Selasa, 20 Mei 2014

^^ Ebook On the Firing Line: The Public Life of Our Public Figures, by William F. Buckley Jr.

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On the Firing Line: The Public Life of Our Public Figures, by William F. Buckley Jr.

  • Sales Rank: #450082 in Books
  • Published on: 1989-04-15
  • Released on: 1989-04-15
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 533 pages

From Publishers Weekly
Firing Line , Buckley's TV interview program, has been around since 1966, and his guests, whose feisty talks are included in this scrapbook, have included Henry Kissinger, Michael Harrington, Roy Cohn, Yehudi Menuhin, Alan Paton, Steve Allen, Truman Capote, Jimmy Hoffa, Norman Mailer, Muhammad Ali, Timothy Leary, Al Capp, Jeremy Rifkin and Margaret Thatcher, to list a few. Quoting such folk should make for some intellectual and cultural fireworks, but the main problem with this hefty compendium is Buckley himself. Wrapping the edited snippets of conversations into his running commentary, he retrospectively uses his guests as a sounding-board to present his opinions on politics, the communist threat, capital punishment, crime, the 1960s ("The Kid Years") and religion. James Baldwin, George McGovern, Jesse Jackson and William Kunstler all get their comeuppance. Readers receptive to Buckley's conservative perspective may glide through his shooting-gallery; others will wish there had been less editorializing and more excerpts from the televised verbal combat.
Copyright 1989 Reed Business Information, Inc.

From Library Journal
This book, highlights from the 23-year-old Firing Line TV series, will be a joy for anyone who delights in the raised eyebrows and eruditely crafted salvos at guests who dare to be less doctrinaire conservative than host Buckley. The book's pages read like a Who's Who of luminaries in politics, the arts, and journalism, including George McGovern, Barry Goldwater, presidents from Nixon to Reagan, and a number of heads of states of other nations. Most of the major social and political issues of the decades involved are scrutinized; but the real pleasure of this work is Buckley's artful commentary in which he illustrates "manifest evasiveness" in some of his guests and "fine reasoning" in others. Delightful and challenging reading. For the liberal journalist's viewpoint, see Bill Moyers's A World of Ideas , reviewed below.
- Frank Kessler, Missouri Western State Coll., St. Joseph
Copyright 1989 Reed Business Information, Inc.

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Senin, 19 Mei 2014

>> Fee Download Game, Set & Match (Berlin Game, Mexico Set, London Match), by Len Deighton

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Game, Set & Match (Berlin Game, Mexico Set, London Match), by Len Deighton

The spy trilogy of "Berlin Game", "Mexico Set", and "London Match" in one presentation omnibus.

  • Sales Rank: #905952 in Books
  • Published on: 1989-03-25
  • Released on: 1989-03-25
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.75" h x 6.75" w x 1.75" l,
  • Binding: Hardcover
  • 857 pages

Most helpful customer reviews

25 of 26 people found the following review helpful.
An outstanding series to challenge your mind!
By Stephen M. Zielinski
I would first like to say that this review is not only for "Game, Set and Match", but also for the other two trilogies, "Hook, Line and Sinker", and "Faith, Hope and Charity". I believe that all nine works must be spoken of here, or the mood that the author creates will have been lost.

From the first sentence in "Berlin Match" to the last paragraph of "Charity", Len Deighton has created a masterpiece of intrigue, double-dealing and the cloak and dagger mentality that is peculiar to the British Secret Service. Looking at Bernard Samson and his family, friends, enemies and detractors has made for an extremely interesting read: I believe that I read all nine in about a month and a half.

In a style similar to John LeCarre, Deighton takes the reader on a roller-coaster ride that starts out with trepidation, builds to a almost certain climax, only to finish with an entirely different ending than anticipated. I disagreed with the author's statement that each novel can stand alone and be read in any sequence. I believe that each book laid a groundwork that the following novel picked up and developed further.

I highly recommend this nine volume series and would welcome Mr. Deighton to write a final Bernard Samson work. Enjoy, and good readuing!

7 of 8 people found the following review helpful.
Len Deighton is a master.
By J. Walker
These are the first 3 of the 9 books with Bernard Samson as the major character. Game, Set and Match; Hook, Line and Sinker; Faith, Hope and Charity. Samson works for British intelligence during the cold war era. Samdon, although British, was raised in post WWII Berlin when his father was the Berlin chief of British Intelligence. There is a constant thread with Samson through each book, yet each book stands alone. All are good reads. Deighton is an historian and doesn't skimp on historical details. Deighton's explanation of Berliners reaction to President Kennedy's famous "Ich bin Berliner" speach alone is worth the read. The series, 9 books, gets a 5 star rating.

6 of 7 people found the following review helpful.
Great series
By Highlanderthal
These are the first three of nine in the total series, all great reads and able to stand alone, definitely the best trilogy of the nine.

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Kamis, 15 Mei 2014

~~ PDF Download Essentials of Classic Italian Cooking, by Marcella Hazen

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Essentials of Classic Italian Cooking, by Marcella Hazen

Almost twenty years ago, with the publication of The Classic Italian Cook Book, followed by More Classic Italian Cooking, Marcella Hazan introduced Americans to a whole new world of Italian food. As Roy Andries de Groot wrote, “Marcella’s book is the most authentic guide to Italian food ever written in the U.S. Where other authors failed, Marcella has brilliantly succeeded in capturing (and conveying to the reader on every page) the feel, the aromatic scent, the subtle nuances of fresh country flavors and, above all, the easy uncomplication of Italian food prepared in the Italian style.”

Now a new generation is ready to master the art of Italian cooking, and their bible will be Essentials of Classic Italian Cooking—this new volume that combines the two books, updates and expanded throughout. Designed as a basic manual for cooks on every level—from beginners to accomplished professionals—it offers both an accessible and comprehensive guide to techniques and ingredients and a collection of the most delicious recipes from the Italian repertoire.

  • Sales Rank: #2550 in Books
  • Color: Green
  • Brand: Hazan, Marcella/ Kretschmann, Karin (ILT)
  • Published on: 2012
  • Released on: 1992-10-27
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.60" h x 1.70" w x 7.00" l, 2.50 pounds
  • Binding: Hardcover
  • 704 pages
Features
  • one volume Marcella Hazan's classic Italian cooking

Amazon.com Review
Perhaps more than any other person, Marcella Hazan is responsible for bringing Italian cuisine into the homes of American cooks. We're not talking spaghetti and meatballs here--Hazan's cuisine consists of polenta, risotto, squid braised with tomatoes and white wine, sautéed swiss chard with olive oil and garlic.... Twenty years ago, when Hazan first exploded into the American consciousness with The Classic Italian Cook Book and More Classic Italian Cooking, such recipes were revolutionary. With time, however, these classic dishes have become much-beloved family favorites.

Now a new generation is ready to be introduced to Marcella Hazan's way with food, and in Essentials of Italian Cooking Hazan combines her two earlier works into one update and expanded volume. In addition to the delicious collection of recipes, this book serves as a basic manual for cooks of every skill level. Recipes have been revised to reduce fat content, and a whole new chapter full of fundamental information about herbs, spices, and cheeses used in Italian kitchens--as well as details on how to select specific ingredients--has been added. New chapters, new recipes--who could ask for more than Essentials of Italian Cooking?

From Publishers Weekly
In the language of cookbooks, the word "classic" is bandied about nearly as frequently as the terms "low-fat" and "no-cholesterol." In this case, however, the estimable Hazan ( More Classic Italian Cooking ) does indeed contribute a classic to the ever-increasing literature of Italian cuisine. A revision and update of her two previous "classic" Italian cookbooks (with more than 35 completely new recipes), this one includes recipes not "in pursuit of novelty, but of taste." As Hazan puts it, the book "is meant to be used as a kitchen handbook . . . for cooks of every level . . . who want an accessible and comprehensive guide to the products, the techniques, and the dishes that constitute imperishable Italian cooking." From marinated carrot sticks to sweet-and-sour tuna steaks, Trapani style, to tortellini with fish stuffing and polenta shortcake with raisins, dried figs and pine nuts, the outstanding recipes--many of them poetically simple--are too numerous to do justice to in few words. Included is a spirited discussion of squid and the essentials of preparing fresh pasta, gnocchi (potato dumplings), authentic risotto, frittate and polenta dishes. While writing from Venice, her home for much of the year, Hazan never fails to consider the availability of ingredients in the U.S., and never assumes that all readers understand complex methods or exotic terminology. This volume is the perfect gift for a new homemaker, a seasoned chef and all lovers of good food. Illustrated. 40,000 first printing; Home Style Book Club main selection, BOMC alternate.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
Hazan's The Classic Italian Cookbook (1976) and More Italian Cooking (1978) are the standards in the field, and now, almost 20 years after the publication of the first title, they are available in a single volume, completely revised and updated. A few recipes have been cut, about 50 new ones added, and just about every recipe from the originals has been rewritten and, where deemed necessary, revised. Italian cooking, as opposed to the Italian American fare passed off in so many restaurants, has become all the rage here in the last several years; with the reappearance of Hazan's classics, it's strikingly apparent how far ahead of their time they were the first time around. The only disappointment is that the lengthy, thoughtful menu suggestions with each recipe have been dropped. An essential purchase. HomeStyle main selection; BOMC alternate.
Copyright 1992 Reed Business Information, Inc.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Simple and easy cooking, delicious results!
By Oy Gevalt
I live in Italy now, and honestly, her tips make me a better cook than many of the restaurants and native Italians that I've found here. This particular book is filled with simple recipes. Not too many ingredients, nothing too fancy. No quail eggs and golden raisins, nothing that takes way too long. I think for a few of her soups, she recommends making broth one day and then freezing it. Most of her recipes can be prepared in 20mins-1 hr, and for fancier food, give it a couple of hours of slow cooking. Everything is delicious.

The one downside that I've found is that sometimes I feel that she doesn't advise about how much spice to put onto something. That's fine, though. All the recipes I've tried (roast chicken, chicken cacciatore, a lot of pasta sauces, fish recipes, stuffed squid, multiple risottos, vegetable dishes...) have come out delicious. Well done!

44 of 47 people found the following review helpful.
The Essential Italian Cookbook
By Leslie D. Ehrlich
Marcella Hazan is to Italian what Julia Child is to French: The person who introduced American cooks to a cuisine, and in so doing changed how we ate. This book is essential: both essential to anyone who wants to cook authentic Italian, and essentially Marcella.
This book has many virtues. It's very thorough -- a comprehensive survey of the various courses and food groups. There are dedicated chapters for pasta and risotto, for example, where many books treat those together. And in addition to the obvious meats, such as veal, lamb, beef, pork, etc., she also tackles subjects such as rabbit and variety meats. (Use Amazon's "Look inside" feature to see the table of contents.)
Another virtue is the trouble she takes to explain ingredients, be they classic italian ingredients or simply the italian perspective on something. After reading through the Fundamentals chapter, you'll never shop for italian-style ingredients quite the same way ever again. In short, very accessible paragraphs, she goes through the history, regional origins, and uses for the major herbs, cheeses, meats, etc. She covers what to look for when buying an ingredient -- what's fresh, what packaging makes for the best product.
The recipies are very workable and give generally excellent results. The techniques are accessible to anyone who can saute on a stovetop -- anyone who's beyond the stage of rank beginner. The instructions are very clear and strike the right balance, with enough information to give clarity without drowning the reader in detail. (There are few things more infuriating than standing over a cookbook, dripping spoon in hand, reading through War and Peace to figure out what to do next.)
Last, but not least, the results are delicious, with subtle flavors that will please you and yours. Two of my favorites will give you a taste. The Pasta with Peas, Bacon, and Ricotta combines very simple ingredients -- pancetta, mild, smooth, ricotta cheese, parmesan, and fresh peas, into a sublime dish that you can throw together for summer dinners in half an hour from start to finish. On the other hand, the Stewed Pork with Porcini Mushrooms and Juniper makes a wonderful winter meal, as the wild tastes of the porcini and the bite of juniper berries combine wonderfully to flavor the pork. This is one I catch my husband eating cold out of the fridge late at night!
Brava Marcella!
Important note: This edition is not a brand-new book. Instead, it combines two previous books, The Classic Italian Cook Book (1973) and More Classic Italian Cooking (1976), into one volume. There are a couple dozen new recipies, and the older recipies are updated to reduce fats. If you own those, you may want this one. If you are new to Marcella and are accumulating her books, this one book enables you to skip the two older ones.

1 of 1 people found the following review helpful.
The quantity and quality of the recipes is amazing. I have many Italian cookbooks and this one ...
By Magic Mike
This is a reprint of Marcella's original book from the 1970s. The recipes are presented in a no frills instruction manual format. No pictures. The quantity and quality of the recipes is amazing. I have many Italian cookbooks and this one is my "Bible".

See all 450 customer reviews...

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Rabu, 14 Mei 2014

> Fee Download Moby Dick, by Herman Melville

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Herman Melville’s masterpiece, one of the greatest works of imagination in literary history
 
Over a century and a half after its publication, Moby-Dick still stands as an indisputable literary classic. It is the story of an eerily compelling madman pursuing an unholy war against a creature as vast and dangerous and unknowable as the sea itself. But more than just a novel of adventure, more than an encyclopedia of whaling lore and legend, Moby-Dick is a haunting, mesmerizing, and important social commentary populated with several of the most unforgettable and enduring characters in literature. Never losing its cultural presence, Melville’s nautical epic has inspired many films over the years, including the film adaptation of Nathaniel Philbrick’s In the Heart of the Sea, starring Chris Hemsworth, Cillian Murphy, Ben Whishaw, and Brendan Gleeson, and directed by Ron Howard. Written with wonderfully redemptive humor, Moby-Dick is a profound and timeless inquiry into character, faith, and the nature of perception. 

This Penguin Classics deluxe edition features a foreword by Nathaniel Philbrick and cover art by Tony Millionaire. This edition prints the Northwestern-Newberry edition of Melville's text, approved by the Center for Scholarly Editions and the Center for Editions of American Authors of the MLA.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

  • Sales Rank: #1895267 in Books
  • Published on: 1982-08-12
  • Released on: 1982-08-12
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 189 pages

From School Library Journal
Grade 5 Up-Opening with the classic line, "Call me Ishmael," the narrator's New England accent adds a touch of authenticity to this sometimes melodramatic presentation. The St. Charles Players do a credible job on the major roles, but some of the group responses, such as "Aye, aye Captain," sound more comic than serious. This adaptation retains a good measure of Melville's dialogue and key passages which afford listeners a vivid connection with the lengthy novel. Background music and appropriate sound effects enhance the telling of the story about Captain Ahab's obsessive pursuit of the malevolent white whale. The cassettes are clearly marked, and running times are noted on each side of the tapes. Announcements at the beginning of each side and a subtle chime signal at the end make it easy to follow the story, but a stereo player must be used to hear some dialogue. The lightweight cardboard package is inadequate for circulation. Done in a radio theatre format, the recording does a nice job of introducing the deeper themes of the book and covering the major events. For school libraries that support an American literature curriculum, this recording offers a different interpretation of an enduring classic.
Barbara Wysocki, Cora J. Belden Library. Rocky Hill, CT
Copyright 1999 Reed Business Information, Inc.

From Library Journal
November 14 marks the 150th anniversary of Melville's salty saga of vengeance and obsession. Now a contender for the great American novel, this book was harpooned at the time of its 1851 publication by critics who found it overly long and boorish (observations no doubt still shared by countless high school students). They felt that like Ahab, the story didn't have much of a leg to stand on. The once lucrative whaling industry also was in its death throes and of little interest to readers. The book was forgotten for decades before being rediscovered in the 1920s by scholars who understood and appreciated the multilevel symbolism and allegory dismissed by their 19th-century predecessors. Melville published little after the failure of Moby-Dick and made his living as a customs inspector in New York City, where he was born in 1819 and died in complete obscurity in 1891. He is buried in the Bronx. This edition of his masterwork includes the full text along with illustrations of whales, whaling barks, and whaling instruments; maps; and a new introduction by Nathaniel Philbrick. A lot for the price.
Copyright 2001 Reed Business Information, Inc.

Review
Winner of the 2012 Fifty Books/Fifty Covers show, organized by Design Observer in association with AIGA and Designers & Books

Winner of the 2014 Type Directors Club Communication Design Award

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—Maria Popova, Brain Pickings

"The Penguin Drop Caps series is a great example of the power of design. Why buy these particular classics when there are less expensive, even free editions of Great Expectations? Because they’re beautiful objects. Paul Buckley and Jessica Hische’s fresh approach to the literary classics reduces the design down to typography and color. Each cover is foil-stamped with a cleverly illustrated letterform that reveals an element of the story. Jane Austen’s A (Pride and Prejudice) is formed by opulent peacock feathers and Charlotte Bronte’s B (Jane Eyre) is surrounded by flames. The complete set forms a rainbow spectrum prettier than anything else on your bookshelf."
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Most helpful customer reviews

54 of 58 people found the following review helpful.
Sponge Bob Meets Shakespeare
By Bruce Kimball
I'm an old man. And the sea is something I know nothing about. So call me ignorant. Still, nearly 60, I just read this book for the first time and it is unquestionably the best novel I have ever read, equal to any poem or drama. I believe you have to have lived a little and maybe even tried your hand at expressing yourself artistically to really appreciate this book. I don't think it's for young people - definitely not for most teenagers, and probably not for most college-level students, unless you want to discourage them. It almost makes arthritis worth while.

The latest volume of "Best American Poems" has a work by Thomas Lux, originally published in Five Points, called "Eyes Scooped Out and Replaced by Hot Coals". That is his proposed punishment for anyone who hasn't read Moby Dick by their mid-20's. While it's a clever and humerous way to make a point, this Pol Pot approach to literary education is viewed positively by many teachers and helps explain why so many people end up with a negative attitude towards a book of this stature.

Just consider the sea-nario: You are weary of the everyday world, and decide to sign-on with a whaling ship to get a little therapy. The ship's captain is a madman. That right there is enough. And consider the historical significance. Moby Dick was written right around the same time that science really began to explode, and we were entering the modern period of capitalism and capitalists (our new Ahabs). For the first time in human history, there were thousands of regular working people - some of them artists - who had literally traveled the entire globe on whalers and knew many parts of it well. These same conditions, of course, soon led to the demise - or rather the replacement - of whale oil for its traditional uses. So there was really only a brief moment in time when such a book could have been written. And it was, thank god. It is no coincidence that Moby Dick, published in 1851, was probably being written by Melville at the same time Marx and Engels were writing the Communist Manifesto. Both represent a similar landmark in human history.

What more can I say? I literally enjoyed every single page. I had readied myself to be bored by the cetology chapters, but wasn't in the least. And some critics note the variations in perspective and writing styles, but that didn't bother me at all - I scarcely noticed. For me, one of the personal highlights was when Melville describes the setting for the skeleton of a great sperm whale found on an island in Chapter 102, A BOWER IN THE ARSACIDES:

"Through the lacings of the leaves, the great sun seemed a flying shuttle weaving the unwearied verdure. Oh, busy weaver! unseen weaver! --pause! --one word! -- whither flows the fabric? what palace may it deck? wherefore all these ceaseless toilings? Speak, weaver! --stay thy hand! -- but one single word with thee! Nay --the shuttle flies --the figures float from forth the loom; the freshet-rushing carpet for ever slides away. The weaver-god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it"

By the way, this review is based on an old, worn copy of the book that I purchased at a sale. It's not based on any particular edition or publisher, and my review is focused exclusively on Melville's writing, not how the material is presented in print.

Please give it a chance.

49 of 52 people found the following review helpful.
BUYER BEWARE
By Matt
This book is TINY! It's actually even smaller than the product details state (3.5" wide, NOT 4.1"). I already ordered a bigger copy from a different publisher, and I'm considering trying to return this one. I'm just not sure if the hassle is worth the $10 I spent.

Why they would try to cram a 600+ page novel into a package this small is beyond me. It's an uncomfortable read to say the least. Also, the gold edges cause the pages to stick together. I made it through the first two chapters and gave up.

There are plenty of other editions on amazon. I'd recommend avoiding this one.

0 of 0 people found the following review helpful.
Journey like no other!!!
By Highest Intentions
(There are some spoilers here regarding the ultimate meaning of the book as a whole.)

Moby Dick is “not the book people think. It is not even the KIND of book people think. It is the most important and the least understood document in the human archive.” ~ Jed McKenna

Moby Dick is a delightful, smashingly entertaining yarn about… well, let me just start by saying that it is very well-written, has a good deal of humor, is more than adequately stocked with symbolism and metaphor, has plenty of philosophical sidebars and meanderings, is encyclopedic in its knowledge about and insights into the science and workings of the whaling industry, has its share of intrigue and bewilderment, is at times heart wrenching, has numerous religious and classical connotations and references, is awash with excitement and adventure, has a plethora of very well formed characters and… it is considered a literary masterpiece. What more could one ask for in a book? So what is it about?

“Truth has no confines.”

Moby Dick is an ornery and cantankerous giant sperm whale, a leviathan, which has, over the years, left a substantial trail of injuries, maimings, miseries, sufferings and, dare I say, annihilation in its wake – a horrendous rap sheet at best. The Pequod is a commercial whaling ship that is hired to sail the seven seas in search of high quality, large quantity whale oil to be sold once the ship successfully returns to port – it is a purely business venture for everyone involved or, rather, with the exception of…. Captain Ahab is the, also ornery and cantankerous, man hired to be sole commander and head honcho of the Pequod in this many years long pecuniary pursuit. Sounds rather straight forward, right? What could go wrong?

"It is not down in any map; true places never are."

Moby Dick is generally believed to be about the gradual decent into madness of Captain Ahab, thus resulting in his eventual monomaniacal quest for the aforesaid great leviathan, Moby Dick. Ahab’s crusade incorporates the entire crew of the Pequod who are, along with Ahab himself, ultimately sent to Davy Jones’ Locker or are they? That is the nearly universal consensus of the meaning of the book Moby Dick. But… is that really what is going on here? Does this interpretation even make sense?

“Methinks that what they call my shadow here on earth is my true substance. Methinks that in looking at things spiritual, we are too much like oysters observing the sun through the water, and thinking that thick water the thinnest of air.”

If Ahab is, in fact, just a crackpot out for revenge then this book, at least to me, would be kind of silly – crazy man convinces ship owners to hire him, coaxes crew into blindly following him to kill one particular whale for the sole purpose of revenge, all are ultimately destroyed… end of story. If this is the case, then who is the orphan who lives at the end of the book and who is Ishmael? There must be something more to this than meets the eye. Melville must have had a deeper, perhaps even more profound, purpose in mind for writing this very intense and precisely written novel.

“All visible objects, man, are but as pasteboard masks. But in each event—in the living act, the undoubted deed—there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask!”

Moby Dick, in my opinion, goes way beyond the literal goings-on of this book to a much broader, deeper, more profoundly transcendental and mystical interpretation and understanding. If we look at Ahab as not crazy but sane, radically sane, then many of his otherwise baffling rantings and ravings start to make sense.

“Swerve me? The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run. Over unsounded gorges, through the rifled hearts of mountains, under torrents' beds, unerringly I rush! Naught's an obstacle, naught's an angle to the iron way!”
His is a quest, a quest for truth and freedom, a monomaniacal quest and Moby Dick represents the delusion standing in the way of his goal.

“All that most maddens and torments; all that stirs up the lees of things; all truth with malice in it; all that cracks the sinews and cakes the brain; all the subtle demonisms of life and thought; all evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby Dick. He piled upon the whale's white hump the sum of all the general rage and hate felt by his whole race from Adam down; and then, as if his chest had been a mortar, he burst his hot heart's shell upon it”.

Moby Dick, the whale, is a veil of delusion to be pierced – the white backdrop upon which everything that is not truth is projected - the mask behind which freedom is to be found. Ahab is locked in a prison of his own making and strives to break out, in fact, that’s his whole reason for being.

“If man will strike, strike through the mask! How can the prisoner reach outside except by thrusting through the wall?”
This is the quest for ultimate truth and for finding this truth regardless of the cost and regardless of the outcome. This truth is spiritual enlightenment, the return to oneness, the transcendence of consciousness from the illusory confines of the ego and Ahab is powerless in its wake.
“But if the great sun move not of himself; but is as an errand-boy in heaven; nor one single star can revolve, but by some invisible power; how then can this one small heart beat; this one small brain think thoughts; unless God does that beating, does that thinking, does that living, and not I.”

Ahab is on a one directional voyage to finally pierce through the veil of illusion to get to the other side. He risks all for this. He incinerates all attachments and beliefs to return to absolute wholeness. In the end, he completely eviscerates his ego, annihilates himself and is Captain Ahab no more.

“The drama's done. Why then here does any one step forth? --Because one did survive the wreck.”

Moby Dick is tale of the spiritual journey of a man who ultimately gets the job done. Does Ahab die? Does it say anywhere in the book that he dies? Did he fail? No, Ahab does not die and he does not fail. He succeeds absolutely and the fact that he lives is proof of his accomplishment – but… he is no longer Ahab the man. He is… he has transcended the veil of illusions and is “in this world but not of it”. He has gone beyond and is one with the all and everything. He is a god unto himself. He is omnipotent, omniscient and omnipresent. He is…

“Call me Ishmael.”

Moby Dick is a wonderful book and I recommend it to everyone, because it has something for everyone. Don’t worry that you don’t understand all of the references and allusions, how could you, just read it and trust that your soul will understand all that it needs to and is ready to at the time of your reading it. Let it serve not as a toss away book , one to be read once and marked off your list, but as a book to return to as many times in your life as need be. Let it serve for you as a distant shore toward which you head throughout your life, a shore that represents peace and freedom, truth and beauty, shore that can be reached once the ocean of the universe has been completely traversed and the white whale of delusion has been seen through and destroyed. At that time, you can proudly say that the book Moby Dick has been understood in its entirety – but then, there won’t be anyone, be any ego, left to claim the victory because…

“It’s not about fictional Ahab and Ishmael but about the real man who make the real journey… Seen correctly, it’s the American Mahabharata.” ~ Jed McKenna

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Sabtu, 10 Mei 2014

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Two Centuries of Black American Art: [Exhibition], Los Angeles County Museum of Art, the High Museum of Art, Atlanta, Museum of Fine Arts,

  • Sales Rank: #2895013 in Books
  • Published on: 1976-10
  • Number of items: 1
  • Binding: Paperback
  • 221 pages

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## Get Free Ebook Chinese Village Cookbook: A Practical Guide to Cantonese Country Cooking, by Rhoda Yee

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Chinese Village Cookbook: A Practical Guide to Cantonese Country Cooking, by Rhoda Yee

Rhoda Fong Yee was born in Canton in Southern China. Her childhood was spent in Loan Gon Doan, her father's village. It was her experience during this part of her childhood that inspired Rhoda to write the "Chinese Village Cookbook" about everyday Cantonese village cuisine. This book translates Chinese cooking methods into American kitchen idioms without violating authenticity. It charts stir-frying, provides numerous recipes, photographically lists ingredients (so you know what to look for when you shop), and generally sums up a delicious subject matter with vitality, clarity, and wit. It also talks about day-to-day life in a Chinese village.

  • Sales Rank: #258191 in Books
  • Published on: 1975-02-01
  • Original language: English
  • Number of items: 1
  • Binding: Paperback
  • 92 pages

Most helpful customer reviews

38 of 38 people found the following review helpful.
Every recipe works
By A Customer
I wasn't expecting much when I borrowed this book from the library. But as soon as I tried one dish, Beef Tomato Curry, I knew I hit a jackpot. Just about every recipe works..and so delicious. The ingredients listed aren't hard to find..especially since I live in the San Francisco area. I ended up going to the copy place and copying the whole cookbook since this book is no longer in print. I did call up the publisher but they have no plans of reprinting. This is the book where I learned proper Chinese cooking techniques. Rhoda Yee explained everything step-by-step. Not only that, but the stories she told of her life and life in the village is so real and heartwarming. These are bonafide authentic Chinese cuisine. To this day, everybody asks me how I make my stir-fried broccoli. They said it's the best broccoli they ever tasted. My husband is so proud of my cooking and embarrassingly tell everyone about it. This little book ranks with my copies of Hazan's Essential of Italian Cooking, Kennedy's Essentials of Mexican cuisine, McDermott's Real Thai and Roden's New Book of middle Eastern Book. If a fire breaks out in my house, God forbid, these books are the ones I'm going to grab first.

20 of 20 people found the following review helpful.
Great Cookbook
By southpaw@netport.com
I originally purchased this cookbook in 1976.
We lived in an area devoid of Chinese Restaurants
and several friends were craving Chinese food.
The receipes were easy to follow and the food
turned out great. Several friends purchased the
book as the result of our dinners. The food took
quite a bit of preparation time but the outcome
was well worth it. I've lost my original copy
and wish it was available now.

14 of 14 people found the following review helpful.
The best Chinese cookbook you'll find, if you can find it.
By A Customer
This hard to find book is the best Chinese cook book you will ever find.

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~~ Ebook Modern Painters, by John Ruskin

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Modern Painters, by John Ruskin

Modern Painters, by John Ruskin



Modern Painters, by John Ruskin

Ebook Modern Painters, by John Ruskin

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Modern Painters, by John Ruskin

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

  • Sales Rank: #2436073 in Books
  • Published on: 1988-05-12
  • Released on: 1988-05-12
  • Format: Abridged
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 656 pages

From Library Journal
Ruskin, the Victorian-era British writer whose work had a profound influence on artists, art historians, and writers both during his life and after, wrote Modern Painters in five separate volumes published between 1843 and 1860. It is, among other things, an evaluation of individual painters, a religious statement, a discourse on nature, and a splendid example of Victorian prose style. The original text has been abridged into this one-volume edition, which preserves the essential points of Ruskin's argument and provides the modern reader with a satisfying sample of Ruskin's justly acclaimed prose. For general collections and research and academic collections in art, history, and literature. Kathryn W. Finkelstein, M.Ln., Cincinnati
Copyright 1988 Reed Business Information, Inc.

Most helpful customer reviews

6 of 6 people found the following review helpful.
Abridged Poorly Printed Yet Still Worthwhile
By Martin Asiner
John Ruskin considers the relationship that art has with those who appreciate it. He mentions in the two previous volumes of Modern Painters that there were two sources of pleasure for art lovers. The first source lay in the observer's enjoyment in viewing the simple resemblance of the art object to its original model in nature. The second source was the actual pleasure taken in the contemplation of the painted object. There was a third source which functioned as a link between the first two--the relation of the meaning of the painted object to the object itself. Ruskin wishes to use these various sources of pleasure to isolate those traits that mark some artists as great and others as mediocre.

Ruskin admits that there are various unavoidable difficulties in setting up a systematic approach whose purpose it would be to accomplish his goal; instead, he suggests that his careful arrangement of chapters in Modern Painters will make the answer readily apparent.

He is quick to point out that the greatest art includes the greatest ideas, but he is still left with the central question of some basic definitions: "What is it that makes one truth greater than another, one thought greater than another?" The answer, he states, may rest in the historical division between the Great Art School of Theory and the Low Art School of Theory. The former connotes "a certain noble manner of painting, which it was desirable that all students of Art should be early led to reverence and adopt." By contrast, the latter is synonymous with "vulgar, low, or realist," which in terms of painting and conceiving "was equally necessary that all students should be taught to avoid." One obvious flaw to Ruskin was the inherent limits of such a twin level categorization. Those who call themselves "high" are often ridiculed for their pretentiousness. Then there are artists who claim not to be in either camp as their stated goals relate to entirely unrelated affairs like strength, health, and humbleness.

Before Ruskin can even begin to list the qualities that one may deem requisite for inclusion as High Art, he first asks whether it truly exists at all or is no more than an agreed on fiction that makes its practitioners feel high and mighty about themselves. Rather than devising his own rationale for the existence of the term, he turns to the noted writer/critic of the Augustan Age, Sir Joshua Reynolds for help. Reynolds had written various essays for Johnson's The Idler which dealt with this very topic. In The Idler # 79, Reynolds compares the Dutch with the Italian painters. The former he classifies as the "low" while the latter as the "high." The Dutch are low due to their excelling as mechanical imitators "in which the slowest intellect is sure to succeed best." The Italians are high because their art is a visual representation of their imaginative poetry and it is this which gives them the claim to superiority.

Though Ruskin accepts Reynolds' claim about the Italians, he nevertheless feels constrained to point out what he sees as flaws in his methodology. Reynolds interprets a "slow" intellect as a pejorative; Ruskin grants that "slow" might just as easily and laudably be seen as worthwhile restraint. Further, Reynolds notes with obvious approval how exactly the Dutch copy an object from nature onto a canvas. This method of faithfully rendering such an object is termed typical of the "historical" school of art. The Italians, with their poetic renderings, are linked with the "poetical" school." Paradoxically, the artists of the poetical school use accurate reproduction of object from nature to canvas at least as often as do those of the historical school. Thus, Reynolds' conclusion falls flat, leaving Ruskin back to square one.

Ruskin tries a different tack to clarify the relation that art has to the observer of that art. He now asks rhetorically: "What is poetry?" His conclusion is that poetry is "the suggestion, by the imagination, of noble grounds for the noble emotions." He adds that these emotions are the "four principal sacred passions: Love, Veneration, Admiration, and Joy." These sacred passions have their contraries: "Hatred, Scorn, Horror, and Grief." Poetry, then, is the mixing of these into their various combinations, which emerge as "poetical feeling." Yet, these feelings by themselves do not constitute poetry. What is needed to complete the equation is that they must be felt on noble grounds, which he helpfully adds as being "true" or "great." The firing of gunpowder, for example, would not be "great" but the budding of a flower would be so. Once the reader reads a poem that has the needed emotions, has a true ground, then that reader needs to interact with that poem via the active use of his imagination to transform the verbal prompts on the page into indelible images in his head. When that reader notes the accumulation of delicate details, then he will perceive an affecting result, which most critics call the "power" of poetry to move men.

Despite Ruskin's lengthy digression on poetry, he adds that "Painting is properly to be opposed to speaking or writing but not to poetry. Both painting and speaking are methods of expression. Poetry is the employment of either for the noblest purposes." This frank admission does not necessarily return Ruskin to square one. He does see a link between the sister arts: "We gather three important indications of the supposed nature of the Great Style. That it is the work of men in a state of enthusiasm. That it is like the writing of Homer; and that it has as little as possible of `common nature' in it."

The first requirement is fairly obvious. Ruskin requires that the artist "feel strongly and nobly." The concept of "nobly" disqualifies such base passions as envy, jealousy, or rank ambition. The second is less obvious due to the vagueness of "common nature." Though Homer often writes of "common" things in the Iliad and the Odyssey--shields, cups, sandals and the like--there is little that is common in the passions of the verse. So as Homer used the common and small minutia of a warrior's daily routine to point that warrior toward greater things, so must the painter with his visually reproduced common and small items.

In Modern Painters, Ruskin also considers the role that the mind plays regarding the relation between the mind viewing external reality as either subjective or objective.

John Ruskin begins by distinguishing between "objective" and "subjective." The former he defines as the "qualities of things which they always have, irrespective of any other nature, as roundness or squareness." The latter refers to "the qualities of things which thus depend upon our perception of them, and upon our human nature as affected by them." From this he considers which of the two terms has the greater impact on our lives. He facetiously mentions philosophers who may deny the latent power to destroy that inheres within gunpowder even as that gunpowder proves otherwise. Ruskin does not like either term since both have meanings which vary from person to person and context to context. For "subjective," one might easily use "It seems to me." And for objective, one can say "It is so."

From what seems so to what is so, Ruskin suggests that one's state of mind may account for the perception of either. Those who are under the stress of exaggerated emotion may easily confuse the two. Such emotion need not be limited to the type involved in life-threatening situations. The simple act of reading a poem may induce the reader to read those lines in a deliberately and artfully heightened emotion. The reader knows that the lines are literally untrue but cares not due to the pleasure they bring. The "fallacy" lies in one's knowing the poem's unreal base but wishes to continue reading of his own accord even though that accord is not totally his own. Ruskin quotes two lines from the poet Kingsley:
"They rowed her across the rolling foam
The cruel, crawling foam."
Ruskin writes that "The foam is not cruel, neither does it crawl." The poetic power of these lines lie in their ability to inject sufficient grief in the mind of the reader to suspend, however temporarily, that reader's ability to recognize the impossibility involved. Ruskin terms this ability to produce a heightened and false awareness as the pathetic fallacy.

Ruskin admits that all poets use this fallacy to varying extents, though only those of the first rank can make the resultant passion flow naturally and smoothly from a subjective reading to an objective acceptance. He provides an example of the improper use of the pathetic fallacy from Coleridge:
"The one red leaf, the last of its clan,
That dances as often as dance it can."
Ruskin accuses Coleridge of fancying that the poem has "a life to it, and will, which there are not; confuses its powerlessness with choice, its fading death with merriment, and the wind that shakes it with music."

For execrable lines like these, the problem is that the fallacy is not pathetic at all. The poet has unwisely chosen to mix mutually exclusive emotions that jar the reader with their widely varying polarities rather than seduce the reader with their evolving harmonies. If the erring poet writes plodding lines like this, then if the reader accepts their plodding as a smooth segue from objectivity to subjectivity, then this reader is far more at fault than the poet. Ruskin portrays such readers as having "a mind and body in some sort too weak to deal fully with what is before them or upon them." Contrariwise, for those readers who recognize the clangor of clashing emotions when they see them, Ruskin has only the highest praise. Based on those who accept or reject the wrongful use of the pathetic fallacy, Ruskin sees three ranks: The first is "the man who perceives rightly because he does not feel and to whom the primrose is very accurately the primrose because he does not love it." The second is "the man who perceives wrongly because he feels and to whom the primrose is anything else than a primrose." The third is "the man who perceives rightly in spite of his feelings and to whom the primrose is forever nothing else than itself." This man is untouched by the associations that may crowd around the lines. Rather inexplicably, Ruskin adds a fourth category, "the men who, strong as human creatures can be, are yet submitted to influences stronger than they, and see in a sort untruly because what they see is inconceivably above them."

The difference between poets of the first rank and those of the second rank is that the former can pick and choose their temporary movement from objectivity to subjectivity while the latter make this journey with a too frequent wild abandon. First rank poets have a steady and sure command in their use of the pathetic fallacy. They can evoke the acuteness of sincere feeling engendered while simultaneously being able to command the tropes to do so. Paradoxically, second rank poets misuse their ability to write well to deceive the reader into accepting a simulacrum of genuine feeling. For such poets, Ruskin has only the deepest of scorn.

9 of 10 people found the following review helpful.
Disappointing edition
By G. Perez-Barreiro
This is a classic text, but unfortunately this edition is a poorly-made facsimile of an unsourced original. The result is that the type is so small and badly printed that it is virtually illegible. It has none of the charm of a real facsimile, but seems more like a bad xerox copy.

8 of 10 people found the following review helpful.
Keen insights
By R. Vogel
This book is the first in a series on painters by Ruskin, modern at the time of writing, focusing chiefly on J.M.W.Turner, whom Ruskin, well, adores. Ruskin has many keen insights into art, painting, and what is and isn't art. He tells it like it is, and makes some important points. The book, or series of books, was apparently well read in previous times, and apparently not read at all in our epoch of Modern Art. What irony. Anyway, the book is a little difficult to read, and references painters who may have been well known to his readers in 19th century London, but are today not well known, except of course for Turner. Ruskin admits that Turners works lose a lot of their sparkle quickly, due to the intransigent nature of his materials, and suggests that Turner would have been better off doing a few oils a year, instead of dozens or hundreds or watercolors. May I also suggest Ruskin's excellent book called the Elements of Drawing? Worth a read, and easier to digest. Four stars because it is Ruskin, and has many elements of truth, not 5 because its a tough read, and maybe not too easy to assimilate.

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