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Dr. William Michaels owes his worldwide success to a mysterious talisman with terrifying powers. The talisman can only perform if Michaels "charges" it through chilling acts of deliberate evil, and Michaels becomes trapped in a world ravaged by monstrous disorders. "One of the best novels of horror-fantasy I've ever read".--Stephen King.

• Sales Rank: #2142816 in Books
• Published on: 1991-04-23
• Released on: 1991-04-23
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 6.75" w x 1.50" l,
• Binding: Hardcover
• 401 pages

From Library Journal
Endowed with the power to heal or destroy by the Roman god Mercury, Minnesota grade schooler Billy Michaels embarks on a strange lifelong journey. Spanning the early 1970s through 1999, this well-written horror novel takes Billy from childhood innocence and casual cruelty to adult greed and calculated evil. Mercury's gift to Billy is his staff, the caduceus--longtime symbol of the medical profession. Both the child Billy and later the physician William wield this serpentine instrument as one might a sorcerer's wand. A multitude of major and supporting characters, a good many subplots, plus much dark and wicked humor all contribute to the tale's success. By the author of the children's fantasy The Brave Little Toaster and several science fiction works, this lengthy adult entertainment is well suited for summer weekend reading. BOMC alternate.
- James B. Heme sath, Adams State Coll. Lib., Alamosa, Col.
Copyright 1991 Reed Business Information, Inc.

Review
"The M.D. is an extraordinary feat of imagination and frequently is outright mesmerizing." —Washington Post

"Profound and dark and very dire, but it is also a page-turner. And each new page, like an electric eel, is poised to shock." —Los Angels Times

About the Author
Thomas M. Disch (1940-2008) was a best-selling and prolific American science fiction writer and poet. He won several awards, including the Hugo Award for Best Non-Fiction Book in 1999.
John Clute, author of the novel Appleseed, has won several Hugo Awards for his work.

Most helpful customer reviews

7 of 8 people found the following review helpful.
Not the usual medical thriller; imaginative and magical
By Schtinky
Young Billy lives with his father and stepmother and younger half-brother Ned. Billy is a loner, and different from other children. He thinks a lot, and has a greater imagination. He also has a streak of meanness, and when he is given a magical stick, with a dead bird tied to it, he finds that he can make things happen. Occasionally, Billy will make something good happen, but most of the time his desires, in the form of poems, are mischievous to downright cruel. After crippling his brother, causing his Grandma's hair to fall out, and stopping his step-mother from drinking by making her vomit every time she tastes alcohol. Billy's odd obsession with bizarre games in his mind, starting with bowling pin armies and ending with his visions over the stick, fuel his imagination and need to keep using his "powers". He gifts members of his family with good health, but his father dies in an accident. Staying with his stepmother, he becomes a Doctor and has an affair with his step-sister, and decides that as a medical professional he can use his "magic". But, will he use it for the good of mankind, or will his tendency towards cruelty lead him down a more sinister path? Only the "confusion" at the end of the story stops this from being a 5 star book, it just seemed a little like Mr. Disch didn't quite know how to finish it.
This is a great book, jumping large time frames at times, and long on prose occasionally, but still manages to be a quick read for medical thriller lovers.

3 of 3 people found the following review helpful.
What makes Tom Disch such an amazing writer?
By Robert Beveridge
Thomas M. Disch, The M.D. (Berkley, 1991)

There's a scene about halfway through The M.D. that really shows why Thomas M. Disch, though not a household name in letters, is revered by critics and discerning bibliophiles. I'm usually the harshest of reviewers when it comes to message fiction, that strain of writing where the plot is stopped in order for the writer to advance a point of view. But there's a debate here between a tobacco advocacy group executive and a bright thirteen-year-old boy that is so sparkling, not to mention well-written, that it's actually one of the best parts of the book. And I don't even agree with the viewpoint that wins. Of course, this could be because unlike most message fiction, Disch actually manages to make this debate integral to the plot. Yes, I mean integral; it sets up a couple of things that aren't exactly plot points, but that the whole framework of the fourth part of the book rests on. This isn't just some guy ranting, it's some guy who's plotted his book out in such detail that he knows exactly how far he can go with this diatribe and still get away with it. That's the mark of a master, and make no mistake about it--Thomas M. Disch defines "master". He's like the Einsturzende Neubauten of American writers; not well-known by the public, but hugely influential among those who do the same thing he does.

The M.D. is the story of Billy, who is six years old and stuck in Catholic primary school as we start the book. After being told by a nun that Santa Claus doesn't exist, Billy contradicts her--after all, he's seen Santa Claus with his own two eyes. This exchange ends with Billy being sent to the office, but he never gets there. Instead, he runs away (without his coat in the middle of winter) to his private place, a secluded part of the local park, where we find out that maybe Billy isn't kidding, for Santa Claus appears to him again and promises that he's going to tell Billy a secret sometime soon. And when he does, this time appearing in the guise of the god Mercury, what a secret it is. Billy's annoying older brother Ned has created a makeshift caduceus in order to terrorize Billy; he took two twined sticks and tied a dead bird to them. Not your classic caduceus, to be sure, but where the sign of Mercury exists, he can invest it with power. And he bequeaths the caduceus to Billy, who can use it to heal. But it has a finite amount of energy. In order to replenish it, Billy must also make things sick...

This is your basic three-wishes story, but unlike most stories of this type, we have a thoughtful protagonist who actually learns from his mistakes as he goes along. That alone would make it worth your time, for it's one of the few innovations that could make such a clichéd storyline worth reading again. But Disch writes with an eye to, well, just about everything. We often love writers for doing one thing exceptionally well; Stephen King's absolute mastery of characterization, Dorothy Dunnett's intricate plotting, James Michener's meticulous research. Disch has taken all of the ways in which a writer can specialize and balanced them. It all works here, and it all works exceptionally. My only problem with the book is something that couldn't have been foreseen in 1991; he sets the fourth part of the book in 1999, and as usual with such things, what it looks like on paper and what it actually looked like are such different things that I can't help laughing at it. Also, as you might expect from some of my comments above, Disch tends towards fairy tale-style language here. Most of the time it's not at all intrusive, and it lends the book an interesting, amusing tone for being the drama/medical thriller novel that it is. Once we get into the fourth section, though, and head into the world of fantasy/sci-fi, the mix falls flat. Perhaps I've been spoiled by the recent steampunk and mythpunk books that have done it so perfectly, but that part of the book doesn't work as well as the first three. Still, the obscurity into which this book has fallen is a crime. Not surprising, given that Disch is not the literary rockstar he deserves to be, but saddening anyway. Find a copy and discover, or rediscover, the wonderful world of Tom Disch. *** ½

3 of 3 people found the following review helpful.
a good beginning, but didn't quite finish it right
By adead_poet@hotmail.com
The first four parts of this book were superbly done. I mean, Disch did an excellent job telling this story, but then the fifth part came. It was a major letdown. Disch couldn't "close the deal." Maybe if he had started the story off in this future he had created, it would have been a better ending, though i think it would have been better if he had just kept on the same vein he was in. Disch was trying to go for a deeper shock value, a deeper sense of outrage and wrong, but his style in the final section of the book just didn't keep up with the rest of the story.

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## PDF Ebook Master Of The Senate: The Years of Lyndon Johnson, by Robert A. Caro

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The most riveting political biography of our time, Robert A. Caro’s life of Lyndon B. Johnson, continues. Master of the Senate takes Johnson’s story through one of its most remarkable periods: his twelve years, from 1949 through 1960, in the United States Senate. Once the most august and revered body in politics, by the time Johnson arrived the Senate had become a parody of itself and an obstacle that for decades had blocked desperately needed liberal legislation. Caro shows how Johnson’s brilliance, charm, and ruthlessness enabled him to become the youngest and most powerful Majority Leader in history and how he used his incomparable legislative genius--seducing both Northern liberals and Southern conservatives--to pass the first Civil Rights legislation since Reconstruction. Brilliantly weaving rich detail into a gripping narrative, Caro gives us both a galvanizing portrait of Johnson himself and a definitive and revelatory study of the workings of legislative power.

• Sales Rank: #44764 in Books
• Brand: Caro, Robert A.
• Published on: 2003-04-25
• Released on: 2003-04-25
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 9.16" h x 1.69" w x 6.06" l, 3.15 pounds
• Binding: Paperback
• 1232 pages

Amazon.com Review
Robert Caro's Master of the Senate examines in meticulous detail Lyndon Johnson's career in that body, from his arrival in 1950 (after 12 years in the House of Representatives) until his election as JFK's vice president in 1960. This, the third in a projected four-volume series, studies not only the pragmatic, ruthless, ambitious Johnson, who wielded influence with both consummate skill and "raw, elemental brutality," but also the Senate itself, which Caro describes (pre-1957) as a "cruel joke" and an "impregnable stronghold" against social change. The milestone of Johnson's Senate years was the 1957 Civil Rights Act, whose passage he single-handedly engineered. As important as the bill was--both in and of itself and as a precursor to wider-reaching civil rights legislation--it was only close to Johnson's Southern "anti-civil rights" heart as a means to his dream: the presidency. Caro writes that not only does power corrupt, it "reveals," and that's exactly what this massive, scrupulously researched book does. A model of social, psychological, and political insight, it is not just masterful; it is a masterpiece. --H. O'Billovich

From Publishers Weekly
As a genre, Senate biography tends not to excite. The Senate is a genteel establishment engaged in a legislative process that often appears arcane to outsiders. Nevertheless, there is something uniquely mesmerizing about the wily, combative Lyndon Johnson as portrayed by Caro. In this, the third installment of his projected four-volume life of Johnson (following The Path to Power and Means of Ascent), Caro traces the Texan's career from his days as a newly elected junior senator in 1949 up to his fight for the Democratic presidential nomination in 1960. In 1953, Johnson became the youngest minority leader in Senate history, and the following year, when the Democrats won control, the youngest majority leader. Throughout the book, Caro portrays an uncompromisingly ambitious man at the height of his political and rhetorical powers: a furtive, relentless operator who routinely played both sides of the street to his advantage in a range of disputes. "He would tell us [segregationists]," recalled Herman Talmadge, "I'm one of you, but I can help you more if I don't meet with you." At the same time, Johnson worked behind the scenes to cultivate NAACP leaders. Though it emerges here that he was perhaps not instinctively on the side of the angels in this or other controversies, the pragmatic Senator Johnson nevertheless understood the drift of history well, and invariably chose to swim with the tide, rather than against. The same would not be said later of the Johnson who dwelled so glumly in the White House, expanding a war that even he, eventually, came to loathe. But that is another volume: one that we shall await eagerly. Photos.
Copyright 2002 Cahners Business Information, Inc.

From Library Journal
More of Caro's monumental biography.
Copyright 2001 Reed Business Information, Inc.

Most helpful customer reviews

0 of 0 people found the following review helpful.
An Institution and The Man Who Changed It
By Michael Griswold
In Master of the Senate book three of Robert Caro’s series on Lyndon Johnson, one is first struck by something that we rarely see in historical biography in that the institution of the United States Senate that Lyndon Johnson entered in 1949 is a character in itself. Caro spends roughly 100 pages of the 1034 talking about the procedures, customs and history that had transformed the Senate from the great hall of debate the Founding Fathers wanted into a progress inhibiting body where legislation goes to die because of its unique institutions.

Master of the Senate can intimidate on sheer size alone, but it really doesn’t feel like over a thousand pages as one gets lost in these intricately woven tales and personalities such as Richard Russell, the Leland Olds affair, Lyndon Johnson as institution wrangler, and the intrigue over the 1956 Presidential Nomination among others. Caro once again excels at going in depth in creating these larger than life characters and situations. One feels the rage of Estes Kefauver as he’s passed over for Foreign Relations or Richard Russell’s loneliness, for example.

Lyndon Johnson is of course still Lyndon Johnson. Readers who revel in Johnson’s backroom deal making and questionably immoral behavior will find plenty to sink their teeth into as anything that could help him gain more power is seized on and we see his political genius in the 1957-58 fight over getting a civil rights bill through the Senate. This volume presents a more complex portrait of Johnson as caught between ambition and perhaps genuine feelings for minorities that often leaves the reader unsure of the truth.

I don’t know that anyone’s opinion of Lyndon Johnson will change through Master of the Senate, but it does present more nuance than the utter contempt the first two volumes of the series inspired.

6 of 6 people found the following review helpful.
Take a deep breath and invest the time
By M. Strong
There is no way around it - this book requires a very real investment of time. But what a payoff! In addition to having a really thick book to put on your shelf to impress your friends, this is one of the greatest biographies over written.

Caro makes the point early in this masterpiece that power does something far more interesting than corrupt... power reveals. Caro is fascinated with power's ability to pull back the curtain on the true nature of an individual. In this case, Caro selects Lyndon Johnson as his subject and introduces the reader to the man revealed by power: he is fascinating.

The book starts with a short history of the purpose and design of the Senate, which would make a terrific book on its own. This background proves critical to understanding the magnitude of Johnson's accomplishments in the Senate. Once the Senate is properly introduced, Caro begins to tell the story of Johnson's journey through his years in the Senate. The story is told in great detail, but Caro's storytelling is so good and so relevant that it never wanders towards being tedious or dull. Instead, you get one fascinating story after another that introduces you to the different facets of Johnson's personality.

As the story unfolds, you come to know a man with morals, but a man who is always willing to subvert his morals unless they align with his personal ambition. Johnson's ambition and talent are both so great that they lead him to accomplish things in a few short years that had never been done before in 150 years of Senate life.

In the end, Johnson finds a cause on which his morals and ambition align and the Senator from Texas becomes the unlikely champion of Civil Rights, a cause that saw no new legislation successfully pass through the U.S. Senate for 83 years.

It's hard to explain how good this book is, how easy it is to read and yet how much you learn. Highly recommended for fans of biography, history and politics. Spectacular.

4 of 4 people found the following review helpful.
Kiss Up, Kick Down
By Kurt Harding
At long last, I have finished this monster tome. After reading the first two volumes of Robert Caro's fascinating series on LBJ, I was eager to delve into this one. And I did, painstakingly and at a snail's pace as other obligations limited my reading time to 15-20 pages per day. But it was time well spent.

In this volume, Robert Caro shows how Lyndon Johnson did not rest on his laurels after a hard-stolen election to the Senate brought him closer to his ultimate goal. As a freshman senator, he was just one in a hundred, at the bottom of the seniority heap. But he had long ago learned how to find where real power resided in any organization of which he was part and his people skills (read boot-licking and schmoozing) and determination soon brought him close to those who mattered in the Senate. Georgia Senator Richard Russell was the Democratic power in the Senate at this time, a man whose nod could make or break any legislation or the career of almost any Democratic Senator and so Johnson made sure to get next to him. And it didn't hurt that House Speaker Sam Rayburn was solidly behind him as well.

Bootlicking wasn't Johnson's only forte, however. Once he was in a position of some authority, he made sure he was prepared for any subject that came up and more prepared than those senior to him. His thorough study of the Senate and his preparation to face the issues of the day quickly made him the go-to guy among his colleagues and that only served to widen the scope of his authority.

Southern Senators, led by Russell, saw in Johnson a future chance at putting a Southerner in the White House, an honor that had been denied any Southern candidate since the Civil War. And so they sometimes were willing to give in some on some of their demands in order to give Johnson a boost and national exposure as a Southern moderate on civil rights issues. Johnson knew that the Southerners needed him as much as he needed them, and he took full advantage of his position to get closer to his ultimate goal.

Johnson's colleagues were agape at how he took the former thankless task of being Majority Leader and turned that position from a mere honorific into a position of real influence and prestige. It had been a political graveyard for others, but Johnson was determined to make it work for him. He nearly always did his homework and with his knowledge of the Senate rules and his gift for strategy, was able to accomplish things that others thought impossible. Johnson was not only a master of give and take, he was unforgiving to any who crossed him, both friend and foe alike.

Of course, Senators holding safe seats were free to defy and even fight Johnson, but as the Senate was probably more competitive then than it is today, Johnson could and did use his power to withhold crucial campaign help from recalcitrant Senators and was happy to see their defeat.

Caro thinks that LBJ's greatest accomplishment was to get a civil rights bill passed while he was Majority Leader, despite the fact that by the time it was passed it was watered down to a mere gesture. But that bill, in Johnson's crude way of phrasing, had broken the Senate's virginity on the matter of civil rights, so that in the future other civil rights bills could be pushed through more easily.

That triumph made him slightly more palatable to the liberal wing of the Democratic Party, and with the help and friendship of key liberals in the media, in labor and in politics, Johnson was able to burnish his growing reputation as a different kind of Southerner.

The portion of the book that follows the story of how Johnson got civil rights legislation passed over strong objections from both the Southern camp and the liberals (who felt the bill meaningless) is somewhat anti-climactic. There were no more Johnson accomplishments to match the drama of the civil rights battle, and Caro saves the story of Johnson's fight for both the Democratic presidential nomination and a third term in the Senate for an upcoming fourth volume on the LBJ saga. He does, however, show how Johnson schemed to hang on to Senate power after being elected as Vice-President. He seems a bit of a pitiful figure trying to maintain his old position when it is clear that both his old friends and his opponents want him to move on and to maintain the separation of power between the executive and legislative branches.

The recent Senate fight over John Bolton's nomination to be UN ambassador and the depiction of his style as kiss up, kick down

made me think that the phrase "Kiss Up, Kick Down" is the perfect way to describe LBJ's personal style. At the beginning of his career, he did a lot of kissing up. By the time he solidified his position as Majority Leader he gave full vent to his desire to kick down anyone or anything in his way.

The story of the rise of LBJ is fascinating indeed and Robert Caro tells it in an engaging and penetrating way. I heartily recommend Master of the Senate to anyone interested in the enigma that was LBJ, but I recommend that you read the first two volumes before reading this one so that you have a complete understanding of Johnson by the time you are through.

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^ Download Ebook Medium Cool: The Movies of the 1960s, by Ethan Mordden

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• Sales Rank: #1497570 in Books
• Published on: 1990-09-19
• Released on: 1990-09-19
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 6.50" w x 1.25" l,
• Binding: Hardcover
• 301 pages

From Publishers Weekly
Alfred Hitchcock's Psycho (1960) intimated that there's no safe place--the murderously bizarre can crop up anywhere. John Schlesinger's Midnight Cowboy (1969) portrays an America where "television and radio beam messages at you like mind-control apparatus . . . and the social structures throb with manipulative schemes." Between these signposts was a decade of unruly, vibrantly realistic American filmmaking, explored by Mordden, New Yorker cultural critic-at-large, in these wonderfully perceptive essays which illuminate not only film but the 1960s and the present. Movies of the '60s challenged authority as corrupt and murderous ( Splendor in the Grass ) and/or questioned the fairness of our political system ( Advise and Consent ; The Manchurian Candidate ). The '60s' fascination with evil and violence motivated Richard Brooks's In Cold Blood and Stanley Kubrick's Dr. Strangelove, that most serious of comedies. Mordden's wide-angled critique fits foreign films, arty B-movies, Paul Newman, Bye Bye Birdie and even James Bond flicks into a montage of changing social consciousness. Photos.
Copyright 1990 Reed Business Information, Inc.

Most helpful customer reviews

6 of 7 people found the following review helpful.
Engaging and infomative
By Jonathan S. Kemp
Ethan Mordden asserts that films of the sixties were unique, compelling, and more interesting than films of previous decades. The patterns of tidy morality, heroic characters, and inspirational, puritanical themes in films of the twenties, thirties, forties and fifties essentially broke down with the arrival of Hitchcock's Psycho in 1960. In the sixties, writers and directors stopped complying with restrictive artistic guidelines delineated by the studios and unleashed their pent up potential, creating movies that were challenging, rewarding, and-at times-highly sexual, violent and realistic. Movies of the sixties redefined what movies could forever be, drawing viewers into worlds that didn't hide reality.

To understand how unapologetic and revolutionary movies of the sixties were, Mordden first explains the cinema ethos of earlier years. He writes that movies of former times were clean-too clean-to the extent that creativity languished. Although great films like On the Waterfront, The Night of the Hunter, and Paths of Glory in fact did push the "artistic limits" of the times, Mordden disregards their impact, saying such films are anomalies, which makes them irrelevant when looking at of the whole decade. The blockbusters of the 1950s, he says, were tame, safe and rather boring. To him, the fifties didn't have much to offer; most of the themes, characters and plots were stale.

Directors knew how stale movies were. Studios knew it too. Movie profits in the fifties hit all time lows, and with the death of important Hollywood producers and moguls at the end of the decade, a revolution seemed likely. The revolution began in 1960 with Alfred Hitchcock's Psycho, a film that broke many Hollywood rules: the main actress, Janet Leigh, died in the first half hour; promiscuity and loveless sexuality bared themselves without trepidation; and the villain of the film, Mrs. Bates, was ruthless and violent.

The tone of the film was also different from what Hollywood was used to. Characters were understated and unattractive, and most of the movie was set in an ascetic hotel. The cinematography moved slowly and assuredly, setting a mood of literal terror and confusion that most people had never seen before. It was exciting. It was different. And audiences loved it. Movies had been too similar for too long, and people wanted to see something new. Psycho, Mordden says, marked the beginning of a new era in film. Its dark themes and focus on violence and evil were harbingers for what was to come.

As the sixties rolled on, movies attained a new level of artistic credibility, due in large part to the influence of European foreign films. 8 ½, Italian Federico Fellini's 1963 dreamlike masterpiece about an agitated director, galvanized American audiences. Fellini's film had his own style; he didn't rehash Hollywood themes and techniques of the thirties, forties or fifties. 8 ½'s plot was layered in fantasy and symbolism. It was confusing but potentially rewarding. People wanted to understand its subtleties and meaning, and it did well at the box office, proving there was major interest in films that defied conventions.

After Stanley Kubrick's Dr. Strangelove in 1964, movies continued to grow more radical. Arthur Penn's Bonnie and Clyde showed it was possible for the audience to actually root for two despicable criminals. Sam Peckinpah's The Wild Bunch was a different kind of western-profane, violent, and gory. And Dennis Hopper's Easy Rider introduced cocaine into the American lexicon. By the end of the sixties, Americans had seen movies that were inconceivable only ten years before.

Along with Easy Rider, The Wild Bunch and Bonnie and Clyde, Mordden references hundreds of other movies, but there are only several photos of the films and people Mordden writes about. Mordden's thesis is how movies of the sixties were radically different than movies of any decade before, and he spends page after page on plot summaries of each movie he references. He assumes the reader doesn't know much about sixties cinema, and he does an admirable job of filling us in on the most important films of the decade. But this is a book that inspires the reader to get excited about sixties cinema, and it would have helped if we could seen pictures of Stanley Kubrick or Federico Fellini and all the people that made the films so important. Summaries are essential, but a book about film-an entirely visual medium-also needs photos of film. Many books about sixties cinema include dozens of pictures that compliment the text well.

Moreover, Medium Cool doesn't include a bibliography, something which seems impossible given all the material it covers. This leads me to believe that his arguments are built upon source material, but then again, I'm not entirely sure; were he to include a bibliography, I would know.

While the lack of a bibliography casts doubt on Mordden's arguments, Medium Cool is still engaging, informative, and well-reasoned. Mordden meticulously and relentlessly describes the radical styles of sixties films that made them so different from anything seen before. His plot summaries for every film are informative and concise, supplying just enough background information before arguing his thesis. The sheer number of films he cites as being substantially different from fifties cinema makes his argument persuasive. However, without sources, his arguments seem groundless and partial at times, especially when he writes that fifties films were of little importance. Knowing his sources would make his persuasive arguments more persuasive; without them, his arguments seem well-reasoned but slightly dubious.

3 of 5 people found the following review helpful.
An illuminating book on a crucial film decade
By A Customer
Writer Ethan Mordden examines several controversial films of the 1960s -- a decade where the filmmaker boldly attacked subjects on screen that previously had been too shocking or taboo, but now were commercially viable; even acceptable. The book covers films such as Midnight Cowboy, The Wild Bunch, Psycho, The Graduate, The Manchurian Candidate, and Dr. Strangelove.

2 of 4 people found the following review helpful.
What a wonderful book.
By Go Bears!!
Came to this book through a review of PSYCHO (1960) by Walter Chaw over at the Film Freek Central website and am grateful to him for the mention because I adored this book. Ethan Mordden is a sensational writer and his criticism is as insightful and intelligent about the films and the period as anything I've read.

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>> Ebook Download Titanic, by Michael Davie

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A painstakingly researched book by leading British journalist Michael Davie,a reporter and columnist for the London "Observer" and author of books about LBJ and California as well as editor of the diaries of Evelyn Waugh. What Davie does so well is put everything in historical and political context from the first idea to build the Titanic to the discovery and exploration of the ship. This book published in hardcover and paperback was extremely well-reviewed when published because it was unique & extremely well researched. "Titanic does justice at last not only to the central drama of the sinking, but to the many dramas that surround it. He has penetrated more deeply than anyone before him this complicated controversial saga into the disputes and legends with which it is encrusted". Illustrated with sixteen black and white photos.

• Sales Rank: #5949703 in Books
• Published on: 1987-05-12
• Released on: 1987-05-12
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 245 pages

Features

• WRITTEN BY MICHAEL DAVIE, ACCLAIMED BRITISH JOURNALIST
• WELL RESEARCHED AND GIVES POLITICAL AND HISTORICAL CONTEXT OF ALL ASPECTS OF THE SAGA
• DISCUSSIONS ABOUT PROFITEERING IN THE WAKE OF THE TRAGEDY & TRUTH ABOUT THE CHARGES OF WHITEWASH IN THE INVESTIGATIONS IN THE U.S. AND BRITAIN
• HISTORY OF THE SEARCH FOR THE SHIP AND THE TECHNOLOGY THAT RESULTED IN HER DISCOVERY
• AN EXCELLENT INSIDE LOOK AT THE GREED, CORRUPTION AND CONTROVERSIES THAT HAVE SURROUNDED THE SHIP FROM THE VERY BEGINNING TO PRESENT

Most helpful customer reviews

1 of 1 people found the following review helpful.
Personal dramas aboard The Titanic
By Sue
I read about anything I can about The Titanic and rate this book good but caution that it falls short of Walter Lords, "A Night To Remember." The center fold of the book houses some excellent pictures of the ship, passengers and crew. "Titanic - The Death and Life of a Legend" tells the full story of the unsinkable White Star Lines Titanic plunge into the deep as well as the people and revelations brought forth by the inquiries post sinking. It is fascinating and factual. A warning - much has been learned since this book was written. We now have pictures of the wreckage laying on the ocean bottom. This is the story as it was prior to many of today's revelations.

1 of 1 people found the following review helpful.
A well-written book that appeals to novice Titanic buffs
By A Customer
This book is written by veteran journalist Michael Davie, and reflects his substantial experience with the English Language. If you're new to the Titanic story, and you've already read the books by Walter Lord and Don Lynch, then this book would be a welcome addition to your collection.

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^ Ebook Download Flash of the Spirit: African & Afro-American Art & Philosophy, by Robert Farris Thompson

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This book reveals how five distinct African civilizations have shaped the specific cultures of their New World descendants.

• Sales Rank: #71720 in Books
• Brand: Thompson, Robert Farris
• Published on: 1984-08-12
• Released on: 1984-08-12
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .70" w x 5.20" l, .72 pounds
• Binding: Paperback
• 336 pages

Review
"Robert Farris Thompson is the art historian of Africa who has turned his talents to Afro-America and sketched the course that creative new work is likely to follow." -- Eugene Genovese

This landmark book shows how five African civilizations -- Yoruba, Kongo, Ejagham, Mande and Cross River -- have informed and are reflected in the aesthetic, social and metaphysical traditions (music, sculpture, textiles, architecture, religion, idiogrammatic writing) of black people in the United States, Cuba, Haiti, Trinidad, Mexico, Brazil and other places in the New World.

"A wonderfully enthusiastic book...Mr. Thompson is a professor of art history, but he takes his subject in the round, not in any specialized or compartmentalized manner. He is part anthropologist, part art critic, part musicologist, part student of religion and philosophy, and entirely an enthusiastic partisan of what he writes about."

-- The New York Times Book Review

"Centuries of racist assumptions go packing it in Flash of the Spirit." -- The Village Voice

"This is art history to dance by." -- The Philadelphia Inquirer

From the Inside Flap
This book reveals how five distinct African civilizations have shaped the specific cultures of their New World descendants.

From the Back Cover
This landmark book shows how five African civilization have informed and are reflected in the aesthetic, social and metaphysical traditions of black people in the United States, Cuba, Haiti, Trinidad, Mexico, Brazil, and other places in the New World.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Very well summarize, and impressive. A deep understanding of African beliefs that time has not forgotten!
By Amazon Customer
Informative and well written! Enjoyed

21 of 21 people found the following review helpful.
brilliant and insightful look at the interconnectedness of the Diaspora with the world.....
By D. Pawl
I had the privilige to see Robert Farris Thompson, when the FACES OF THE GODS exhibit came to the Seattle Art Museum. Dr. Thompson came to speak about the history of the orishas (gods and goddesses) in the santeria and vodoo religious practices amongst the Afro-Cubans, Afro-Brazilians and African-Americans. What sets Thompson apart from other scholars is his genuine passion for the subject matter he has well-researched, as well as his vast knowledge of the Diaspora, and the cultural interconnectedness of people of African descent throughout the globe.

FLASH OF THE SPIRIT examines on a closer, more intimate level the cultural significance of the gods and goddesses depicted in mythology and art of those who are practitioners of (among other religions) Yoruba, Santeria and Voodoo faiths. We see beautiful and powerful illustrations and photographs of the jewelry, textiles, plates and figurines used in worship, and we also get insight into the characteristics of the gods and goddesses, their meaning in the lives of those who pray to them, and how this plays into other parts of society, human interaction and behavior. I come away from this book feeling that we are lot closer than we think, and that while "African-American" and "African" are important distinctions to recognize in terms of cultural definition, they are also at times parallel and quite similar to the indigenous Native cultures of South and Central America, as well as other parts of the world. This is fascinating material and Farris Thompson's writing style is pure poetry. I guarantee that once you start reading this book, you won't be able to put it down.

29 of 33 people found the following review helpful.
An eye-opening look at the African soul in America
By Earl Hazell
I enjoyed this book when I first read it as much for the kinds of bridges it seemed to make as for his own writing style and subject matter. R.F. Thompson, who I had the pleasure of meeting once in the Metropolitan Museum of Art in New York, is someone who along with being highly knowledgeable cares a great deal for the subject. Where the book could be considered lacking I would say is it's way of seeming dated. It bares some cultural prejudice which, considering the cultural remoteness of the subject matter when compared to the intellectual/cultural arena of the writer(African and African-American, Afro-Cuban/Hispanic culture vs. Post-World War II Ivy League) - and how well he did anyway- is forgiveable, but present nonetheless. If you are expecting some pretty powerful things to be said about Coltrane, or the early days of Rap music and Hip-hop dance (now in its third decade of existence already), or Modigliani, or other things that are in the forefront of the present culture's mind, to a certain degree you will be disappointed. However, if you had no idea other than the Alex Haley "Roots" era rhetoricals about the derivation of many African-American and Hispanic/Hispanic-American cultural paradigms, this will enlighten you in ways that will have you going to the bookstore to see what else he and many others have written on the subjects. I recommend it- particularly for lovers of European modern art, studies of religion, and other things influenced by the Mother country.

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? PDF Ebook The Decline and Fall of the Roman Empire, Volume I: 180 A.D. -- 395 A.D., by Edward Gibbon

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• Sales Rank: #2218138 in Books
• Published on: 1977-08-12
• Released on: 1977-08-12
• Original language: English
• Number of items: 2
• Dimensions: 8.50" h x 5.57" w x 2.25" l,
• Binding: Hardcover
• 956 pages

Review
(in full The History of the Decline and Fall of the Roman Empire) Historical work by Edward Gibbon, published in six volumes between 1776 and 1788. A continuous narrative from the 2nd century AD to the fall of Constantinople in 1453, it is distinguished by its rigorous scholarship, its historical perspective, and its incomparable literary style. The Decline and Fall is divided into two parts, equal in bulk but different in treatment. The first half covers about 300 years to the end of the empire in the West, about 480 AD; in the second half nearly 1,000 years are compressed. Gibbon viewed the Roman Empire as a single entity in undeviating decline from the ideals of political and intellectual freedom that had characterized the classical literature he had read. For him, the material decay of Rome was the effect and symbol of moral decadence. -- The Merriam-Webster Encyclopedia of Literature

Most helpful customer reviews

130 of 132 people found the following review helpful.
Magisterial
By Lee Walker
I will append a single proviso to my five-star rating: to enjoy this book, you will need a somewhat decent command of the English language and the capacity to unpack dense meaning. Gibbon's prose, to my mind, is almost without par; however, it is very much written in the Enlightenment style, which was more complex than what we accustomed to from today's workman-like scribblers. Therefore, if you dislike long, complicated sentences, it's probable that you won't enjoy this work. Also if you're a teenager, I might suggest you perhaps start with someone like Will Durant, who has a nice style of his own, but is much easier for the youngsters to comprehend. Unless you're a whizz kid, then by all means jump on this immediately.

Perhaps a representative passage will get my point across:

"Of the various forms of government which have prevailed in the world, an hereditary monarchy presents the fairest scope for ridicule. Is it possible to relate without an indignant smile, that, on the father’s decease, the property of a nation, like that of a drove of oxen, descends to his infant son, as yet unknown to mankind and to himself, and that the bravest warriors and the wisest statesmen, relinquishing their natural right to empire, approach the royal cradle with bended knees and protestations of inviolable fidelity? Satire and declamation may paint these obvious topics in the most dazzling colours, but our more serious thoughts will respect a useful prejudice, that establishes a rule of succession, independent of the passions of mankind; and we shall cheerfully acquiesce in any expedient which deprives the multitude of the dangerous, and indeed the ideal, power of giving themselves a master.

In the cool shade of retirement, we may easily devise imaginary forms of government, in which the sceptre shall be constantly bestowed on the most worthy by the free and incorrupt suffrage of the whole community. Experience overturns these airy fabrics, and teaches us that in a large society the election of a monarch can never devolve to the wisest or to the most numerous part of the people. The army is the only order of men sufficiently united to concur in the same sentiments, and powerful enough to impose them on the rest of their fellow-citizens; but the temper of soldiers, habituated at once to violence and to slavery, renders them very unfit guardians of a legal or even a civil constitution. Justice, humanity, or political wisdom, are qualities they are too little acquainted with in themselves to appreciate them in others. Valour will acquire their esteem, and liberality will purchase their suffrage; but the first of these merits is often lodged in the most savage breasts; the latter can only exert itself at the expense of the public; and both may be turned against the possessor of the throne by the ambition of a rival.

The superior prerogative of birth, when it has obtained the sanction of time and popular opinion, is the plainest and least invidious of all distinctions among mankind. The acknowledged right extinguishes the hopes of faction, and the conscious security disarms the cruelty of the monarch."

If you were able to read those three paragraphs without much trouble, and understood exactly what he was saying, then you should be to digest this work. Pay attention to the style, too. Do you like those long sentences, the vivid imagery of the wordplay? Some people do not. If you are one of those people, you will not make it through this work (it is almost 4,000 pages). Some people call it florid. I don't agree. I love Gibbon's style, and was disappointed after finishing the sixth volume that I had no more to read. Not to worry, though, as it holds up exceedingly well to repeat reading (usually I just return to read a chapter here, or there, on whatever topic I am interested in at the moment). Also pay attention to not just the style of the above three paragraphs, but the viewpoint Gibbon was expressing. Keep in mind, Gibbon wrote in the 1700s. His viewpoint is hardly postmodern, and he is a particularly stern judge in almost all respects: of history, of character, of society. That said, his book remains remarkably (but not entirely) free of racial bigotry. You only need to look up some of Immanuel Kant's quotes to realise that how exceptional this is for the period when Gibbon wrote. Be assured, however, that you may not agree with many of Gibbon's opinions. If you can't suspend your judgement when you read, if you only like to read authors whose you sociopolitical views you share, then you may not be able to stick this one out. My suggestion would be to try, however.

On to the actual material Gibbon covers. If you're looking for any material on Rome under the Kings, Republican Rome, or the early Empire, then you've come to the wrong place. Gibbon does provide us with a brief, single-chapter account of the Empire and its Emperors from Augustus to Domitian, and two opening chapters on the age of the Antonines (which Gibbon and most scholars consider to have been the peak of the Empire in almost every respect). The real narrative, however, picks up with the death of Marcus Aurelius and the accession to sole rule of his son, Commodus, in 180AD. If you don't know much Roman history, and these names are still familiar to you, perhaps you've seen Gladiator? Marcus Aurelius is the old Emperor whom Russell Crowe serves at the beginning. Commodus is the Joaquin Phoenix character. That film wasn't really based on any true story, but these definitely were father and son in real life, and incidentally Commodus really did things like fight as a gladiator.

Some of the stories Gibbon tells are quite amusing. We hear that Commodus had special arrows made, whose tips were shaped like crescent moons. He could, apparently, decapitate a sprinting ostrich by firing one of these from his bow. Commodus thought nothing of killing a lion in single combat. An elephant too. All in the arena, as his subjects watched. Some stories about other Emperors are clearly far-fetched:we are told the Emperor Maximin (known to us as Maximinus Thrax) was over 8 feet tall, could drink 7 gallons of wine and eat between 30-40 pounds of meat in a day, could break a horse's leg with a punch, and crumble stones in his fists. However, Gibbon is a sober historian. He never falls for a tall tale. If he tells one, it is for amusement or colour. He always provides his sources, and he is an astute judge of a source's quality. Gibbon always, if possible, practices what he calls "ascending to the font," by which he means never settling for a secondary source if a primary source is available. All these traits made him remarkable as a historian for his period.

Volume I takes the reader until the triumph of Constantine the Great over his rivals in the early 4th Century AD. It then concludes with the first of what were considered the most controversial chapters of the book. Volume II begins with the second. These "controversial" chapters (15 & 16) dealt with the origin of Christianity, and its character and evolution in the roughly three centuries until Constantine founded Constantinople as a new, Christian Rome (Constantine actually called it Nova Roma, but the people were having none of that). Now chapters 15 & 16 caused quite the stir in Gibbon's day. You can go and read on Wikipedia about the accusations made against Gibbon because of what the chapters contained. Honestly, though, for the twenty-first century, they are extremely tame. It is to Gibbon's credit, however, that throughout the book when he does dedicate chapters entirely to religion, he at least in most cases avoids inflicting terminal boredom on the reader.

Volume II takes the reader until the first part of Theodosius the Great's career. Volume III shoots just past the end of the Empire in the West, ending with a chapter on some of the barbarians who came to exercise sovereignty in the former Imperial lands. Volume IV covers Justinian and his immediate successors, still ruling as the Roman Empire in the East, and in the West continues covering the Barbarian successor kingdoms. The scheme of the work changes a little when the reader arrives at Volumes V and VI. Gibbon did not put much stock in the so-called Byzantine empire. In the final chapter of Volume IV he in fact covers 800 years of Byzantine empires, whereas he had just spent four volumes covering about half that amount of time. So if you were hoping for an extremely in-depth coverage of the Byzantine Empire, you'll be sorely disappointed, as I initially was (if this is the case, I suggest you look to the excellent works of John Julius Norwich). Instead, in Volumes V and VI, Gibbon covers the histories of the nations erected on the ruins of the West Roman Empire, along with those territories lost to enemies in the East. This takes the reader through a varied journey: the Caliphates; the Turkish Sultanates; the Crusades and Crusader Kingdoms; the exploits of the Normans in France, Italy, and elsewhere; the Bulgarians; the Hungarians; Russia; the Papacy; the Italian states; and more.

All said and done, the complete work took me about 15 months to read. I took my time, reading about half an hour per day. Some days I'd read an hour, some days only ten minutes. I made sure to read it every day, however. Take your time. Get into a habit of reading this, one bite-sized chunk at a time. You'll be glad you did.

294 of 300 people found the following review helpful.
...still considered the undisputed standard of Rome's demise.
By G. Chapman
There are books; there are great books; and then there are books that change everything - that test you and change you and impact you permanently and profoundly. Homer, Shakespeare, Dickens...those sorts of authors shake you and challenge you to grow. Gibbon, deservedly considered one the fathers of modern history and the historical method, ranks among those authors. The History of the Decline and Fall of the Roman Empire displays a fine example of literary genius, representing some of the very best humanity has to offer.

If, faced with the extinction of the human race and the loss of all things we've learned throughout our history, the lone survivors were bequeathed a top ten list of written works aimed at condensing human thought and evolution into the most valuable lessons and wisdom of the ages in the interest of providing the surest and most beneficial foundation for starting anew, The Decline and Fall of the Roman Empire should be in it. Yes, its that important and that good.

Aptly titled, Gibbon explains not only the historical nuts and bolts of what happened when but more importantly why. As incredibly ambitious as it is valuable, Gibbon traces the history of Rome's demise from its height (around the 1st century) to/through the dark/middle ages (to around 1500A.D.), giving a sweeping and astonishing view of a period of our history that still has no equal.

Gibbon not only shows us Rome; for those willing to look he holds a mirror before humanity...shows us who we are, largely where we came from, emboldens our virtues and warns us of our vices, and shows that while the context and names may change, the essential core of issues human beings face remains the same.

If no other evidence existed for why you should read this work, consider that despite being written over 200 years ago, Gibbon is still considered the gold standard when it comes to Rome, and while some additional historical facts have since came to light that invalidate minor details of Gibbon's narrative, the essence of the work remains untarnished.

I won't mislead you, however, weighing in at six volumes and approximately 2000 pages, combined with Gibbon's amazing vocabulary (make sure you have a dictionary handy), gift of beautiful but initially intimidating denseness of narration and prose, and somewhat dry (but fiercely insightful, very witty, and at times even humorous) style, if you're not a history teacher or letters major the work is an ambitious read for most, but I would encourage you in the purest sense to conquer it. I promise you, "there's gold in them there hills."

I once met a 95 year old history and philosophy professor with whom I developed a brief but memorable friendship. A very intelligent, lucid, gentle, wise, and amiable man, during one of our conversations, knowing him a voracious reader and very educated person, I asked him to give me a list of his favorite books - ones he would recommend without hesitation. The History of the Decline and Fall of the Roman Empire was the first book(s) he mentioned. I never forgot, and in fact made an inward commitment that I would read it someday. Years later I did, and my only regret is that I didn't read it sooner, and that I'll never get to discuss it with him. I'll be forever grateful for the advice.

23 of 23 people found the following review helpful.
Beautiful edition
By Stanley Hauer
The merit of Gibbon's masterpiece needs no defense. Readers are, I assume, looking for remarks about whether this Everyman set is a quality edition. Well, this is it. I looked at the Folio Society edition: lovely, yes; but fragile and grossly overpriced. The Everyman is sturdily bound with solid boards and paper. The typeface is clean. A handy bookmark is bound into each volume. It's nice to hold in the hand.

The text is the standard one of 1910, with notes to catch major errors of fact; there are good, more recent introductions (to vols 1 and 4) by the eminent Hugh Trevor-Roper (does that man know everything, or what?). ALL of the original footnotes are here, and readers of Gibbon should consider them as essential. Someone once quipped that Gibbon lived out his sex life in footnotes; there's some truth in that remark.

Reading Gibbon is a landmark achievement in a person's life. Spend it with the quality production of this Everyman set.

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From the Inside Flap
A radical new plan of action for corporate managers from the co-author of In Search of Excellence and A Passion for Excellence.

In this adaptation of his bold new book, Tom Peters delivers an urgent message: if American corporations are going to thrive in today's (and tomorrow's) turbulent economic/political world, a revolution in both management practices and organizational structure is required. The winning companies will be those (and only those) that are able to adapt quickly to rapidly changing customer needs and market conditions, creating new market niches and continually adding new value to every product and service. Combining trenchant analysis with a series of 45 prescriptions encompassing literally hundreds of concrete actions and examples, Thriving on Chaos shows what managers at every level must do -- and do now! -- if this revolution is to be accomplished.

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Most helpful customer reviews

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A Management Classic!
By Douglas Wardle
This was recommended to me by one of my professors, who stated that it was his favorite management book. After reading it, I have to agree that it belongs on the library shelf of any student of management and organizational change.

0 of 0 people found the following review helpful.
Five Stars
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Great for 21st century corporate strategies.

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• Sales Rank: #3042270 in Books
• Published on: 1976-11-12
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Most helpful customer reviews

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I am strange.
By Betty Van Dyck
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7 of 7 people found the following review helpful.
a mind-expanding look at consciousness
By lenin (elion55@hotmail.com)
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1 of 2 people found the following review helpful.
a mind-expanding look at consciousness
By A Customer
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