Television Books

Our 4- and 6- year-old children both love doing these puzzle books. Using the popular characters and stickers are a great way to introduce kids to sudoku--it is both fun and educational!

This is a good way to introduce the logic of Sudoku to young children.
I bought it for my five year old grandson but his three year old sister
enjoyed it too - on a different level (sticker fun).
The Dora theme is appealing to young children and the bright colored stickers
make it fun to solve the puzzles.
I am happy to see there is a second book (which I will purchase) so the
children can continue to enjoy the younger version of this adult game.
The only reason I gave it four stars rather than five was because it did not
include numerical examples.

We bought this product for our 4 1/2 year old daughter not sure if she would catch on like her 6 year old sister who does sudoku for kids. She really enjoys the puzzles and only needs some direction from her parents. More than enough puzzles and really appreciated that they provided extra stickers. A great deal for the money and we plan on buying more.

I picked up this book for my 3 year old daughter after she watched her dad doing Sudoku puzzles. Although it is a challenge, once she did a few with us and learned how to complete the puzzles she took off and started completing them on her own. The puzzles keep her attention. She will complete a few of them at a time. Occasionally 1 or 2 are in the wrong place but she definitely understands the concept and works at them well. I have searched but there are no other books like this out there. Would buy any other book that came out like this.

I was confused for a while. I thought Sudoku was mathmatical. I think it was all the numbers and grids that confused me.

But it's not. It's pure logic, numbers are typically used out of convenience but it could be any distinct set of symbols. Dora Sudoku is a good illustration of that point because it uses stickers with pictures on them instead of numbers.

This book is great. When I tell people that I've got my daughter doing Sudokus, they sometimes respond as if I've put my daughter to work at a sweatshop. I guess they see the obsessive way I've gotten into Sudoku and worry that I'm foisting it on her. But I think it's great. Now when I talk about Sudoku we can both get excited together and work on our puzzles. And I'm very impressed with her ability to do them, she's really picked up on it quite well. These are puzzles for kids, of course, two by two boxes within a four by four grid, so we aren't talking about anything too overwhelming. You only need to hold one or two bits of information in your head at a time to solve it. That being said, the logic required to solve the Sudokus is the same logic required to solve more complex ones, just on a smaller scale. Also, the pictures are sometimes similar enough that one would have to pay attention to detail carefully to avoid mistakes. In the easier ones, the four pictures are four different characters on different color backgrounds. But some of them feature the same character in four different poses.

Thumbs up for Dora Sudoku. Anything that gets kids to enjoy books, concentrate, think in steps, and focus on details must be a good thing.

Writing this book has been, obviously, a labor of love for William Mann, whose earlier books convinced me that henceforward, everything he writes is to be treated as the work of an immensely serious, politically committed and ethical scholar. And yet when all is said and done, and a hell of a lot gets said in this book, I remained singularly unconvinced. Unconvinced as to Schlesinger's talent--sure, he made some great movies, but he'd have to have made CITIZEN KANE for the scales of justice to swing back to normal in light of MADAME SOUZATCHKA or THE BELIEVERS. Unconvinced about the frame story, for it seems so pathetic to dwell and dwell and dwell on the miseries of Schlesinger's life after his debilitating stroke when he could hardly speak and seemed miserable in every encounter. Unconvinced even about the title, which seems to have been chosen to echo Schelsinger's greatest success, MIDNIGHT COWBOY, but in that acse why not just call it MIDNIGHT COWBOY? And then in the long run he seemed like a miserable man in every respect of life, looking back, he was never very happy nor does he seem capable of radiating either good will or basic charity. Added to this the contemptible misogyny which, in a Balzacian scene, Mann summons up by asking Schlesinger for his final, considered opinion of the late Penelope Gilliatt. It's unprintable here, and unpleasant even in context of whatever crime she was supposed to have committed.

Are authorized biographies ever a good thing? What's the point of advertising them in that way?

And yet taken as a whole the book is a splendid piece of work, and in giving us the extremely varied picture of a lot of filmmaking atmospheres, from the Angry Young Men scene of the late 1950s in England, to the New American Cinema that MIDNIGHT COWBOY may be fairly said to have begun, to a later day when stars and producers and test audiences made movie making difficult for directors, Mann excels. It's panoramic in sweep, extremely detailed. And maybe the "authorized" label encouraged many in Schlesinger's circle to speak with Mann, including--well, it seems just about everyone. A great story about Madonna's affectations begins the book, which I won't spoil here but it involves her belief that she had a shot in securing the lead role in MEMOIRS OF A GEISHA. Enough said, go for it!

Two lapses in sense made me doubt my hero Mann for a moment. In discussing the Austin Powers phenomenon, he pronounces that "We've come so far that rebels now go BACK in time rather than forward, when the youth culture borrows relics of the past and jumbles them together into a pastiche of expression and attitude." Surely this has been an attribute of youth culture at least since WWII? Blue jeans weren't invented in the 1960s, they were retrieved from a workingman's past in the 19th century.

And look at this sentence, which touches on the critical reception of MIDNIGHT COWBOY. "Stanley Kauffman in THE NEW REPUBLIC adored the film, using adjectives like 'dexterity,' 'intelligence' and 'perception' to describe John's direction." Okay, maybe I'm missing the forest for the trees, but on the other hand maybe "adjective" has a new definition: "noun"?

Edge Of Midnight: The Life Of John Schlesinger is the authorized biography of the filmmaker whose most famous works include "Midnight Cowboy", "Bloody Sunday", "Marathon Man", and "Day of the Locust". Written with the full cooperation of Schlesinger, his family, and his companion of 36 years Michael Childers, as well as with complete access to tapes, diaries, production notes, and correspondence, not to mention interviews with the actors, crew members, friends and colleagues who knew Schlesinger, Edge Of Midnight accurately traces the singularly amazing career of a dedicated and visionary man. Highly recommended for professional cinema researchers and intrigued lay readers alike.

Poor John Schlesinger. This gifted filmmaker never seemed happy, gave off more than a whiff of bitterness, and even seemed jealous of some of the people with whom he worked.

Most especially, the late Penelope Gilliatt, who authored his finest work, "Sunday Blody Sunday." There has been much misinformation regarding this film. Gilliatt was a brilliant film and theatre critic and a writer of fiction. She was orginally part of the greatly influential team of Kenneth Tynan and Gilliatt at the Observer (London). Schlesinger asked Gilliatt to write the sceenplay of Sunday Bloody Sunday. He thought she was the "right writer." Subsequently, the film was made and received rapturous reviews; it stands today as Schlesinger's finest work, along with his T.V. film, "An Englishman Abroad." The trouble started when Gilliatt received the vast majority of the praise for the film, back in 1971 -- I remember. Pauline Kael went so far as to say that Schlesinger had been inspired by the "delicate substance" of Gilliatt's script, which led him to do his finest work. (And Kael and Gilliatt were NOT friends.)
Perhaps, in addition to Gilliatt's brilliance as a fiction writer, Schlesinger chose the heterosexual Gilliatt to write the script because she had been a champion of civil rights for gays and lesbians in Great Britain in the 1950s, when she was only in her 20s, long before, say, Stonewall in the U.S.A., and fought so that GLBTs could have a place at the theatre and film tables of England under the repressive and homophobic Lord Chamberlain. At any rate, her much-honored script is what the film is remembered for. (Also, Sunday Bloody Sunday didn't get a Best Picture Oscar nod, whatever that silly thing is worth, not because of the subject matter, but because a major English studio was about to go bankrupt owing to the dreadful and dreadfully expensive movie bomb "Nicholas and Alexanda," so the Academy members rushed in to help, or at least tried to, with a Best Picture nomination for it to get the studio afloat.) On its release, SBS was not a commerical success.
Anyway, SBS was a major criticial success. The attention focused immediately on Gilliatt and her original screenplay. Schlesinger charged in one interview that Gilliatt had wanted him to film the scene in which Peter Finch and Murray Head kiss, in long-shot, with the two of them running toward each other in slo-mo and shot side-on. Gilliatt was a film critic of what has been described as sky-rocketing intelligence (at the Observer and at The New Yorker), who received threats for her theatre criticism in support of breakthrough playrights in England. I cannot believe that she ever, even once, suggested, as Schlesinger claimed, that she wanted Finch and Head to run toward each other in slow-mo longshot for their kiss. Read her dazzling reviews of Ingmar Bergman's The Passion of Anna and Face to Face to know that she was simply incapable of that sort of sentimentality. To my knowledge, Schlesinger never offered any proof of the charge, either. The problem was, as I remember the events, he and Gilliatt didn't get along and he simply seemed terribly jealous of the acclaim heaped on her. He called her an intellectual snob, apparently because she was largely self-educated and a genius. She had, according to her friends, a near-photographic memory, was the youngest person ever to pass the entrance exams to Oxford, spoke six or so languages, was a serious writer of fiction and criticism, and had a colossal knowledge of theatre and film. Schlesinger must have felt deeply intimidated. How could he hold his own with her?
The playwright Joe Orton, also gay, apparently had no problem with her erudition, as they were beloved friends, and Gilliatt had many, many loyal and faithful friends in the GLBT community. Anybody who has read her fiction will know the script is hers in its entirety, and she made changes only to repair some structural problems and to accomodate the line readings of the actors, with whom she worked closely throughout the film, especially Glenda Jackson. Peter Finch said her script was the most beautiful he had ever read. How all this must have galled Schlesinger, already a sometimes trying presence to those who knew him. At the end, he made one dreadful film after another, often blaming the result on the actors' interference, etc. In truth, Hollywood had become so infantilized that the work of serious filmmakers was largely abandoned long before Schlesinger's death. All the same, he made two magnificent works, Sunday Bloody Sunday and An Englishman Abroad, and one deeply flawed but beautifully acted film Midnight Cowboy. It's doubtful the rest of his work will survive. As for Gilliatt, her vast body of criticism (film and theatre) is used in university film and theatre classes around the world, many of her short stories will survive as masterworks of the form, her brilliant profiles of Bunuel, Godard, Renoir, etc., are among the best of their kind and will be read long after all of us are gone. And Schlesinger, apparently jealous to the end, will forever be indebted to Penelope Gilliatt for her contributions, and she made many, many more contributions to the film than her screenplay, for as long as he or his film is remembered.

I am lying in the sun in Hollywood and I have just devoured this splendid John Schlesinger biography. I recommend it to every movie fan the world over. It is a lovely book and worthy of its subject.

Being north of forty, it would be impossible to underestimate the importance of John Schlesinger's influence on my life as a gay man. Midnight Cowboy and Sunday Bloody Sunday were seismic movie going moments for me. Truly great movies in their own right, both have fully-dimensional gay characters as well as homo-erotic moments that lodged in my young brain and stayed. Jon Voight is a luscious Ken Doll in Midnight Cowboy. And Murray Head could be the poster boy for sexy 70's male in Sunday Bloody Sunday. Glenda Jackson watching Murray's perfect physique as he showered was thunderous for me because every day in Catholic high school I stood next to beautiful boys in showers and I couldn't stop staring and also could not forget none of them would ever be mine.

And thank you John Schlesinger for Julie Christie! The movie-going public will be forever in John's gratitude for giving us Julie.

They say that the music one listens to in our teenage years becomes "our" passion music-wise for our entire lives. Certainly, my life-long allegiance to Joni Mitchell and Aretha Franklin attests to that.

I feel the same way about Julie Christie. I was too young for Billy Liar and Darling when they came out. But both movies mean a great deal to me now. As do McCabe & Mrs. Miller and Shampoo and Return of the Soldier and Afterglow. I love watching this creature on screen. Julie is sexy to me even though I have no desire for her. And I am as much a fan now as I ever was when I first laid eyes on her. More of a fan probably.

Bravo to William J. Mann for painting a vivid portrait of one of our greatest film directors. And bravo John for your illustrious career!

William J Mann is interviewing famed movie director John Schlesinger at his home in Palm Springs. John has just had triple bypass operation followed by a stroke which has left him paralyzed on one side, confined to a wheelchair, and almost voiceless. Although his brain is far from crippled and he can nod, shake his head, and sometimes answer questions in a brief, unexpectedly pointed whisper.

They spend their days together looking out at the mountains which edge the city, and William sometimes talks with Michael Childers, John's lover and partner for many years. Friends of John's occasionally pop in for a visit - Julie Christie, and Brenda Vaccaro, all tearful and upset at John's seemingly hopeless condition.

Mann uses this sense of immediacy to great effect in Edge of Midnight: The Life of John Schlesinger. Each chapter begins with a sense of how John is declining and how the author is racing against time to find out as much as he can. By interweaving the present with the past, Mann traces richly varied accounts of John's early struggles and glory days.

The end result is of man who has led a creative, and artistically fuelled life, with Mann offering a poignant contrast between the figure who sits staring at the mountains beyond the window, adrift in silent internal exile, with the sound of his laughter on recorded tapes. John's creative energy and intuition, his penchant for mischievousness and naughtiness, and his willingness to take risks and really push the cinematic envelope for more than twenty years, are highlighted with a candid and sincere accuracy.

And John Schlesinger also gave us Julie Christie, whom Schlesinger chose for the character of Liz in Billy Liar. The world of cinema would indeed by dull without the gorgeous Julie. Much of the narrative talks about the tremendous international success of Darling, and how the movie, not only cemented Christie's stardom, but also allowed John to go on to make even riskier movies.

Mann talks about why Darling was so historically significant and the part it played in the cinematic sexual revolution, which in turn greatly affected the changing sexual habits and attitudes in much of the West. John was determined to raise the bar with onscreen frankness, and he often found himself stymied by the Hollywood old guard who were determined to promise their audiences "real stars looking glamorous in beautiful gowns in beautiful sets, no kitchen sinks, no violence, no messages."

But it was Midnight Cowboy and Sunday Bloody Sunday that really pushed the cinematic envelope: Sunday Bloody Sunday, with film's first same sex kiss, boldly rejects "moral" judgment in its account of the middle-class London doctor and the professional woman's feelings and presents both kinds of love as equally natural.

In Midnight Cowboy, Jon Voight's naive hustler from Texas foresees a future for himself in New York as a stud for affluent lonely ladies, but failure plummets him to the city's harsh and seamy underside instead. Midnight Cowboy proved that films, which overthrew convention, that dared embrace radical form and content, could also make money.

Schlesinger admits that he wanted to tell stories that dealt with the human condition, human difficulties, and even the illusions of love. His films were all about adult themes - the difficulties of maintaining relationships, abortion, extramarital affairs, and homosexuality. He wanted to make films about "people pushed on to an edge," and also people who were regarded as the underdog, the outsider in society.

He believed that films needed to be relevant, and that they needed to reflect the changing society. He also wanted his audiences to think, but more importantly, he wanted them to "feel," be it terror or revulsion or compassion or pity. In later years when he couldn't set up the films he wanted to make, Schlesinger damaged his reputation, then his heart and his arteries, by accepting too many potboilers in the desperate, unfulfilled hope of a box-office success that would enable him to work on his own terms again.

Glenda Jackson had a filthy sense of humor. John played a terrible joke on Julie Christie, which involved a feminine sex aid during the making of Far From the Madding Crowd. Sean Penn, although enormously talented, was a nightmare to work with. At the last minute, Brenda Vaccaro refused to show her nipples when doing the love scene in Midnight Cowboy.

The Hollywood brass turned their back on John after the colossal failure of Honky Tonk Freeway, Rupert Everett and Madonna gave the poor man hell on his final disastrous movie, The Next Best Thing - Madonna begging him to do for her what he had done for Julie Christie, while Everett was more concerned with rewriting the script as they were shooting.

William J. Mann has indeed written a formidable account of one director's life, a wonderful patchwork of tidbits including interviews with the people he helped make famous - Alan Bates, Julie Christie, Glenda Jackson. Martin Sheen, Ian McKellan, and Dustin Hoffman.

What evolves is a fascinating biography of a man who desired success, and ambition, and even lots of money. It's a portrait of a tormented man who had a quirky pessimism not withstanding and lived a life relatively free of personal demons. Comfortable with his homosexuality, and totally committed to making movies, "his art came not from discontentment with life, but rather from a love of it." Mike Leonard October 05.

Mary Jane Alexander, I am a New York film critic and enthusiast.

Film historian and authority James Robert Parish has done it again! "The Encyclopedia of Ethnic Groups in Hollywood," like all of Mr. Parish's well-regarded books, is comprehensive, thoroughly accurate and immensely readable. The sheer research is astounding and Mr. Parish uncovers the many fascinating tidbits that enliven film history. This is a book that is a must not only for every film and media library, but also for the general reader and film fan who wants is interested in the careers, lives and place in film history of the many ethnic stars who have thrilled us on screen. Bravo.

Also recommended: The Hollywood Songsters; Hollywood Divaas; and Hollywood Bad Boys

This is a wonderfully concise, detailed, and helpful general reference source for anyone researching ethnicity in the major films, television shows and performers of the past century. The Encyclopedia of Ethnic Groups in Hollywood is easy to read, gives only the important highlights of each title and personality, and is well-indexed. The photographs in the book are nostalgic and illustrative. It's all in here -- the breakthroughs, the award winners, the important firsts, as well as other contributions that make Hollywood history and today's Hollywood unique.

The movies have always help guide and shape moviegoers into an an understanding of who they are, where they're from, and where they're going. But much of the vast American public has been virtually invisible on the screen -- which is why this book is so valuable. Our overlooked ethnic groups -- African Americans, Asian Americans, Hispanic Americans, Jewish Americans, and Native Americans -- now have a wonderful reference source to help them understand who they are, where they're from, where they're going. This encyclopedia may be a bit pricey for average bookbuyers (where's the cheaper paperback edition?), but it will be criminal if every library in the country doesn't make it readily available.

Jim Parish has outdone himself with this voluminous, impeccably researched work which is a concept long overdue in the publishing world. With the fine work of Allan Taylor, he has created a wonderful tome and a reference book which will be quite useful as well as enjoyable to read. Well worth the money! Cough up! You'll be happy you did.

By Hollywood, I expected the author to concentrate his efforts on films, which would have been fine in and of itself. But I was surprised (pleasantly) to see the detail into which he looks at the presentation of ethnic groups on television as well. This is the book that should be required reference material on every course in pop culture and in film studies as well. But don't let that scare you away from reading it. The book is written in a style that everyone can enjoy. It's one of those books once you pick up and start flipping through, you spend hours going through.

This book sticks to the music, and what music it was, or should I say, what music *made* - sometimes from situational film material. But this work sticks mainly to A-list, non-soundtrack recordings.
Whether he stuck closely to the demo, or reference disc, or completely reworked the tune, he made it at least interesting and listenable, and those that didn't make that cut (like "Hey Jude") are given a fair chance.
Since '68, I still can't believe what he did with "You'll Never Walk Alone"; discovering years later it was he on piano working out a "head" arrangement on the spot, made it seem even greater. This book will remind you why you liked a particular track in the first place or why you should have. At age 17, I didn't appreciate the depth of this performance, which in this book is described with masterful strokes. Another revelation for me was in reading about "Crying In The Chapel". I've always enjoyed Elvis' record of it, but thought he could have put more *voice* on it. Roy and Aspell evaluated the number as a whole and brought out nuances which have caused me to realize that it, too, is A-list.
I would have been happy to find reviews of movie fluff entries like "Sand Castles" or "Shake That Tambourine", but let's hope we get an "alternate take edition" of this fine manuscript.

THIS NOVEL SHOULD GO DOWN IN HISTORY AS ONE OF THE GREATEST BOOKS TO EVER BE WRITTEN ABOUT THE KING OF ROCK -N- ROLL . IT'S REALLY GOOD . IT TELL'S THE STORY BEHIND 112 OF THE KINGS GREATEST AND NOT SO GREATEST SONGS .IT FOCUSES ON WHAT REALLY IS GREAT ABOUT ELVIS' LIFE HIS MUSIC !

"The Essential Elvis" is a thoughtful exploration of the King's music from 1954 until his death in 1977. It's an important and much-needed work that concentrates solely on Presley's artistry. Authors Samuel Roy and Tom Aspell break free from the ill-informed mythology of most Elvis publications by re-examining Presley's work in provocative, exciting ways. You may not agree with all of the writers' criticisms, but it encourages you to track down the 112 Elvis recordings listed in their book.

There have been 4,567 books written about Elvis, mostly by people who have never known him, but whose third cousin's sixth-removed niece might have once dated Elvis' former schoolteacher's third wife. Then there's "The Essential Elvis." What makes this book so different is that Samuel Roy and Tom Aspell trace Elvis' life and legacy through personal history as well as 112 of his most significant songs. The book doesn't proclaim to be an expose or definitive history (it's neither); what it is is a clear portrait of the Man Who Would Be King, told through behind-the-scenes knowledge that uncovers and pieces
together the story of a man, his times, talent and cultural influences. And the 20 photographs -- many of which have never been published --- add a nice touch.

This excellent book is about what was most important to Elvis and his fans: his songs and music. One of the most significant things the authors said about Elvis is the following words: «The first and best thing that can be done for Elvis Presley is to lessen the emphasis that has been placed on his later years and focus on the talent and genius that define the King.....one of the reasons for his demise was because he cared and felt too much...it got to the point that being Elvis Presley was one of the hardest jobs in the world». I agree completely with the authors and, as a fan, my only wish is that this book will make the people, who don't respect Elvis, see the light...

I agree with all the previous reviewers, this is indeed a beautiful book. I could hardly put it down and stayed up late at night reading it. I was anxious to finish it to see how everything turned out and now wish I could still be reading it - I miss all the characters as if they were people I knew. I had just returned from my first trip to Ireland this past summer and was looking for movies and books set in that beautiful country. I found the movie "Falling for a Dancer" and liked it so much I looked for the book. I now want to read the rest of Diedre Purcell's books. She is a talented writer.

I saw the movie and fell for Liam Cunningham and am now looking for my Mossie Sheehan. I am not much for the romantical farce normally, but this one caught my eye and heart. I am also looking for a copy of the movie.

From beginning to end, I found this book truly enthralling. I absolutely adored it. I could not at all put it down. The story is in depth and right at the heart of conflicts of emotions. The characters are lovable and realistic. It is full of heart ache, joy, love, romance, modern dilemas and sex. What else does one need from a book?

My advice to any hopeless romantic is to read this book, and maybe even then, buy the video. Even if you have already seen the video, it is worth reading the book. The plot is a lot thicker and more enjoyable!

Falling for a Dancer is the first Deidre Purcell novel I had read. I bought it after having seen the movie; which by the way is also very good. I was immediately taken with the very difficult living conditions in post WWII Ireland. I hadn't realized hard the Irish worked just to have enough food for the many mouths at the table. The leading character Elizabeth is a credit to her heritage. I admired her sense of commitment, yet she wrestles with her strong, youthful sensuality. This book tells as much about life as it does about living. Gals, if you want a well developed story line with well-written sexuality and romance, this is your book. I now have a complete library of Purcell's works. As the previous reviewer said, this book is known by two titles, Ashes of Roses, and in the US, Falling for a Dancer. It is a novel I will read again & again. Even with its pathos and often heart wrenching tragedy, it is definitely a book you will not want to pass by.

Have you ever wondered what life would have been like if a certain event in your life had never occured?To read this novel is to read about the life of some one like that. If the bus had never broken down Elizabeth(Beth) would never have met George and her life wouldn't have been changed for the worse. It is the 1930's and Beth is living in Cork with her parents. She is after arriving home from a trip to Dublin with her friend Ida, but she has a deep secret that no one must know - she is pregnent and has only two choices- leave home and move into a home run by the nuns for unwed mothers or to marry... After a horrifying visit to the nun-run home Beth solomly decides to marry. The match is made for her, she is to wed a resently bereaved man named Neeley Scollard. After a quiet ceremony Beth is brought home- not to Cork but to her new home in Beara on the west most tip of Dingle where she is met by her new daughters.Beth has a son whom she calls Francey. Straight away it is obvious that Neeley is a strict man- all of his family fear him. Neeley's cousin Mossie is a decent type of person but Neeley maintains that Mossie is a land-grabber and that he and his family are to have nothing to do with him. After a dance Neeley losses his temper and hurts Francey, that night while Beth is in Cork hospital with Francey, Neeley dies. Everyone suspects that young Danny Mc Carthy has murdered him- noboby knows. After many years of heart ache and turmoil Beth wants to leave Beara but finds it too hard to leave. Mossie trys to win her heart but ............. You don't think that I'm going to tell you the whole story? If I did where's the point in reading the book? Deirdre Purcell is the best in a new type of writer. She is able to pull you into the story and into the lives the characters. I really enjoyed this book- I've read it God knows how many times. I have found that I hate to put this book down when I'm reading it. If you want to read more about the Scollard family, the continuation book is called Francey and it lets us know what happened the only boy and the rset of his clann (family for those of you that don't speak Irish). Happy reading- let me know if you read the book and enjoyed it or even if you hated it- I might be able to suggest more books for you. Slan o mise !! (Good bye from me !!

Vishnevskaya's reputation for forthrightness AND the sub-title she chooses here --A Russian Story-- indicate strong intentions for this book. Not 'MY Russian Story', but 'A Russian Story', because Galina Vishnevskaya tells an epic Russian story, honoring with a severe truth the Russia of sorrows of which her story forms but a unique part. This is no prima donna's idle tableau of a curtained career. Vishnevskaya's art comes of suffering, & she doesn't head down that road. She divulges her art generously, but her attitude never self serves. Her aim is always higher - she's interested to say not only what HAPPENED in Soviet life, but what WAS. and WHO!--- Vishnevskaya regularly excoriates with galvinizing abandon the soviet lackeys with whom she had to deal! She names names and motives, because it's the damned truth! The West in general and artists in particular owe a huge debt to Rostropovich and Vishnevskaya for the willing sacrifice of themselves in exile for the simple truth. Rostropovich garners the commentary in the West with the cello & conducting, but Galina is the heart of genius, and THAT seems the telling component in this book. Her depiction of Solzhenitsyn is heartrending, and stands as the book's axis; everything leads to it, and derives from it. Her friendship with Shostakovich, her brilliant feelings toward him-- an almost daughterly reverence informed by the highest artistic aesthetic. It's also through the part Shostakovich played in her life that we meet a musically learned Galina as well. She was a musician FIRST, singer second. How rare and wonderful - no wonder Slava fell in love! Galina dances with the shadows of Shostakovich throughout, & it's one of the book's endearing aspects. There are wonderful stories too of Britten and his music, & a surprisingly frank exposition of Furtseva, soviet Minister of Culture, whose enigmatic machinations both helped and ill-served Galina more than once. Vishnevskaya can sing AND write! The book ends when you don't want it to, leaving Russia... it's ultimately a love story -- Galina and Russia. Maybe she'll yet write her American story.

"...We were actors in real life and human beings on the stage."

Thus spake Galina Vishnevskaya, in interviews she and her husband, Mstislav ("Slava") Rostropovich, gave in Paris in 1983, captured in a companion book ("Russia, Music, and Liberty: Conversations with Claude Samuel.") to this one. The quotation barely begins to suggest the Kafkaesque world in which they lived, when they were musical artists of the highest order in the Soviet Union.

Vishnevskaya was a "prima donna assoluta" at the Bolshoi Opera during her prime, arguably the finest Russian soprano of all time. And, as her prime overlapped those of Maria Callas and Renata Tebaldi, one can only wonder what her international reputation might have been had her career been entirely in the west; the first two-thirds (and best) part of it was largely away from the gaze of the international music community.

This is, as she subtitles it, her "Russian story" covering her life up to the final hours in 1976 when she left the Soviet Union, eventually (two years later) as an exile. And it almost ended before it ever started.

Born in poverty to parents who abandoned her to her grandmother, she possessed an incredible voice as a child. Largely self-taught, and then - at age sixteen - improperly taught - she didn't learn proper voice technique until after she had established a beginning career in operetta. Then she contracted TB, and the doctor caring for her offered that the only cure - which she refused - was to collapse the infected lung. It was only by mortgaging her future singing fees for black-market purchase of scarce antibiotics that she recovered.

In 1952, in her mid-twenties, she auditioned for the youth group of the Bolshoi Opera Theater, was instantly accepted, underwent a meteoric rise through the Bolshoi ranks on her voice and talent, and soon became the prima diva of the troupe. In 1955, she met Rostropovich, whose courting of her is one of the few lighthearted sections of an otherwise chilling tale of intrigue, deception and lies in the intelligentsia circles in which the pair of them existed and performed.

The next two decades (1955 - 1975) of this journal focus largely on one person, and the special relationship that they had with him: Dmitri Shostakovich. As artists, it was only natural that their paths would cross and thereafter, for the rest of Shostakovich's life, intertwine. But this was more than acquaintanceship; it was friendship based on trust during Shostakovich's years when it was virtually impossible for him to trust anyone. And Vishnevskaya defended that trust with the ferocity of a tiger. One anecdote of her ferocity will suffice as an example.

In the early 1960's, the poet Yevgeny Yevtushenko was well-published in "accepted" Soviet literature journals despite his "rebelliousness." His famous poem, "Babi Yar" (1961) about the German slaughter of Ukranian Jews during WW II, gained overnight success, and Shostakovich, moved by the poem's message, placed it at the core of his Thirteenth Symphony with Yevtushenko's warm agreement. The work received its Russian premiere "as is" on December 18, 1962, and was tumultuously received by the audience but not by officials of the state, who read into it a message of Russian complicity in the matter of anti-Semitism, a subtext of Yevtushenko's that was undoubtedly accurate, as he revised the text shortly after the premiere without consulting Shostakovich. Some years later, in London where Vishnevskaya and Rostropovich met up with Yevtushenko, Vishnevskaya gave Yevtushenko a tongue-lashing over his "revisionism" that runs several pages.

In an act of supreme political courage involving another Russian writer, Rostropovich provided refuge, for four years in the early '70's, to Alexander Solzhenitsyn, whose writings on conditions in the Soviet Union were officially banned. Solzhenitsyn subsequently went into political exile, but this act of courage was to have its effect on the careers of Vishnevskaya and Rostropovich, particularly the latter, who for all intents and purposes had his abilities to perform and conduct stripped away from him. Only by "pulling in markers" were the two of them able to secure permission from Brezhnev to go abroad on a two-year "artistic leave."

"Galina" ends on a note of uncertainty and apprehension, as Vishnevskaya, in 1976, boards a plane with her two daughters to join Rostropovich in the West, eventually (1978) in exile when their citizenship was revoked for the Solzhenitsyn matter. But this is merely the end of her "first" Russian life and the beginning of another, more international, one. Her own career as a diva continued for nearly another decade; Rostropovich went on to become an internationally-known conductor while continuing his career as a preeminent cellist; with "perestroika," they made an historic return to Moscow in 1990 (after Gorbachev restored their citizenship), at which Rostropovich conducted what is to me the finest performance of Tchaikovsky's "Pathetique" Symphony (immortalized on a Sony CD that also included Sousa's "Stars and Stripes Forever" and William Schuman's orchestral arrangement of Charles Ives's "Variations on America").

Nowadays Vishnevskaya loves to brag about her six thoroughly-Americanized grandchildren. They oversee the Rostropovich-Vishnevskaya Foundation, a charity for immunizing Russian children against disease. She recently founded the Galina Vishnevskaya School of Opera in Moscow, for providing master classes to promising young artists. All in all, a rather remarkable "follow-up" for this peripatetic pair of seemingly perpetually-young 75-year-olds.

But the clock cannot be turned back. "Galina" serves as a gripping reminder of how things were over the fifty years that the two of them spent in the Soviet Union. And, at least as important for me, it serves as one of the most honest and accurate appraisals of Dmitri Shostakovich the person as one is likely to find, from one who knew and loved him as a true friend.

Even in a totalitarian society, supreme artistry can sometimes carry clout. For Vishnevskaya (and Rostropovich), there was enough clout - barely - to get out and "live to tell about it." Thankfully.

Bob Zeidler

[Taken from my review of the hardcover edition - same comments nevertheless apply.]

As one reads this book, where Gospozhá (Mme.) Vishñévskaja is throughout blunt about everything she turns her pen to, one really gets not only great entertainment generally (it is most excellently written!!); it is a superb window into the Russian soul at its best in addition to being an outstanding analysis of the conditions of artistry, artistic life and life generally under the Soviets!! It also serves as an excellent guide into the great composer Dmítriy Dmitrjévich Shostakóvich's life and artistry as well as that of her husband Mstíslav Ljeopóljdovich Rostropóvich; furthermore, its recounting some of the scandals forced by the Communist leadership when they couldn't accept the fame and worthiness of such books as "Doktor Zhivágo", "The First Circle" and "The GULag Archipelago" as well as such pieces of music as "Lady Macbeth of Mcjénsk District", the 13th Symphony and enough other works of Shostakóvich is positively juicy even in the midst of the disgust and revolt caused by reading how intolerant Communism really is!!!

An ABSOLUTE MUST for any intelligent person to read and have in his library - especially if he is into the arts and/or politics in any way whatsoever!!!! This is one of those relatively rare books which both entertains AND edifies - and does it all superbly (what a life experience on her part!)!!!!

[POSTSCRIPT: This very book (which I've enjoyed rereading MANY, many times!!!) also was critically influential in preparing me to go hear - and fall in love with!!!! - Shostakóvich's operatic 'magnum opus' "Lady Macbeth of Mcjénsk District" when it was given its Canadian première by the Canadian Opera Company in Toronto in 1988.]

Of all the singer's biographies I've read (which is plenty!) this remains at the top of the heap. It is a journey that could have only come from the pen of Vishnevskaya and, unlike so many autobiographies which eventually turn into a "And then I sang _____, and then I sang at the White House, and then I . . . " Galina reads almost like a novel. Her description of the Soviet Union during the war years is positively chilling. The road she took to success, punctuated by hardships followed by tragedies is never less than enthralling. How many biographies can truly be called "page turners?" Well, this is one!

The insights she gives into the Soviet system, the role and treatment of artists by the government, her personal views on politicians, singers, composers all come off with rare candor that almost caused me to blush.

Feeling mezzo soprano Elena Obratzsova had been been a betrayer, she humiliated the young singer in public shouting out "Judas" writing of Obratzsova's exit, "Like a snake with a broken spine, she crawled past the amazed Americans, who stood aside to let her pass." Ouch!

My favorite passage from the book succinctly, and pointedly paints the most vivid picture of the Soviet system:


In this vast, monstrous theater, with our faces twisted by
underground jargon, we Soviets wriggle and squirm for one
another. We are actors by compulsion, not by calling, in an
amateur theater run by no one. And all our lives we perform our
endless, pathetic comedy. There are no spectators, only
participants. Nor is there a script, only improvisation. And
knowing neither plot nor denoument, we act.

I cannot recommend this book highly enough. Whether or not one is a fan of opera, this will prove to be an enlightening, fascinating read.

Galina, né Pavlova, has many interesting stories to tell about her remarkable life: as a baby abandoned by her parents, an army officier and a polish/gypsy mother, she was raised by her paternal grandmother. Galina overcame so many difficulties in her life, surviving the blockade of Leningrad during the war and so many hardships such as tuberculosis and starvation. Unlike so many singers' biographies, this intelligent artist shares more than anecdotes about the opera world and her many successes in the theatre. She speaks of her personal friendships with people such as composer Shostakovich her neighbor, scientist Andrei Sakarov, also a neighbor, and writer Alexander Solzhenitsyn, a live-in guest in her dacha. There is much commentary written with not a little bitterness about the Soviet authorities who so often thwarted her career and blocked free expression in the arts within the Soviet country and in other countries where she was invited to perform. She writes very well and with much insight into philosophy, human relations, personalities, etc. I found the book very absorbing and hard to put down. Her close friendship with British composer Benjamin Britten also yields many stories of their memorable times together both at Aldeburgh and on vacation in Armenia and Russia. Her remarkable and at times stormy marriage to cellist/conductor Mstislav Rostropovich, her third husband, brought about big changes in her life, and their mutual courage and boldness to stand up for freedom against the Soviet regime cost them their citizenship.

Got it, enjoyed it.....ordered it with another book that I never got, but that's okay!

This book is a must have for anyone who is an Earl Hamner or Walton fan. Mr. Hamner's rawest emotions exude from each page as he so eloquently shares his thoughts and experiences about the women of his latest book.

This book was very well written. The ladies written about were interesting people.

Reviewed by Debra Gaynor for Reader Views (2/07)

"Each of our lives is the result of a myriad of encounters with an astonishing variety of our fellow human beings." Earl Hamner celebrates the lives of 29 remarkable women that touched his life.

Where else would Mr. Hamner start than with his mother, Doris Giannini Hamner? "My mother and father had a good marriage. They genuinely loved each other. Some evidence that they got along reasonably well is that eight children were the result of their love." His series "The Walton's" was based on memories of his childhood growing up in Virginia.

Ellen Corby played the part of Grandma Walton in the TV series. Ellen brought tartness to a show filled with sweet characters. While Ellen and Earl did not always see eye to eye they developed a strong friendship over the years. Ellen's life defines tenacity. After suffering a stroke she returned to her role as Grandma uttering the words, "Need Me!"

Patricia Neal played the role of Olivia in the special "The Homecoming." She was beautiful and elegant. She later stated that the reason she didn't play Olivia in the series was because she "wasn't asked."

Olivia was my favorite character in the series. Michael Learned "was then and remains today, a radiant actress, an exciting and loyal friend." The stress of a long running series took its toll on both Earl and Michael but their friendship persevered.

Famed author Earl Hamner celebrates the lives and offers thanks to the women who generously gave to his life. He includes his mother, wife, daughter and various other people, some famous and some not so famous. As I read this book, I kept hearing that famous voice echo from the past. It was as though I could hear "John Boy" reading to me. Earl is an excellent writer and I truly enjoyed his perspective on these wonderful women. We should all take time to thank the people that contribute to our lives. I highly recommend "Generous Women" to everyone.

In his introduction to Generous Women, Earl Hamner quotes from one of his favorite books, Thomas Wolfe's Look Homeward Angel. He says "...it prompted me to count some of the influences on my life and how they led me to become the man I am today." In his latest book, Hamner counts those influences in the form of short vignettes, some poignant, some funny, and some surprising, about the women he has known throughout his life.

For Hamner fans, the joy of reading his books is that, with each one, we learn a little more about him. In Generous Women we glean more about his college and army days, and his early career, in the context of the helpful and giving women he encounters at each stage. As his biographer, Jim Person, says in Earl Hamner: From Walton's Mountain to Tomorrow, "...there are pervasive themes that run throughout Hamner's work, which shows a man forever taking a backward glance to his roots for direction in the way of what makes life worthwhile, [and] who allows that vision to direct his steps forward..."

Generous Women is a beautiful read and a genuine tribute to a wide assemblage of women who have offered Hamner important gifts at impressionable moments. Would that more of us had Hamner's open-hearted capacity to overlook the negative and to offer similar expressions of gratitude for the positive interactions in our lives. I'm hoping a companion book, Generous Men, is to follow.

Fans of soul music will find Richard Younger's Get a Shot of Rhythm and Blues to be a fine biography of one Arthur Alexander, a singer/songwriter who may not be well known by name, but whose songs influenced the 1960s rock musicians. A fine coverage of his life and achievements is presented in a lively survey of soul and rock and roll music.

This is a great book that provides clear and concise insight into the life of Arthur Alexander. The story behind the singer, the songwriter and a true influence behind some of the greatest figures of rock and roll. This story should be made into a movie so everyone can learn about this unsung hero. Richard Younger has researched Arthur's life, the people he affected directly, and the soul of this talented man. READ THIS BOOK AND LEARN THE STORY OF A MAN WHO DESERVES TO BE RECOGNIZED AND REMEMBERED!!!

After being a fan of Arthur Alexander in the early sixties he seemed to drop out of sight, occassional records but very little else seemed to appear, this book puts the record straight and fills in all those gaps. It also goes a long way to answering the reasons that he did not make it to the position in the music scene that his undoubted talent deserved. The book is very well written by Richard Younger who obviously felt very deeply about the subject, he deals with the problems that AA encountered in his music career and his private life. It was sad that at the very time that AA was begining to make a comeback and he was again showing the talent that was always there he was taken from us. He had become religious during the last few years and this seemed to have a calming effect on him and I am sure that he would have again had big selling records. Thank you Richard for an insight into the life of Arthur Alexander through the highs and lows.

Fans of soul music will find Richard Younger's Get A Shot Of Rhythm And Blues to be a fine biography of one Arthur Alexander, a singer/songwriter who may not be well known by name, but whose songs influenced the 1960s rock musicians. A fine coverage of his life and achievements is presented in a lively survey of soul and rock and roll music.

Arthur Alexander was always a mystery man - till now! Richard Younger's biography of one of the most distinctive and influential black singers of the 60s sheds sympathetic illumination upon the life, the music - and the demons - of this woefully underrated singer/songwriter (the only writer to have songs cut by The Beatles, The Rolling Stones and Bob Dylan). AA's hugely-satisfying vocals married to his distinctive soul-country arrangements (his reputation was founded on just four 1962 Dot-label singles) emerged moments before the UK beat boom swept the globe and was crucial in its influence on the Beatles and the Stones. Younger's book explains how it all came about, taking us on a roller-coaster ride through AA's life of musical and personal extremes. With a series of revealing interviews he transports us to the heart of the Alabama music scene and charts Arthur's role in the foundation of the Muscle Shoals/Fame recording empires. Whether you're a long-term Alexander devotee, a soul music buff, or simply a Sixties survivor, then you'll find this unputdown-able tome a tonic that'll have you listening with a fresh ear to those perennial Alexander classics.

The book is a really good reference on Disney records. The color pictures are a really nice addition.

This book is for hard core collectors of Walt Disney records on vinyl and in that respect it is indespensible. There is plenty of material for the Disney amateur historians too. The real treat for all the rest of us is 250 plus color photos of album covers and recordings. It's enough to give anyone the collecting bug. A very complete guide hat lists all of the Walt Disney record even on other labels. Lists picture discs, Little Golden Books, soundtracks to movies and TV shows, storybooks, and material from Disneyland. Includes EP's, 33 1/3 LPs, 45's, and 78's including alll records from 1933 to 1988. Functional table of contents and index help to locate items in the book. Very useful material on accurate grading the condition of records. A short history on the history of Disney records is in the book, an animated film filmography, and the music composers for all of Disney on film is very useful. Softbound covers, no dust jacket, 256 pages in length.

If you are also interested in the process, the how and why of the music of Disney, you also need to read the wonderful book, "The Musical World of Walt Disney" by David Tietyen.

I enjoy this book alot - it's complete and chock-full of useful information concerning the collection of Disney Records. Of course the prices are something to behold too (I figure I have about $50,000 (hyperbole) in my collection). The guide is very well organized and the individual entries usually consist of a picture, record number, brief description (at least enough to identify a particular cover version) and price. The guide even goes so far as to identify non-Disney labels issuing Disney material.

I wish the guide went into deeper discussions of the various Disney labels and the inner sleeves. I have several examples of, say, a Buena Vista label, and between the two BV labels, they are different! Which one to collect? Sometimes the guide falls a little short, but not often enough to prevent me from recommending this book for the serious collector or even the curious weekender.

Overall, to me, it's a valuable reference and fun to ponder. Now it's always a thrill to find a Disney record and read about some of the history behind it.

Happy hunting...

This is an invaluable resource for Disney record collectors. Beautiful pictures and detailed discriptions of every record the Disney company ever released. The prices listed might seem high, unless you remember that they are only for records in near perfect condition. I have already bought 2 copies.

This softbound 256 page book is a handy 6 x 9" making it convenient to take with you as you antique. It contains more than 250 full color, sharp photos of album covers and recordings. This is the first comprehensive price guide and discography covering the complete output of Disney recorded music on both Disney and other labels. It covers the years 1933 to 1988 and is very complete. There is a useful table of contents and index making it easy to locate items. A history and condition guide is provided. Topics range from LPs, 45's, 78's to Little Golden Records. You can't collect items of this topic without this guide. Add it to your library.