Amy Irving Books

Excellent recording quality, an interesting listen.

The Road to Mecca is a crucible for Miss Helen, the seemingly strange, eccentric widower holed up on her bizarre property in rural New Bethesda, South Africa. She is clearly different, as evidenced by her many sculptures and odd creations surrounding her house, which unto itself holds a myriad of eccentric charms.
She comes to odds when Elsa, a young woman committed to Helen surprisingly appears at her door and discovers Helen on the verge of giving up on life. Elsa's staunch commitment to Helen's unique beauty conflicts with Dominee Marius', a local preacher who stands on the side of the patronizing, yet caring Christian community.
The play is dynamic in it's a)exposure of isolated aging, b)Elsa's youthful/urban attitude vs. Helen's elderly/rural one, c)soul crushing Christian convalescence vs. a spirited iconoclastic artistic home, d)characteristics of artistic inspiration, e)creativity's essential place in daily life, f) the long journey of self discovery, among others.
A powerful conclusion as well demonstrates Fugard's unbound compassion and empathy for spirited life under South Africa's skies.

Home sweet home: a place of love, refuge, and memories. For Helen Martin's it was also her life, her work and her Mecca. In the play "The Road to Mecca" Athol Fugard explores the question: Should we leave our Mecca, our spiritual fountainhead, when we can no longer take care of ourselves? The conflict between the three strong willed characters Helen, Elsa and Pastor Marius explores the question in the light of different religions, cultures, genders, ages and environments. Fugard said the play was suggested by the life and work of Helen Martins of New Bathesda, South Africa. The real Helen from age 50 to 75 transformed her house into a personal universe that enters the realm of archetype, symbol and metaphor. The house, furniture, windows and walls became a kaleidoscope of colored glass. In her garden she constructed over 200 figures: owls, Biblical figures, Buddhas, and ancient gods and goddesses. One South African scholar described her work as one of the most stirring experiences of his life and another called her one of South Africa's artistic geniuses. Fugard in his play shows Helen's creations as a glorious, makeshift oasis of creativity and life force and Elsa, his character, sees Helen as an example of freedom and transcendence. One powerful scene is when Helen, seated in her Mecca with dozens of candles playing off glittered walls and mirrors, tells Pastor Marius "I can't reduce my world to a few ornaments in a small room in an old-age home." The effect is stunning. The play is thought provoking and gives few answers. Helen is alive when it ends. Sadly, in 1975, the real Helen committed suicide. She drank caustic soda and died after three days I solitary agony. Her will included complex instructions listing in detail the ritual disposal of each of her sculptures. But today her home, known as "The Owl House" has been proclaimed a national monument and is a mecca for artists and tourists.

A reclusive elderly widow (based on the late Helen Martins, whose South African home is now a museum) has created her own "Mecca" by decorating the inside of her home with candles and mirrors and by surrounding the house with an assortment of personally-sculpted mermaids, wisemen, peacocks and pyramids. Although her neighbors view Miss Helen as a crazy old woman, she has made friends with Elsa Barlow, a young teacher who has returned for a surprise visit. On that same day, clergyman Marius Byleveld has come to help Helen apply to a nursing home. Marius is fond of Helen and fears for her safety. Elsa is in opposition to a move as it would take Helen away from her art.

I was originally concerned that a drama focusing on an old woman's artwork would not translate well to a listening experience. How could I care as deeply about Miss Helen if I was not able to see the oddball sculptures she had created? Surely the vision of "a city of light and color more splendid than anything I had ever imagined" could not be adequately transmitted through the speakers of my tape player. I need not have worried. One of my favorite parts of the entirely wonderful listen remains the moment when Helen lights her room with candles -- music comes up and there is absolutely no problem seeing a room aglow in a growing light of imagination and art. Adding to the experience is a superb cast performing a well-written examination of what it means to be an artist, what it means to be older, and what it means to be shunned. Fabulous!

This is one of those books to keep in the car and, when you have to wait in a doctor's office, dine alone, or wait in line for something, this book will entertain you over and over again with its fascinating (and often amusing) facts. Yes, it is a book you can pick up and put down, but you'll always enjoy it when you open it and read. As an example that made me laugh out loud... one of the ten songs with outrageous titles that were actually published is one titled, "It's Hard To Say I Love You, When You're Sitting On My Face!" I'd have bought it for that one alone.

Before people had the Internet as a source of trivia, this book was the next best thing. The lists, a masterpiece of compilation, are still a delight: they include a summary of Creasy's Most Decisive Battles, the world's greatest libel suits, the biggest recipients of cold war military aid, and famous virgins. The sequel was somewhat racier than the original but just as good. This book - if you can get hold of it - still has the power to keep you happy during down-time in your summer hammock or your winter chalet.

This book is amazingly interesting, it shows the unbelievable origin of ordinary events and names through history. It is great to share with friends and for readings at parties. It's also very easy to read since you can pick any piece of the book without loosing meaning or context. I saw this book first when I was in high school, some 13 years ago. I liked it so much that I bought it for my dad then, though we lost it on a moving about 8 years ago. I've tried to find the Spanish edition ever since with no success, now I'm eager to find it whether in Spanish or English. It's a great gift for any kind of reader!

As a descendent of Chang Bunker, I found "the Two" a fascinating trip into my families past. The book chronicles their lives and the lives of their wives and children in a very thoughtful and honest way. A good read!

As a great great grandson of Eng I have heard all the stories that were passed down thru the years. This book captures the essence of the twins and the time in which they lived accurately and without exageration.

I first read this book approximately twenty-five years ago, when it was first published. I remember that I had very much enjoyed the glimpse that it offered into the fascinating lives of nineteenth century conjoined twins, Chang and Eng, the original "Siamese Twins". Having recently read the novel, "Chang and Eng", by Darin Strauss, my interest in these twins was piqued, and I decided to re-read this book.

Time has not diminished the capacity of this biography to captivate and hold the interest of the reader. Truth is, indeed, stranger than fiction. The authors provide the reader with a well-researched look at the interesting and unusual lives led by conjoined twins, Chang and Eng. Born in Siam, which is now known as Thailand, on a houseboat on the Mekong River in 1811, Chang and Eng were conjoined at the chest by a band of fleshy cartilage. It was this small band of flesh that would bind them in life, making the two as one.

Being forced to be together by their conjoinment, even in those most intimate of moments, did not prevent Chang and Eng from living full lives. Leaving Siam as eighteen year old adolescents, Chang and Eng were to travel to America under the care and guidance of a Captain Coffin, who saw the commercial possibilities inherent in Chang and Eng's conjoinment and fully intended to exploit them. In America, people clamored to view Chang and Eng, as they were considered curiosities. They would also travel abroad to Europe, where they were to cause a sensation. Chang and Eng were the international celebrities of their day.

When they reached majority, Chang and Eng disassociated themselves from Captain Coffin and his business partners and became their own men. They took charge of their own destinies and later became American citizens, adopted the surname of Bunker, married two sisters, Adelaide and Sarah Yates, collectively had twenty-one children, and settled down in North Carolina, where they became slave-owning, gentleman farmers. Still, they did not wholly give up touring and exhibiting themselves for profit. In later, leaner years, they would do so with some of their children in tow as part of the exhibit.

As they grew older, their togetherness seemed to cast a pall over their lives, as Chang was a more phlegmatic sort of personality, while Eng was much more contemplative in nature. Moreover, Chang took to heavy drinking, and though Eng abhorred it, there was little he could do about it. He was forced, therefore, to suffer the consequential effects and indignities of Chang's drinking. These personal differences would cause them both to mull over the possibility of separation. There was, however, little medical support for such, except in the event of life or death, as surgical procedures were still quite primitive in those days.

Chang and Eng would die in their early sixties. Chang died first, while Eng, who was otherwise healthy, would die within hours, possibly from fright and shock at being tethered to the lifeless body of his brother. As they were together in life, so were they together in death. They left behind two grieving widows, a multitude of children and grandchildren, and an unending, world-wide interest in their lives. Never before and never since, has a set of conjoined twins so captured the imagination of the general public more than Chang and Eng, the original Siamese twins.

This is a very well-written, well-researched biographical treatment of the lives of Chang and Eng. Their lives were, indeed, fascinating, and those who enjoy biographies will find much to like about this book. It is also an intriguing look at nineteenth century life in the context of the lives of Chang and Eng. The book also has sixteen pages of wonderful black and white photographs and illustrations, which will add to the reader's enjoyment of this book.

I am in the play presently and I play the main part Catherine, a girl of many personalities. The painfully shy insecure one around her father, the lover with her doting admirer, Morris, and the friend with her dear, sweet and hopelessly romantic Aunt Penniman. The various emotions and hidden meanings create a fascinating play with little bit of everything skillfully arranged in a captivating story.

James' "Washington Square" provides the basis for this adaptation of his novella. The story of Catherine Sloper and her romance with Morris Townsend provides not only good drama and well-crafted theatricality, but also paints a picture of a romantic love that is virtually unattainable in reality. Such notable actresses as Wendy Hiller, Beatrice Straight, Jane Alexander, Olivia de Havilland, and Cherry Jones have all played the role of Catherine. This is a marvelous example of the type of well-made made play that graced the Broadway stage fifty years ago.

I loved this book! I just picked it off a shelf at my dad's to read and I loved the book!!!Although most of the info is completely and utterly usesless, most is very funny!!! VERY Highly recommended

or should I say 'complements'..? Compiles interesting, some little known, facts about: people, history, America, the law, war, language, inventions, transportation, sports, money and food..
Here are little known facts, curiosities, and amazing-but-true stories from the best of their weekly Significa column in Parade Magazine - over 400 entries in all. Significa: unusual or little known facts which have too much significance to qualify as mere trivia.

I first read this book approximately twenty-five years ago, when it was first published. I remember that I had very much enjoyed the glimpse that it offered into the fascinating lives of nineteenth century conjoined twins, Chang and Eng, the original "Siamese Twins". Having recently read the novel, "Chang and Eng", by Darin Strauss, my interest in these twins was piqued, and I decided to re-read this book.

Time has not diminished the capacity of this biography to captivate and hold the interest of the reader. Truth is, indeed, stranger than fiction. The authors provide the reader with a well-researched look at the interesting and unusual lives led by conjoined twins, Chang and Eng. Born in Siam, which is now known as Thailand, on a houseboat on the Mekong River in 1811, Chang and Eng were conjoined at the chest by a band of fleshy cartilage. It was this small band of flesh that would bind them in life, making the two as one.

Being forced to be together by their conjoinment, even in those most intimate of moments, did not prevent Chang and Eng from living full lives. Leaving Siam as eighteen year old adolescents, Chang and Eng were to travel to America under the care and guidance of a Captain Coffin, who saw the commercial possibilities inherent in Chang and Eng's conjoinment and fully intended to exploit them. In America, people clamored to view Chang and Eng, as they were considered curiosities. They would also travel abroad to Europe, where they were to cause a sensation. Chang and Eng were the international celebrities of their day.

When they reached majority, Chang and Eng disassociated themselves from Captain Coffin and his business partners and became their own men. They took charge of their own destinies and later became American citizens, adopted the surname of Bunker, married two sisters, Adelaide and Sarah Yates, collectively had twenty-one children, and settled down in North Carolina, where they became slave-owning, gentleman farmers. Still, they did not wholly give up touring and exhibiting themselves for profit. In later, leaner years, they would do so with some of their children in tow as part of the exhibit.

As they grew older, their togetherness seemed to cast a pall over their lives, as Chang was a more phlegmatic sort of personality, while Eng was much more contemplative in nature. Moreover, Chang took to heavy drinking, and though Eng abhorred it, there was little he could do about it. He was forced, therefore, to suffer the consequential effects and indignities of Chang's drinking. These personal differences would cause them both to mull over the possibility of separation. There was, however, little medical support for such, except in the event of life or death, as surgical procedures were still quite primitive in those days.

Chang and Eng would die in their early sixties. Chang died first, while Eng, who was otherwise healthy, would die within hours, possibly from fright and shock at being tethered to the lifeless body of his brother. As they were together in life, so were they together in death. They left behind two grieving widows, a multitude of children and grandchildren, and an unending, world-wide interest in their lives. Never before and never since, has a set of conjoined twins so captured the imagination of the general public more than Chang and Eng, the original Siamese twins.

This is a very well-written, well-researched biographical treatment of the lives of Chang and Eng. Their lives were, indeed, fascinating, and those who enjoy biographies will find much to like about this book. It is also an intriguing look at nineteenth century life in the context of the lives of Chang and Eng. The book also has sixteen pages of wonderful black and white photographs and illustrations, which will add to the reader's enjoyment of this book.

This is a serious effort by a skilled and hard This is a serious effort by a skilled and hard working writer. It will be immediately appealing to many readers, especially young men turning around 17 or 18 who have a smattering of education. It is definitely a page-turner, so it is only when one has time to reflect on it one realizes that there are some serious problems with this as a work and as a philosophy.

First, many of the most wonderful elements are clearly "found elements." Nothing wrong with this--most novelists steal shamelessly from the lives of everyone around them. And there is a real skill in storing away something like "the under toad" which presumably one of his younger relatives came up with and putting it in your book. But we then want to ask what is the key focus that Irving adds?

Two things are obviously gratuitous sex and violence. You can imagine that there is a philosophy or a point to this, but I think that falls apart when you see that this dude has some serious obsession with this stuff and a real hostility to women that comes out not in the wife's infidelity leading to the maiming and death of his children while at the same time satisfying Irving's desire for revenge over the cuckolding rival, but more in the bizarre world of psychopathic sex-negative feminists that he creates to battle and, masochistically and self-righteously, to be defeated by. That's pretty sophomoric--to imagine a world in which good guys get blown away by nasty crazy women.

And really, negative judgments are the heart of the novel. The key turning point for Garp (Irving) as a writer is the discovery of a writer he can without fear look down on. Trashing the mediocre is the way to greatness.

Now I'm not a writer, but I am a reviewer. And I have to say, any reviewer should know not to try to boost your own ego by tearing something down. Do you remember how God said to Job who was complaining and wishing he were dead, "Art thou so greatly aggrieved?" What's the big problem, buddy? Well, I wanted to say the same thing to Irving: were you so greatly aggrieved by Franz Grillparzer that you needed to try to make him an object of ridicule for all your readers? Did you also find it necessary to tease awkward children to be a hero on the playground? Or invent evil women to feel like a man?

The appeal of a corrupt philosophy is that it gives us the feeling of learning something while preventing us from actually making moral progress. I wish it weren't the case for this book -- it doesn't make me feel better about myself to say that this is a seriously flawed book; I recognize my own shortcomings! But that's the way it is. [51]

"The World According to Garp" is John Irving's 4th novel and is considered a literary classic. And, truth be told, it's a great novel. But there were several aspects of it that keep it from getting that 5-star grade that it may well be worth getting. I've given other books that weren't half as good as this novel 5 stars...But "The World According to Garp" is a great novel, but it's not a flawless novel. The back cover of the copy I had said "like all great novels, [this] defies synopsis." That's about right; How does one explain "The World According to Garp" in simple terms without discussing the deeper meaning beneath each scene. Everyone knows the general story of this novel; Jenny Fields, a nurse, gives birth to T.S. Garp in a very unorthodox way. As Garp grows up, he decides he wants to be a writer...His mother Jenny than pens her autobiography, which rockets her to superstardom and she becomes a sort of leader in the feminist movement. Meanwhile, Garp struggles even to complete his first novel. The book covers so much ground in its 609 pages its incredible...Garp and Jenny move to Vienna, move back, Garp marries, Garp publishes more novels, Garp has children, etc. The only other novel I've read by Irving is "The Cider House Rules" and that was many years ago. Irving has a very distinct voice in his writing; I could easily recognize this as the same writer. The subjects he chooses to write about are odd, to say the least. He covers some subjects in this novel that go above and beyond the word `taboo.' People have pointed out that he covers some very vulgar subjects but does it in a way that's appropriate context. I couldn't help but notice throughout the novel that some of it just seemed gratuitous. Like the fate of Helen's (Garp's wife) lover in the car. That's not what bothered me however; First of all, the novel is too long. I don't mind long novels or anything, but, as I said, Irving fit SO much into this novel that it wouldn't have killed him to shave off just a little bit. The other thing was we get to read the stories that Garp writes and one went on for about 40 pages. I'm not saying these stories weren't entertaining or irrelevant to the novel we were reading in the first place, but the second I started reading this book I got hooked on the characters...I wanted to know what was going on in Garp's life and his wife and children's, not in his writing. Some of the writing is quite interesting though. "The World According to Garp" is a great novel, that I do recommend highly, but not all great novels are flawless...And the last 30 pages of this book are amazing, especially the famous final line.

GRADE: B+

The thing about this novel that really struck me was that it seemed to have so much substance. I don't know how else to describe what I mean. It was funny and serious and trivial and kind and mean and messed up and perfect and weird all rolled into one - kind of like real life. And I loved the stories within the story. This is the first book by John Irving that I've read, but you can bet I'll be reading more.

The accomplished fantasist Gene Wolfe has been quoted as saying that his definition of good literature is "that which can be read with pleasure by an educated reader, and re-read with increased pleasure." By that standard, The World According to Garp, at least in my mind, is good literature, one of the best books of the last half century, capturing post war America through the seventies in all its glory and absurdity.

Garp is one of those magical books that I reread every three or four years or so, a novel that affects me differently each and every time I have read it (eight times, as of this writing). Reading the paperback at age 19 in 1979 (remember those great multiple covers?) I saw it as a classic coming of age story, identifying strongly with the young Garp. Nearing age 48, I've come to see it as a cautionary tale about how important it is to cling to those you love, because life can get scary pretty quickly; now, I identify more with Jenny Fields and the older Garp in their roles as terrified parents. No matter how many times I read it, however, I find new things to marvel at, and nuances to appreciate.

I'd like to take the opportunity on this, the thirtieth anniversary of the publication of this worthy, award winning bestseller, to celebrate the novel's complexities and charm, by mentioning some of its themes, settings, and, more importantly, its huge supporting cast. The three main characters, Jenny Fields, Helen Holm, and Garp himself have been rightly celebrated elsewhere. Vivid and memorable and eccentric and oh so human, they are fascinating, their triumphs and travails and quirks making for riveting reading. But, it's the problems they face, and the people they interact with, through which Irving reveals their character, making for a book that's by turns whimsical, poignant, sad, and laugh out loud funny, a book full of sorrow and lunacy, but also grace and hope.

For those of you who've read the book, I merely have to mention subject matter like lust, writing, bears, wrestling, fame, intolerance, and feminism to evoke the book for you. Let me add The Steering Academy, Vienna, and Dog's Head Harbor, just to widen the smile doubtlessly growing on your face. What about Garp's stories and novels, such as "The Pension Grillparzer," Procrastination, Second Wind of the Cuckold, and The World According to Bensenhaver? Now, to top everything off, let me list, in no particular order, a portion of the immense and varied supporting cast to send you deep into a fond reverie: Technical Sergeant Garp, Dean Bodger, Fat Stew Percy, Midge Steering Percy, Cushie Percy, Pooh Percy, Bonkers the dog, Ernie Holm, Ellen James, the Ellen Jamesians, Roberta Muldoon, Mrs. Ralph, Walt, Duncan, John Wolf, Jillsy Sloper, Harrison and Alice Fletcher, Charlotte the whore, Michael Milton, Mrs. Truckenmiller, and last, but certainly not least, the Under Toad.

To those who haven't yet experienced this dark Dickensian wonder, I hope these words and the lists above intrigue you, and lead you to pick up a copy of this ultimately uplifting and, dare I say, inspirational novel. If, as according to the book's final sentence, we are, in the end, "all terminal cases," thank goodness that there are books like this to ease our burdens for a moment or two as we march on towards our inevitable fates.

It's hard to say how I felt about this book, mostly because I liked the beginning and loved the end, but hated the middle. From the start it's clear that the story is only loosely tethered to reality; in some ways that's what makes it enjoyable, but in other ways it can be hard to swallow at times. On the negative side of the ledger, the entire middle of the book is built around a series of tangential and unconvincing sexual encounters of one kind or another, which I thought detracted from the flow and credibility of the story (some of it was essential, but it would have been easy to cut 100 pages without losing anything). On the other hand, I loved the Pension Grillparzer, the Under Toad, and the account of the Garp family's recovery with Jenny Fields at Dog's Head Harbor. I also happen to share Garp's fear of seeing something terrible happen to loved ones in a world that seems "unnecessarily dangerous," so that element of the story resonated deeply with me. And it was fun to spend time with this cast of characters, even if they weren't always entirely credible. All told, I didn't enjoy this one as much as the first Irving book I read (A Prayer for Owen Meany), but it was still a worthwhile reading experience thanks to a somewhat haunting ending.

"The Velveteen Rabbit" is a parable, a story about that refining fire: redemptive love. The Velveteen Rabbit gave himself in love to the little boy. In return, the little boy loved the rabbit completely. This love caused the rabbit to begin to look around and question what was real. In questioning what was real, the rabbit ultimately believes himself real and wishes himself real. Once real, he achieves a new life and he revisits the little boy in his new form. Despite this new form, a quiet act of recognition passes between the little boy and the rabbit. By the conclusion of the story, the reader is led to believe that the rabbit will continue to watch over the little boy protectively and love him as the little boy continues to grow.

First published in 1922, this was Margery Williams (Bianco)'s first children's book. Spanning a career of nearly 40 years, "The Velveteen Rabbit" was the most successful of her approximately 25 works. The dedication, "To Francesco Bianco from The Velveteen Rabbit" is addressed to Margery's husband. Margery collaborated with artist and illustrator, William Nicholson (Sir William Nicholson (1872-1949)), who is better known as a portrait painter in his later career, but is also known for the woodcuts and poster work he produced in partnership with his brother-in-law, James Pryde.

The illustrations were executed in pen and ink with watercolor wash on toned paper and, for the most part, appear as full page color illustrations - or - sometimes a 2 page spread. The use of strong light with contrasting shadow creates a moody atmosphere. The illustrations of the rabbit, standing very tall and inert, with his paws straight out in front of him, are very touching, and make you feel for the rabbit just on site. My favorite part of the book is when the rabbit sheds a real tear and at the instant it touches the ground, a mysterious flower begins to grow. This was unexpected for me. That, too, is conveyed so well by way of illustration. A very lovely story.

I read this book years ago at the home of a child for whom I was babysitting. Recently I remembered it and read it to my 9 year old granddaughter and my 7 year old grandson, and we all enjoyed it very much. Its message spans the generations.

I was very happy with the book. Although it was small it was a wonderful addition. I ordered for friends as well.

This copy was everything I hoped for. The illustrations are glossy and from the original edition I had as a child. The text is a little larger than normal, making it kid-friendly. The pages are tinted a light brown, which gives the book a nice "classic" feeling. I highly recommend it!

I give this book two stars for its excellent diction and a few amusing bits of description, but I find it painfully sentimental, like Shel Silverstein's "The Giving Tree." I have never understood why this story with its abstract "The Boy" protagonist is kept available while the same author's delightful masterpiece, "Poor Cecco," is long out of print and valued by book dealers mainly for its wonderful Arthur Rackham illustrations. In contrast to the sadness of the Velveteen Rabbit, the tale of Poor Cecco the wooden dog, his fellow residents of the nursery toy cupboard, and an amusing cast of human and animal supporting characters - all with distinctive personalities - and their droll adventures at home and on the road, is a treasure replete with mystery, surprises, and an elegantly natural style. I was lucky to be given it as a child and wish others could be so fortunate.

I very much enjoy profiles of interesting people and had high hopes for this book, but it's awful. In fact, I gave up on about the fourth tape.

I managed (with great difficulty) to get through part of the article on Richard Pryor but the vulgar language made me stop. Granted, that might be appropriate for a piece about Pryor, but I think it would be possible to write an interesting biographical sketch without it.

The article on Ernest Hemingway was the most boring and meaningless piece of tripe I've ever read. How could ANYONE make Hemingway seem deadly dull? By recounting an almost minute by minute, blow by blow, excursion in New York to buy a coat. What was the author thinking????

The short article on Katharine White was okay, but nothing special and actually more about the writer than her subject.

The article on Mr. Hunter's Grave, which was a 'non celebrity' piece, was overly long and exceedingly dull, with very poor narration.

That's when I decided life is too short to spend listening to books like this. If this is the best The New Yorker can do, it's no wonder I don't subscribe!

If you are a fan of biographies but are intimidated by 1,000-page tomes, Life Stories is a great choice. Some say the New Yorker invented the "profile," and though it does seem the magazine was the first to call its biographical pieces by that name (amazing, considering how ubiquitous the term is today), editor David Remnick is quick to assert that they hardly invented the style. What they have done for decades is find the most interesting people and have the best writers provide illumination. Nearly every profile here is profound and nearly every one of them is short enough to read in a single (long) sitting. And while it's a treat to learn intimate details of some of the most famous people of the 20th century, it's the profiles of the lesser-known people that shine: from Joseph Mitchell's encounter with an aging churchman with a penchant for baking to the story of the Chudnovsky brothers, Russian emigres who built a supercomputer in their apartment from salvaged parts. Fantastic reading from start to finish.

The writing is beautiful. The story telling is beautiful. The stories are amazing. Five Stars.

This is a collection of prime examples of the long gone "profile" piece in The New Yorker magazine. They just don't write 'em like this anymore!

Choose Truman Capote's profile of Marlon Brando, or Lillian Ross' profile of Ernest Hemingway, or any of the 20-some other profiles in this book. You will read some of the best writing about some of the most exciting people in 20th Century history.

Is there a second volume in the works? I hope so!

Hemingway, Baryishnikov, and Henry Luce are the subjects of some of my favorite celebrity profiles in this wonderful book. But topping my list is "Man Goes to See a Doctor", the awesome Adam Gopnik's sweet and funny rendering of his shrink. Here's a snippet: "Your problems remind me of" - and here he named one of the heroes of the New York School. "Fortunately, you suffer from neither impotence nor alcoholism. This is in your favor." Highly recommended!