in, all are chronicled almost too graphically, but from a distinctly detached (a writer's?) point of view. One doesn't feel that he loved or even liked any of them.
But so what? Here's a man who could brilliantly direct both "Streetcar" and "Salesman" in the space of a few years and then go to Hollywood and deal successfully with the likes of Darryl Zanuck and the 20th Century Fox grind-them-out-fast film factory. The Hollywood stuff is both funny and refreshingly honest. Who else has dared to challenge the Spencer Tracy was and remains the greatest screen actor legend? And then there's the deadly little aside about Marilyn Monroe giving him a not-so-subtle look as she sat quietly beside her then mentor, Johnny Green. The sainted Tracy as an out of shape, lazy and not very dedicated actor, and the "vulnerable" Marilyn as a cunningly on-the-make tart who would have traded in her devoted agent for the famous director, given the slightest encouragement, are just two minor examples of the fascinating insights that appear on almost every page.
It's a very fat book. It had to be. Kazan was in his eighties when he wrote it and he's led an extremely full life. It was a long and winding road from the Group Theatre to that uncomfortable, halting appearance at the 1999 Academy Awards cermonies. They made him (and the latest wife) wait until almost the very end, but he made it through. And there was Nick Nolte remaining seated and staring mean and hard at this fragile old man. And there, too, was a smiling Warren Beatty rising graciously and applauding. He redeemed himself that night. I'm sure the old man noticed.

0 of 0 people found the following review helpful.
Good Read
By Thomas K Haase
It was enjoyable to follow the course of Mr Kazan's years through his own words. He led an amazing life.

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? Ebook Download Adieux: A Farewell to Sartre, by Simone De Beauvoir

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Adieux: A Farewell to Sartre, by Simone De Beauvoir

Simone de Beauvoir’s account of the last ten years of Jean-Paul Sartre’s life provides a focus for understanding one of the greatest thinkers of the twentieth century. But the book, consisting of both a year-by-year account of Sartre’s last decade and a conversation between him and de Beauvoir about his life and work, is more than just a philosophical examination. It is also a personal dialogue of astonishing frankness that illuminates one of the most famous and complex relationships of the twentieth century.

  • Sales Rank: #940581 in Books
  • Published on: 1985-02-12
  • Released on: 1985-02-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.90" h x 1.10" w x 5.10" l, 1.35 pounds
  • Binding: Paperback
  • 464 pages
Features
  • ISBN13: 9780394728988
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review

“An intimate, personal, and honest portrait of a relationship unlike any other in literary history.”
—Deirdre Bair, The Philadelphia Inquirer
 
“[A] portrait of a deep love between two people who lead separate lives. Of all the many interviews Sartre gave in his life, this is perhaps the clearest.”
—Richard Sennett
 
“An expression of [de Beauvoir’s] unquenchable loyalty and devotion, her sense of the sheer importance of the man, Sartre, le maître.”
—Elizabeth Hardwick

About the Author

Simone de Beauvoir was born in Paris in 1908. In 1929 she became the youngest person ever to obtain the agrégation in philosophy at the Sorbonne, placing second on the exam to Jean-Paul Sartre. She taught at lycées in Marseille and Rousen from 1931 to 1937, and in Paris from 1938 to 1943. After World War II, she emerged as one of the leaders of the existentialist movement, working with Sartre on Les Temps Modernes. The author of many acclaimed works, de Beauvoir was one of the most influential thinkers of her generation. She died in 1986.

Most helpful customer reviews

44 of 46 people found the following review helpful.
A Beaver's Tale
By Jon G. Jackson
Simone de Beauvoir and Jean-Paul Sartre were *the* couple of the 20th century. For all the immense history they created, it may be beyond our ability to imagine just how and why they were first drawn together, or more why they *stayed* together right up until Sartre's death in 1980. This two-part memoir is remarkable for its poignant intimacy, first as an historical record from 1970-1980, and then as a transcription of de Beauvoir's own interviews with Sartre during that same period of time. These two were a rough mix, as though that was a revelation. And, ironically, it's perhaps de Beauvior's own deep emotional commitment that comes through most clearly in these pages. On the other hand, we're also offered a fascinating view of their long public life together. From the times of divided German-occupied France, to the political activism of the 60s and beyond...and, above all, the writings they produced! If anything, this book reveals how moot is the point of Sartre's caustic personality, and to what extent he may have "used" her. (As if a woman of this caliber *could* be used!) Their focus was always on the change they hoped to produce in the world. Well, and for de Beauvoir, at least, there was also the issue of their own personal relationship. Therein lies the charm of this book. You won't be disappointed.

30 of 32 people found the following review helpful.
Never thought that Sartre could make you cry?
By Abigail E. Myers
Then you need to read this book. It is Simone de Beauvoir's first-person account of the last ten years of Sartre's life, and it is heartbreaking to read in several places. Her descriptions in particular of his final few days are wrenching, and I did actually cry as she described Sartre's death. The prose is characteristic of de Beauvoir: deeply and intimately detailed, meticulous, and dense in some places. But the reading is ultimately rewarding as it gives the reader an even more thorough understanding of the devoted side of de Beauvoir--and the very human and mortal side of the great philosopher Sartre.

4 of 9 people found the following review helpful.
A work of real meaning, despite,..
By Shalom Freedman
I could not quite make out how to perceive this book. On the one hand it is a testament of a lifelong friendship and love. On the other hand it seems to me it is an indictment of the beloved when they are no longer around to answer. And here the indictment comes not necessarily out of a desire to injure, but simply through stating the facts about certain aspects of Sartre's life. His capacity for multiple loyalty was very great especially when this had to do with young women. And according to other sources de Beauvoir's role in these relationships was not necessarily a very good one.

Still we are talking about two very significant 'minds' who fertilized each other- two great friends who helped and inspired each other- and if one , Sartre, was the senior partner, and the other deBeauvoir the survivor who has the last say still their dialogue and their life, and this work of farewell have real meaning.

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~ PDF Download How Can I Help?: Stories and Reflections on Service, by Ram Dass, Paul Gorman

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How Can I Help?: Stories and Reflections on Service, by Ram Dass, Paul Gorman

Not a day goes by without our being called upon to help one another--at home, at work, on the street, on the phone. . . . We do what we can. Yet so much comes up to complicate this natural response: "Will I have what it takes?" "How much is enough?" "How can I deal with suffering?" "And what really helps, anyway?"

In this practical helper's companion, the authors explore a path through these confusions, and provide support and inspiration fo us in our efforts as members of the helping professions, as volunteers, as community activists, or simply as friends and family trying to meet each other's needs. Here too are deeply moving personal accounts: A housewife brings zoo animals to lift the spirits of nursing home residents; a nun tends the wounded on the first night of the Nicaraguan revolution; a police officer talks a desperate father out of leaping from a roof with his child; a nurse allows an infant to spend its last moments of life in her arms rather than on a hospital machine. From many such stories and the authors' reflections, we can find strength, clarity, and wisdom for those times when we are called on to care for one another. How Can I Help? reminds us just how much we have to give and how doing so can lead to some of the most joyous moments of our lives.

  • Sales Rank: #25839 in Books
  • Brand: Unknown
  • Published on: 1985-03-12
  • Released on: 1985-03-12
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.90" h x .80" w x 5.00" l, .71 pounds
  • Binding: Paperback
  • 272 pages
Features
  • How Can I Help: Stories and Reflections on Service

Review
"A treasury of compassion, made all the more valuable by its many examples of how individuals can interact for the better with people and, indeed, the world around them." --Norman Cousins, author of Anantomy of an Illness

"How Can I Help? deserves a special place on that shelf reserved for truly practical wisdom." --Harold Kushner, author of When Bad Things Happen to Good People

"How Can I Help? is a gentle, tender, spiritual book." --Karl Menninger, M.D., F.A.P.A

From the Inside Flap
Not a day goes by without our being called upon to help one another--at home, at work, on the street, on the phone. . . . We do what we can. Yet so much comes up to complicate this natural response: "Will I have what it takes?" "How much is enough?" "How can I deal with suffering?" "And what really helps, anyway?"
In this practical helper's companion, the authors explore a path through these confusions, and provide support and inspiration fo us in our efforts as members of the helping professions, as volunteers, as community activists, or simply as friends and family trying to meet each other's needs. Here too are deeply moving personal accounts: A housewife brings zoo animals to lift the spirits of nursing home residents; a nun tends the wounded on the first night of the Nicaraguan revolution; a police officer talks a desperate father out of leaping from a roof with his child; a nurse allows an infant to spend its last moments of life in her arms rather than on a hospital machine. From many such stories and the authors' reflections, we can find strength, clarity, and wisdom for those times when we are called on to care for one another. How Can I Help? reminds us just how much we have to give and how doing so can lead to some of the most joyous moments of our lives.

From the Back Cover
"A treasury of compassion, made all the more valuable by its many examples of how individuals can interact for the better with people and, indeed, the world around them." --Norman Cousins, author of Anantomy of an Illness

"How Can I Help? deserves a special place on that shelf reserved for truly practical wisdom." --Harold Kushner, author of When Bad Things Happen to Good People

"How Can I Help? is a gentle, tender, spiritual book." --Karl Menninger, M.D., F.A.P.A

Most helpful customer reviews

0 of 0 people found the following review helpful.
Wonderful read!
By Eva Tejada
It made me look at helping from the right prospective. Beautiful and touching stories adorn this wonderful book. I could read it all over again!

19 of 19 people found the following review helpful.
What's really important...
By Susi
This is really a great book. My copy is a mess because I've thumbed through it for so many years. People in the "helping professions" (and I'm counting myself here - a psych nurse - but also psychologists, social workers, counselors, etc) tend to get bogged down in the details of particular therapies. But ultimately, that is not what is really helpful. It's more about how you connect with that person you're helping. Can you really just stop and listen authentically and love another human being enough to do whatever is really helpful at that particular time? That's why I love this book. Even though I have moments of cynicism, I can pick up this book and become inspired again. The stories are very simple and sweet. It helps me remember that I can't help everyone but the ones I do...it's magical...it's like no more "helper" and "helpee"...just this amazingly connected human experience.

17 of 21 people found the following review helpful.
Touching Stories
By Andrew Gorman
This is a must read for anyone entering or already in a life of service--which can really mean anyone.

See all 57 customer reviews...

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Rabu, 27 Mei 2015

** PDF Ebook A Touch of the Poet, by Eugene O'Neill

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A Touch of the Poet, by Eugene O'Neill

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A Touch of the Poet, by Eugene O'Neill

Written in 1936, but first staged posthumously in the late fifties, this play is the sole survivor of an ambitious cycle of plays spanning several generations of one "far from model" American family. The author received the Nobel Prize for Literature in 1936 and four Pulitzer Prizes.

  • Sales Rank: #4233803 in Books
  • Published on: 1983-03-12
  • Released on: 1983-03-12
  • Original language: English
  • Dimensions: .70" h x 5.40" w x 9.01" l, .69 pounds
  • Binding: Paperback
  • 182 pages

Most helpful customer reviews

1 of 1 people found the following review helpful.
The only two surviving parts of O'Neill's 11-play cycle, "A Tale of Possessors Self-Dispossessed"
By D. Cloyce Smith
The two texts in this volume, "A Touch of the Poet" and "More Stately Mansions," are the fifth and sixth (and only extant) parts of what was to have become an 11-play cycle tentatively called "A Tale of Possessors Self-Dispossessed." Neither play was published or produced during O'Neill's lifetime, although "Poet" was staged (with Helen Hayes, Eric Portman, and Kim Stanley) in 1957 and is currently enjoying a revival in Manhattan, and an extensively abbreviated and heavily revised "Mansions" made its American debut (with Colleen Dewhurst, Ingrid Bergman, and Arthur Hill) in 1967.

Even though he left fairly complete manuscripts behind, it's probably unfair to critique O'Neill's unpublished, unstaged work. Like most other playwrights, O'Neill revised and honed his plays during readings and rehearsals, gauging the success or failure of lines and scenes as they were delivered and performed by the actors.

Even so, "A Touch of the Poet" turns out to be an unpolished gem. Its tragic hero, Cornelius Melody, is an Irish cavalry hero from the Napoleonic wars who moves to America and brings along his pretensions of being a "gentleman" in a young country with little use for the gentry. At the play's open, he is a shell of his former glory, running a tavern for the local riffraff and regaling an audience willing to endure his tales of heroism and high-living for a free round of drinks. His long-suffering wife bears the burden of his shattered dreams, and his proud daughter finds him little more than an embarrassment, rebelling against his goal of making her a finely bred lady. The dichotomy between Cornelius's delusions and his circumstances trap him in the same sort of schizophrenia that plagued John Loving, O'Neill's equally tragic hero in "Days Without End." While "Touch of a Poet" is rough around the edges, it's a strong hint of what could have been one of O'Neill's finest plays.

"More Stately Mansions" is another beast altogether. During the previous decade, O'Neill had read his fill of Freud and had undergone a series of extensive psychoanalytic treatments--and it shows here. Setting aside the impossible length of the play (which O'Neill surely would have cut had he finished it), the characters are unintentionally comical caricatures in a Freudian nightmare. Married to Sara (Cornelius's daughter from the previous play), Simon Harford is torn between his ambition to become a writer and his longing for success as an industrialist. He tries to please both his mother (poetry) and his wife (wealth); they at first compete for his attentions and then join forces to rule the roost and raise the children. Eventually, in his imagination, Simon conflates both of them and then manipulates each woman to compete with the other in a struggle for his soul and his household. "What made their petty sentimental women's world of lies and trivial greeds assume such a false importance?" he despairs, "--why did I have to meddle in their contemptible ambitions and let them involve me in a domestic squabble about the ownership of children?"

Simon's "meddling," along with the scheming complicity and mean-spirited rivalry of the two women, reduces his wife to a whore-like mistress and his mother to the Madonna-like figure he remembers from his childhood. The resulting three-way war lacks in subtlety what it boasts in absurdity, and the series of relentlessly tedious scenes pitting one bipolar/schizophrenic member of the trio against another would be impossible to stage in anything like its present form. (The first scene of Act 3, in particular, is among the worst ever conceived by O'Neill and is almost painful to read.) It's not difficult to see why O'Neill never finished this play--and it's equally clear he would be appalled to find it in print. (He even added a cover sheet to the draft exclaiming that the work was unfinished and should be destroyed on his death.) Unlike "A Touch of the Poet," this play will always be of interest only to scholars and to O'Neill fans who feel compelled to read everything he's written.

24 of 24 people found the following review helpful.
A powerful, unjustly neglected play
By A Customer
A Touch of the Poet is the only completed work in what Eugene O'Neill hoped to make into a nine-play cycle entitled "A Tale of Possessors, Self-dispossessed." Set in 1828 near Boston, it centers around Con Melody, an Irish immigrant who takes pride in having served with distinction under Wellington in the war against Napoleon and who fancies himself as a distinguished gentleman despite all evidence to the contrary. He is married to Nora, who he in some ways detests due to her peasant birth (Melody was born into a wealthy family, though it acquired that wealth rather unethically), and his grown daughter Sara is in love with Simon Harford, the son of a legitimately wealthy Yankee. Despite being severely in debt, Con insists on maintaining airs of gentlemanliness--he keeps a horse solely for the purpose of showing off, and, on the day the play is set, he throws a lavish party in celebration of the anniversary of his moment of military glory--often at the expense of Nora and Sara. Despite Con's airs, Harford's snobbish father sees him for what he is and objects to Sara and Simon's impending marriage (an objection Simon would readily defy). This insult deeply offends Con, who storms off to Harford's house intending to challenge him to a duel instead of staying out of Sara and Simon's way as a caring father would.
All three of the main characters (Con, Nora, and Sara) are quite memorable--Con for his bizarre delusions of grandeur, his insistence of living in his romaticized glorious past, and his alternation of cruelty and contrition toward his family (to say nothing of what happens to him at the end of the play, which I won't reveal); Nora for her moving proud love for Con despite his reprehensible treatment of her; and Sara for her impressive stands against her father and her devotion to Simon. There were times, though, when the characters demonstrated such extreme behavior that I had a hard time suspending my disbelief, which is the only reason I'm not giving the play five stars. Con is very often contrite for his behavior toward his family, which appears to have been going on for decades, yet in all that time it doesn't seem to have occurred to him that maybe he ought to modify or at least try to suppress his hostility to Nora and Sara. Sara, meanwhile, issues all sorts of condemnations of how Con treats Nora, all of which he deserves, but one would think that after a certain amount of time she would realize that she's wasting her breath. However, even if their actions are a bit unbelievable at times, all three characters are developed quite movingly.
While all of the play was quite gripping, the last half of the final act was for me at least as cathartic as anything else in the dozen or so O'Neill plays I've read. A Touch of the Poet, having been written around the same time as The Iceman Cometh, Long Day's Journey, and A Moon for the Misbegotten, tends to be overshadowed by those works, but it really is an excellent play that deserves vastly more attention than it gets.

10 of 14 people found the following review helpful.
Culture clash
By Mary E. Sibley
The setting of the play is 1828, Melody's tavern, not far from Boston. The Yankee gentry won't let the tavern owner, Cornelius Melody of Galway, come near them, a cousin of Con, Mickey Maloy relates. Con mistreats his wife, Nora. Sara is Con's daughter. Sara contends her father prefers his mare to his family. There are money woes. Nora has pride in her love for her husband. Sara is interested in Simon Harford, a rich man's son who attended Harvard, now living the life of a tinker, a tramp. Sara claims that Simon is a born dreamer. Nora says that Simon has the touch of a poet in him. Simon is timid. He hasn't told Sara yet he is in love with her.

At Talavera the Duke of Wellington commended Con's bravery. Con fancies himself a Byronic hero. Factually speaking, he is the owner of a tavern and he drinks too much. Mrs. Henry Harford, Deborah, arrives while Con is preening before the mirror. Simon's mother received an unsigned letter telling her about Simon and Sara. Simon's grandfather had been an idealist. Deborah sees that Sara is strong, ambitious, and determined. Deborah warns Sara that Harfords never part with their dreams.

Sara is put into a state of hysterical laughter because her father, Con, has the presumption to speak with Simon about the terms of a marriage. Gadsby, an attorney representing Henry Harford, arrives. He tells Con that Harford opposes the marriage of Simon and Sara. Henry Harford offers a monetary settlement for nonmarriage. Seeking an interview with Henry Harford, Con is beaten by the Harford servants. In a state of lunacy he kills his mare. In the end Sara comes to see that her mother is strange and powerful and that she should follow the example of her mother.

This is a beautiful play. Reading it offers some consolation for not seeing it produced.

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Selasa, 26 Mei 2015

!! Free Ebook The End Of Laissez-Faire: National Purpose and the Global Economy after the Cold War, by Robert Kuttner

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The End Of Laissez-Faire: National Purpose and the Global Economy after the Cold War, by Robert Kuttner

Here is a book that explores what American economic policy should and can be—a superb yet controversial interpretation of the relation between domestic economic health and international politics, and of how we should set priorities to maintain our economy and our competitive vigor in the future.

  • Sales Rank: #4127771 in Books
  • Published on: 1991-02-13
  • Released on: 1991-02-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.75" w x 1.50" l,
  • Binding: Hardcover
  • 304 pages

From Publishers Weekly
The collapse of communism and the end of the Cold War--far from signalling a victory for unbridled free-market capitalism--portend the end of laissez-faire economics. That's the provocative thesis of Kuttner's sweeping, important reassessment of America's economy and its place in the newly emerging world order. For a quarter-century after WW II, he argues, the U.S. practiced a mixed brand of capitalism, with much of the national planning done under military auspices. Meanwhile, the U.S. preached laissez-faire, since it was the country best positioned to exploit open global markets. A Business Week columnist and economic correspondent for the New Republic, Kuttner urges a "policy of planning" to reclaim America's industrial leadership, plus a global system of collective security instead of an East-West arms race in which the U.S. acts as free world super-cop. This closely argued book administers a potent dose of economic reality.
Copyright 1990 Reed Business Information, Inc.

Review

"Kuttner's intellectual candor and vigorous literary pitch are above reproach. . . . The book deconstructs splendidly the incoherencies and hypocrisies embedded in U.S. trade policies."—Wall Street Journal



"Reasoned and provocative, The End of Laissez-Faire may well change the terms of the debate about America's policies in the post-Cold War period. . . . A refreshing reminder of the need for both vision and pragmatism."—Mario Cuomo



"The best in economic journalism combines high professional economic competence, good clear writing, and a decently compassionate point of view. Robert Kuttner scores high on all these counts, as The End of Laissez-Faire admirably reveals."—John Kenneth Galbraith



"The richly detailed evidence Kuttner assembled will have to be taken into account by anyone assessing the present state of the world economy."—New York Times



"The mass media may tout the triumph of laissez-faire capitalism, but the smart observer knows that different trends are under way. . . . If American capitalism is to prosper, we will have to understand the argument and heed the recommendations in The End of Laissez-Faire."—Lester Thurow



"A detailed and persuasive analysis."—Kirkus Reviews



"Crisp and clear, admirably explicating the tactical consequences of esoteric economic theories and the history of the postwar international trading system."—San Francisco Chronicle



"Robert Kuttner is one of the three or four best social analysts in the United States. He writes with force and clarity, out of strongly humane and moral convictions. His work keeps getting better and better, and I admire this book immensely."—Irving Howe

About the Author
Robert Kuttner is author of The Economic Illusion: False Choices Between Prosperity and Social Justice, also available from the University of Pennsylvania Press.

Most helpful customer reviews

4 of 5 people found the following review helpful.
A call in the desert
By Luc REYNAERT
After a brilliant and extensive analysis of the history of the world economy after World War II and the US-Japanese trade war, Robert Kuttner sketches the challenges facing the US and its economy after the fall of the Berlin Wall. The end of the Cold War was not only the end of Soviet dominance in the East, but also of US dominance in the West.

Laissez-faire, a doctrine saying that market economies, when left alone, are essentially self-regulating, is not the solution, because world economies are heavily influenced by state intervention. Governments have foreign-policy goals that are inextricably intertwined with economic ones, have strategic trade policies intended to assist their national industries and have national social contracts that cannot be left to markets.

Even the US system is seen as ad hoc mercantilism with weapons procurements, farm price subsidies, quotas and various restraints extracted from trading parties.

The US call for free trade is made a mockery by the 'socialist' huge US military and intelligence budgets (now 50% of the total US budget).

A policy of laissez-faire would ultimately lead to the (real) impotence of a (would-be) omnipotence.

The problems facing the US are multiple and deep: low savings rate, spotty educational and training system, decaying infrastructure, military bias in governmental research and technology, speculative capital markets, dysfunctional system of labor-management relations, corporate manager's short run consciousness, ideological confusion about military and economic security.

Robert Kuttner's proposed remedies seem obvious: a higher savings rate, capital markets for the long run, a competitive workforce, public investments (not military), regulation (not deregulation), healthcare for everybody, more government instead of no government.

But what are we seeing today: the savings rate is catastrophic (as well as foreign debt); the short run perspective in capital markets is more stressing than ever; the cost of education is prohibitive; corporate loyalty is seen as a weakness (Jack Welch); military investments are higher than ever; the Kyoto protocols were rejected; the number of US citizens without healthcare protection is at an all time high; the credo of the free market became a State religion.

Robert Kuttner's very sensible propositions were a call in the desert.

Will would-be omnipotence become real impotence?

A very necessary book and a must read.

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Sabtu, 23 Mei 2015

@ Download PDF The Two-Day Diet: A Metabolic and Motivational Approach to Rapid Weight Loss, by Glenn Cooper M.D.

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The Two-Day Diet: A Metabolic and Motivational Approach to Rapid Weight Loss, by Glenn Cooper M.D.

Finally, here's a diet that doesn't ask you to give up your favorite foods the whole time you're following it. If you can stick to a strict diet for two days at a time, then you can still have some of the treats you love while losing weight rapidly, safely and effectively. Inside you'll find:
* Thousands of menu possibilities, with no calorie counting required
* Recipes that offer a virtually unlimited variety of exciting foods and gourmet meals
* A practical and easy-to-follow exercise program designed to fit your life-style
* The secret of producing metabolic effects that enhance fat burning and depress appetite
* And much more!


From the Paperback edition.

  • Sales Rank: #1129505 in Books
  • Published on: 1988-12-27
  • Released on: 1988-12-27
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 227 pages

From Publishers Weekly
The title refers not to the diet's duration (alas), but rather to a program of eatingone designed to overcome both the dieter's low willpower and the body's natural resistance to weight loss. The authors (she is a nutritionist, he a specialist in internal medicine) divide the week into "on" and "off" days: Monday-Tuesday and Thursday-Friday are devoted to a low-carbohydrate-high-protein (LCHP) regimen, while Wednesday and the weekend can be spent indulging (albeit moderately) in a wider range of food, bigger portions and even a snack or two. LCHP dieting during the "on" days will presumably trigger the metabolism to change and burn fat rather than store it, while the "off" days maintain a margin of safety (LCHP diets have been known to wreak nutritional havoc on those who use them exclusively) and provide a much-needed motivational boost. Light exercise rounds out the program. The Coopers' cajoling tone, forceful use of nutritional theory and case histories and flexible menus (dieters are encouraged to eat all the food to which they are entitled) leave very little room for mutiny. Author tour.
Copyright 1988 Reed Business Information, Inc.

From the Inside Flap
Finally, here's a diet that doesn't ask you to give up your favorite foods the whole time you're following it. If you can stick to a strict diet for two days at a time, then you can still have some of the treats you love while losing weight rapidly, safely and effectively. Inside you'll find:
* Thousands of menu possibilities, with no calorie counting required
* Recipes that offer a virtually unlimited variety of exciting foods and gourmet meals
* A practical and easy-to-follow exercise program designed to fit your life-style
* The secret of producing metabolic effects that enhance fat burning and depress appetite
* And much more!


From the Paperback edition.

Most helpful customer reviews

9 of 9 people found the following review helpful.
Best Diet Out There
By J. Colella
I first bought this book in 1991, and started the diet on June 2 of that year. Five and a half months later, I'd lost 75 pounds and felt healthier and more energetic than I think I ever have. The weight stayed off for about 10 years, too. Sadly, I had my gall bladder removed, hit menopause, my kids turned into teenagers, and I quit smoking. The result was a weight gain that had me searching once more for Omar the Tent-Maker to fill my wardrobe. This increase did take nearly another eight years, but by the time I decided it was time to do something about it, the book was out of print, and I'd loaned it to someone who never bothered to give it back. Sigh. Anyway, I decided to check online for it, and there it was! I started the diet again three and a half weeks ago, and despite being so much older, and the other problems (gall bladder, hormones, no metabolism), I've already lost 12 pounds. So - Best Diet Out There, folks, and the proverbial icing on the cake (which I'm not eating these days) is that the book itself was in great condition! You want an awesome diet that doesn't starve you to death, contains meals and recipes you can feed your family, too, and that actually works, this is it! Thank you, Amazon, for supplying me with a list of book sellers who still have it. I'll be thin and grateful forever (unless our kids have kids, and they turn into teenagers....).

0 of 0 people found the following review helpful.
Three Stars
By freedomself
Too dense

1 of 13 people found the following review helpful.
Not accurate
By Amazon Customer
The information provided are not generalised and not addressed to specific Needs. i.e There is no information on how much protein or Carbohydrate pro Kg bodyweight is required. Only general Tables that do not differenciate among many factors. To me really sad, that the authors did not come to details..Thats why only one star...

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? Get Free Ebook The Sisters: Babe Mortimer Paley, Betsey Roosevelt Whitney, Minnie Astor Fosburgh - The Lives and Times of the Fabulous Cushing SistersB

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Wonderful Read

  • Sales Rank: #250480 in Books
  • Published on: 1992-02-04
  • Released on: 1992-02-04
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 6.50" w x 1.10" l,
  • Binding: Hardcover
  • 316 pages

From Publishers Weekly
Although Boston patriarch Harvey Cushing was a famous neurosurgeon, the real business in his family was the securing of highly advantageous marriages for the social-climbing daughters, according to this bland, psychologically unrevealing and repetitious biography. Betsey made it to the White House as wife of FDR's son Jimmy Roosevelt, but her friendship with the president was bitterly resented by Jimmy and First Lady Eleanor; a happier and wealthier second marriage to Jock Whitney followed. Minnie disappointed her family when she divorced Vincent Astor and his fortune and later married homosexual artist James Fosburgh. Grafton ( Red, Hot and Rich ) recycles anecdotes told better by Sally Bedell Smith in her biography of Babe's husband and CBS founder Bill Paley, All His Glory . The book is larded with lists of celebrities, and their clothing and jewels, but falls short of explaining Minnie's purported lesbianism and alcoholism or "caring and generous" Babe's neglect of her children. Photos not seen by PW.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
With this deftly stylish account of the three sisters from Boston who made marrying well into a social art form, beautiful people insider Grafton ( Red, Hot, & Rich!: An Oral History of Cole Porter , LJ 5/1/87) has created a sizzler. The Cushings became tastemakers who created the glitterati, setting standards for elegance as they presided over the transformation of the Cafe Society into the Jet Set. Participants have told their stories in other venues (Slim Keith's Slim: Memories of a Rich and Imperfect Life , S. & S., 1990; Brooke Astor's Footprints: An Autobiography , LJ 8/80; and Truman Capote's Music for Chameleons , LJ 8/80), but Grafton renders with feeling the betrayals experienced by the women who became role models for a generation and "expressed values for people who needed to believe in fairy tales." Glamorous and irresistible, The Sisters is every bit as fabulous as its subject matter and is highly recommended for libraries interested in social and cultural history and biography.
- Susan E. Parker, Harvard Law Sch. Lib.
Copyright 1992 Reed Business Information, Inc.

From Kirkus Reviews
The story of the glittering trio who exemplified glamour (and shrewd matchmaking) to a captivated public gets a curiously lifeless treatment from biographer Grafton (Red, Hot, and Rich, 1987). Daughters of renowned brain-surgery pioneer Harvey Cushing, Mary (``Minnie''), Betsey, and Barbara (``Babe''), apt pupils of a strong-willed mother for whom ``marriage was a business,'' lived a saga that would put most romance novelists to shame. Betsey, favorite daughter-in-law of FDR while wife of his son James, traded up to equally well-bred (and much wealthier) John Hay ``Jock'' Whitney. Babe went from socialite Stanley Mortimer, Jr., to CBS founder William S. Paley, a demanding philanderer but rich enough to secure her position as the ``ultimate fashion and social icon of New York's dazzling scene.'' Minnie endured a miserable union with sullen multimillionaire Vincent Astor before establishing a lively artistic salon with a second husband--the impeccably patrician (and openly homosexual) painter James Fosburgh. Only Betsey managed to find marital happiness along with wealth, but none of the sisters blamed adored mother Gogsie. Featuring an unusually varied cast of society, political, and artistic figures--from the British royal family to Truman Capote--what could have been a fun, frothy gossip- fest is instead a leaden recitation of guest lists, jewelry details, and clothing descriptions. Not that Grafton doesn't drop a juicy tidbit or two--the stylish Babe had all her teeth knocked out in a teenage auto accident; Eleanor Roosevelt didn't shave her underarms--but he hedges a lot: the Astors' marriage may not have been consummated, but, then again, Minnie may have been a lesbian; on the other hand, she was Vincent's mistress for years before the wedding. Subjects who deserve at least style, if not substance, get neither in this superficial chronicle. (Sixteen pages of b&w photographs--not seen.) -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

11 of 13 people found the following review helpful.
Still waiting for a good Babe Paley biography
By Morgan Klug
Babe Paley really does deserve a well done biography, but this book (which is also about her sisters) is not it. I get annoyed when I read books which have readily notable mistakes, because they make me doubt the rest of what the author writes--and here there are tons of mistakes. The author misnames people and cites the wrong person when it comes to quotes. Additionally, there is almost no reason for exclamation points in a biography, but the author uses them liberally (and at odd times). Finally, this book is just poorly written. It is organized in such a way that we read about one sister for a period of time and then roll back in time to follow another sister for that same period. Because the sisters were close, that means that we'll read about one with a different last name, yet we haven't heard the details of her remarriage yet, and that's distracting. The author is fond of repeating himself and resorting to lists of names in a strange way. On one page, he'll list friends of one of the sisters: "Mr. A, famed dancer, Broadway actress Ms. B, neighbors Mr. and Ms. C..." and then a paragraph later write, "also invited were Mr. A, famed dancer, Broadway actress Ms. B., neighbors Mr. and Ms. C..." I mean, it's weird and looks like he's just trying to fill out more pages. The author has certain catchphrases too, which begin to grate. I thought that if I read "a king's ransom" one more time I would scream. Occasionally, it was a "literal" king's ransom, which is even worse (since it's not true).

On the whole, this book was very shallow, and one wishes that more was done with the topic. I think it could be an engaging story, but the book's writing and the mistakes with facts proved to be too distracting.

0 of 0 people found the following review helpful.
Five Stars
By Elizabeth Flanigan
Loved it

2 of 3 people found the following review helpful.
Three sisters who married well and lived the high life, but not necessarily the happy one
By Wanda H. Giles
The sisters--Minnie Fosburgh, Babe Paley, Betsy Whitney--were brought up as many upper-class young women were in their time: to marry well. Amongst them, they married well six times, two per sister. Although it's easy to become irritable with their values, the author is good at presenting their genuine crises as well. It's a pretty good study of three influential women and their social circles.

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