Vincent Price Books

We bought 50 books and gave them out as gifts. They were a big hit with the guys.

As far as I'm concerned, when it comes to playing mob guys, Frank Vincent is "the Man." I first saw Frank in 1981 when he appeared in one of my favorite all-time movies, "Raging Bull." He portrayed a Bronx wiseguy named Salvy, and I was impressed by the natural credibility he brought to the role. Over the years I caught him occasionally in various small parts, and then, in 1990, "GoodFellas" was released. This time Frank was cast as a "made" guy called Billy Batts. When Frank spat out that memorable line, "Now go home and get your f-----' shinebox," the tension in the theater was so thick you could cut it with a knife. Unfortunately for Billy, he wound up buried in the woods somewhere with multiple stab and gunshot wounds. Frank next appeared in his third Scorsese film, "Casino," playing - what else? - mobster Frankie Marino. Then, of course, Frank landed the role of mob boss Phil Leotardo in HBO's "The Sopranos," and his performance was, as usual, on the money. So when I read a small article in the New York Post a while back that Frank and author Steven Prigge were promoting their collaboration, "A Guy's Guide to Being a Man's Man," I knew I had to get a copy. First off, let me state that if you're seeking an intense, probing exploration of the human condition, then you should look elsewhere. "Guide" is, however, a breezy, light, occasionally tongue-in-cheek read in which Frank, who has a head of hair that I envy and who epitomizes what I believe is what aging gracefully is all about, offers his advice on dating, apparel, food, drink, travel, movies, music, and anything else he feels would help an ordinary guy become a "man's man." If you're a Frank Vincent fan like me, you'll probably enjoy this book. If you aren't, odds are you may not. That's as honest as I can be.

A quick read book with a great list of songs, drinks, food, and places to stay in Vegas. Only if you have the cash to burn to purchase all the man's man accessories and dinners that Frank speaks of. Besides all the items to buy Frank does give excellent advice on how to dress and how to groom yourself. Which is a lost art and should be reinstated for most. Also the excellent interviews with other men's men were an inside look that most of us will never see.

3 stars only because it costs way too much to be a man's man!

I have to say Frank Vincent is one of, if not my favorite "Wise Guys" next to Tony Sirico, Vincent Pastore and others. I have seen him in many films, and even though he was not the star, he can still command the screen. I'm also glad he is finally getting his due, especially as "The Sopranos" fades into televison and film history as one of the greatest shows ever.

While he does portray a ruthless, heartless thug in most, if not all of the films he has appeared in, he still has the ability to express a human side and win the viewer's heart. In fact, he's the type of guy you wouldn't mind shooting the s88t with at the local pub.

In this book, he teaches the finer points of "being a man", but so much more than clothing and other adorments. It's about respect for yourself, others and carrying yourself in a positve way. In esscence, it's more than just "you". Definitely give this book a shot.

I couldn't tell whether Mr. Vincent wrote this book tongue in cheek or if he was serious. If it was tongue in cheek, then it was a very funny book and a real look at goombas who want to think they're players. If he was serious - wow! This is wild.

Lawrence Sanders fans will note Mr Lardo does an excellent job of imitating Sanders' style, but somehow the story is less than the standard McNally tale. The introduction of a new love interest in policewoman Georgi girl is good. The main storyline is difficult to follow at times, and the added sub-story with Ty Beaumont is an unnecessary distraction which doesn't feel right. Overall, one never knows, do one?

This entry in the McNally Saga is a bit of a let-down -- especially coming right after Lardo's "McNally's Dilemma" which is probably the all time best McNally novel. In "McNally's Alibi" we get to see Archy take leave of his senses. The only time he seems to do anything right is in trying to pick up Officer Georgy O'Hara, which he does quite nicely. I agree with those who think Connie Garcea needs to take a hike. That one has outlived her welcome. It is time Archy got a new love interest.

Hopefully what we saw in this novel won't happen again.

If you really must read this book then do so. But borrow it from the local library instead of buying it and spend your money on something more worthy of your attention.

I have read every book in the Archy McNally series, and I've enjoyed each of them. I remain awed by how seamlessly author Vincent Lardo took over a series started by another writer, in this case, the late Lawrence Sanders. So it is with regret that I don't feel that McNALLY'S ALIBI deserves my customary five-stars, though it certainly earns four.

There is a line in a Jacques Brel song that talks about how a character is "cute, cute, cute, in a stupid-assed way." Well, sadly, this is the point to which Archy McNally, the protagonist of this series, seems to be evolving.

I long have suspected that this Archy was based, at least in part, on Archie Goodwin of the NERO WOLFE mysteries. Yet Archie Goodwin always was suave and elegant, like Cary Grant or James Bond. Never in this series has Archy McNally been suave and elegant; he actually was kind of fey from the very first book. Since that first book was published, a new word has been coined, "metrosexual," referring to straight men who enjoy pleasures usually perceived as gay, such as facials and manicures. Not James Bond but more Niles Crane, the brother on the television series FRASIER. Well, though Archy definitely is a metrosexual, the problem is that he is starting to sound more deranged than fey.

This is pity, because the plot in McNALLY'S ALIBI is as good as any in the series, and the denouement perhaps even more clever than usual.

As someone who has spent a fair amount of time in Palm Beach myself, I also would like to see a bit more local color in these stories.

The McNALLY books all remain favorites of mine, but I do hope that the author and his editor can reel Archy back in so that he seems a little more realistic.

Archy NcNally, Discret Inquirer, goes from the search of Truman Capotes alleged missing manuscript "Unanswered Prayers", on behalf of a collector of salacious transcripts to being a suspect in a murder at a seedy motel. The characters that claim ownership of this transcript are all, according to each other, not to be trusted.

As this case deepens, Archy can think only of the beautiful, green-eyed, blond State Tropper Georgia O'Hara who suspects him of murder!

This novel has twists and turns that include blackmail, murder and fraud. It is the fouth novel that Vincent Lardo has written on behalf of Lawerence Sanders. I was afraid that Ursi's magnificent cooking skills, Archys' lady skills or his dapper dressing styles would not be described as completely as they had when the creator had written them. Over time, Vincent Lardo has surpassed all of my fears. I no longer see him as a character resuscitated but a character contined. Wonderful writing!

I continue to be intrigued by the personality variances in the Archy character, given through the separate voice clarity of Lawrence Sanders and Vincent Lardo. That entrancement is enhanced by my professional interest (I've been a parapsychologist since 1979) in the paranormal aspects of the author-pair situation, and as applied by Lardo to the plots in each of his novels. How could I not continue to be hooked to this series, when those fascinations are added to Lardo's ability to weave complex plots (this one around an unpublished manuscript, "Answered Prayers" by Truman Capote), and to seamlessly incorporate his personal knowledge of lifestyles of the very, very wealthy.

Memories of Archy-1's sensitive, sensual, compassionate personality continue to contrast the testosterone richness of Archy-2's controlling, sometimes angry impatience ... which is appealing in its own way... controlling, organizing, director types possessing ambitious, rampant masculinity (in both sexes) accomplish/finish the essentials for keeping the world's motors running. While noticeably missing the responsive Archy-1, I'm thankful for the opportunity to read the pushier Archy-2, with the push evidenced by more than the fact that he chooses to take on cases only after expressions of critical resistance, accompanied by warnings to himself, of disaster brewing in games of potential clients. I see why Lardo initiated Archy's new style of interviewing clients who come directly to him, rather than through Prescott McNally, Archy's employer/father, as Sanders' Archy had done through most of Sanders' first 7 novels (I'm looking forward to rereading the series at some point, to confirm or alter for myself, conclusions I've drawn about the differences between Archy 1 & 2).

Concurrent with the ongoing paranormal themes in Lardo's continuance, Archy-2 has dubbed ALIBI's case, "A Voice from the Grave" (couldn't help but wonder if Lardo had a different title in mind for ALIBI). And, what's up with Lardo mentioning "Siggy" (Sigmund Freud) in a plot featuring an ugly murdered guy (a drug addict and overall looser) named Lawrence Swensen? What's up Doc?

My interest surged during the interview scene between Archy and Tyler Beaumont (descendant of presidents, etc.). I was impressed with the exposure of Lardo's depth of understanding of (in stereotype and in reality) the psychological angst and lifestyles of the richest-of-the-rich, the oldest-of-the-oldest-families. To me, it's clear that this was the subculture about which Vincent had preferred to write, and his enhancement of it in ALIBI increased my curiosity about Lardo's Hamptons novels. (See his web site; address included in my McNally Listmania). What had put me off those novels was their feeling of heavy investment in socio-political comment. Contrastingly, what had warmed me into the McNally series was Archy's lack of investment in socio-political comment, his gems of philosophical lightness contrasted to dips into moodiness.

I've lived (comfortably self-supporting) at a poverty level of income most of my life; yet I've not been able to sustain (at least not beyond a few years in college) critical or disdainful anger toward other economic, ethnic, or socio-political subcultures. I've not been able to place and retain resources (emotional as well as financial, such as they aren't) into group Causes, either against the "fortunate" or for the "not fortunate." Maybe that is why I enjoy Robert B. Parker's Spenser series. (See my recent review of PALE KINGS AND PRINCES for a comment on Spenser's "CAUSE-less-ness"; note that Social Causes are different from personal causes driving rescues of individuals).

Another novel which dips insightfully into The Hamptons lifestyles is Cleo Coyle's MURDER MOST FROTHY. My review on that mystery seems to have magnetized itself to receipt of a huge collection of "No" votes. Am I supposed to harbor hatred for those who appear to be above me? I do not disdain differences; I'm either intrigued by them, or they become less visible as I warm to them.

Regarding those issues, in some ways I identify with Denver's Molly Brown, though I'll never achieve great wealth myself; I'd be thrilled to have my novels published professionally enough to give them a chance to reach their earned level of success, in which case I won't be giving away my millions; I'll be spending the heck out of them.

Whatever. This life is indeed strangely ironic at times; the works of fiction I've found which best expose the ironies of it are Ayn Rand's two novels, Parker's Spenser series (if read in order), and the Archy McNally series. The contrasts in Lardo and Sanders, as they live and work through Archy, offer a wealth of life-and-character studies.

In closing, I'll slither to the edge of a reviewer's limb, wearing my parapsychologist's hat (black, cone-shaped) and wax philosophically about personality needs to control, which I believe are healthy, possibly essential, at certain times, yet a time comes during which...

(Yes, since I own a magic broom, being on the edge of a limb ... or cliff ... isn't a huge risk!)

As a person arrives at the final chapter in life, especially if that chapter stretches over a few years instead of coming to fruition in moments or months, that person's needs to control (literally everything) gradually become less important, less felt, until the person reaches a healing inner peace, an ability to effortlessly enjoy moments, without losing the morrow of life, in fact gaining it by lack of attempts to possess it.

I believe Sanders was within that type of extended final chapter when he wrote this series; and the letting go of compulsions to control (a freeing of spirit which I believe most of us crave at the level of spirit) impregnated his products. From my possibly warped perspective, Lardo was not at that type of Final Chapter when he wrote his Archy novels. Possibly that is one of the reasons for the difference between Archy 1 & 2 ... in addition to the personality variances between Larry and Vince?

Is Death, then, the Mother of Beauty (and Beauty Peace)?

A soothing melancholy radiated from the last page of ALIBI, giving the feeling of looking up into a clear night sky, of transporting oneself for a moment into the twinkling of stars.

As noted here and in my other reviews of McNally novels, I'm thankful for the opportunity to read this type of series, to see the contrasts between its authors' "driving" of its characters.

What a Gift from "The Universe."

Linda Shelnutt

In McNally's CHANCE Lardo definitely had Archy down and strutting with the same wit and charm which Sanders conjured in the pilot to this series, McNally's SECRET. I was instantly mesmerized by Lardo's opening detailing of The Character of a famous female romance novelist, Sabrina Wright; her evolving situation held my interest with no lulls allowed.

I was still noticing a slight edge of anger to Lardo's Archy (in this 3rd novel from Lardo, 10th in the series) which I hadn't felt with Sanders' version of the man, but the edgy persona continued to work well. I also noticed that some of the characters which Lardo seemed to warm least to, Connie and The Pater, were downplayed or absent through most of this plot.

With Prescott McNally on a cruise with his wife, Archy was set up to make his own decisions about to take or not to take on a client, and in all cases he resisted, through his own terms and qualms. In prior novels, especially those authored by Sanders, Archy's father usually assigned clients to his son (often after dinner, in the "Dickens" den). In this sense, I noticed again the control factor mentioned in my review of DILEMMA which had Archy more at the helm of his life, instead of flowing with it in a sort of Huckleberry Finn style, which Sanders' Archy seemed to do.

This being the third offering from Lardo, I've become adapted to the intenser masculinity in Lardo's Archy, so I was automatically able to flow easily with the mood in CHANCE. Interest in the plot, which successfully attempted a few unique twists and tangs from the norm in detective novels, was maintained steadily at a pleasantly satisfying level. As Sanders had done, Lardo toyed with female types and Archy's automatic responses to them, along with his failed efforts to resist their intrigues and remain faithful to Connie, an effort which was beginning to chafe ominously in CHANCE (if not before).

I was impressed that Archy didn't fall into Sabrina's feminine "spells." In fact, I found it surprisingly refreshing that he maintained a sort of sexual distance this novel. His libido was noticeably dormant during the first half of the story (but not in the last half, in which he didn't have the last laugh). I enjoyed Archy's warm exchanges with Binky, Al, Jamie, Ursi, and the Pettibones, along with the subplot tangles among these characters and the ones new to CHANCE.

However, the subtle, intriguing discontent I sensed in Archy here made me wonder if Lardo may have had a surge of feeling the drain of taking over another author's program, instead of flying on one of his own creations. I empathize with Lardo, as I also admire the skill and dedication with which he's handled this series so far. Selfishly, I'm thankful that I've been able to easily enjoy each novel in this series, and the transition to Lardo's "show" was not only easy, but gave fascinating opportunities to observe this type of take-over situation between two authors holding a paradox of distinctly different, yet somewhat similar personalities and writing styles.

I'm sure I'm not alone in hoping to see evidence soon that Vincent Lardo's almost finished with a new Archy McNally novel, which would be # 14 (Lardo's # 7). At least I have 3 more to go prior to any onset of panic prefacing a second grieving for Archy's demise. Luckily, this series is rich enough to be reread, with possibly more satisfaction than the first time around.

Linda Shelnutt

This one is probably the best read in the entire McNally series to date. The ending is a bit weak in one or two places, Archie is a little too taken by Bianca Courtney, and I doubt we will hear much more about Henry Peavy, but the book is still a great read. Read, enjoy and savor.

Like many out there, I fell in love with the McNally books, due to the fun mystery plots and the characters within. However it has gotten "tired." This is part to Lawrence Sanders's death as well as Vicent Lardo's repeated sequels. I find in this latest book, not much enjoyable. It is so hard to put this into words, but with the mystery was lackluster and the characters so two dementional I had to actually "plod" through this book. Thankfully many authors, upon their death, have their characters die with them and I think that is as it should be. I trust like other series characters written in Sanders's life time (Edward X. Delany to name one) that Lardo decide to allow Mr. McNally to go, instead of dying a slow painful death on the stage of his books.

I, for one, am very thankful that Mr. Lardo has continued the McNally series. I love the characters and while this was not my favorite McNally book it was still McNally and still a fun read. With a few more twists than normal this book requires a little more attention than others in the series. A fun summertime book.

I have very mixed feelings about this book. Although it was an enjoyable read, I think it very unfair to call this an Archy McNally book. So many of our favorite traps that create the mood were missing-- Archy rarely wrote in his diary; he never went for an ocean swim; he did not wear berets or tassled pink loafers; he did not settle down in the evening in a kimono for a marc and a recording of Ella Fitzgerald; he did not sing while he drove; the vivid descriptions of food and clothing were missing; the usual flirting between Archy and Mrs. Trelawny became snide insults; and I could go on and on. In the past women have always flocked to Archy, but here his pursuit of Bianca seemed lecherous. He was nasty to Binky, who in the past Archy has affectionately tolerated. Also I found it annoying the way Mr. Lardo felt it necessary to casually mention things from other books- Dr. Gussie Pearlberg, Hobo-- that had no place here, but show that Mr. Lardo has read the other books. The story was interesting, but the end was a cop out. I had to re-read the last 20 pages twice because it didn't make sense. This book is in no way an Archy McNally novel. I suggest Mr. Lardo re-read all the Lawrence Sanders' Archy novels in one sitting and then try again.

Peter Lorre's ,"The Black Cat",is charmingly done.Yet,the other two are stinkers.I'm a Corman fan,but this was boring and silly to watch.I think they had a good idea ,bringing the trilogy it to the big screen.But,this version and interpretation of Poe's masterpieces didn't translate well at all.So ,beware of the dog!

Directed by the venerable king of quality low-budget filmmaking, Roger Corman, and scripted by the prolific and popular SF and horror writer Richard Matheson, TALES OF TERROR is comprised of three vignettes based on stories by Edgar Allan Poe. The incomparable Vincent Price stars in all three, with Peter Lorre and Basil Rathbone each co-starring (separately, alas) in one of the others. Any knowledgeable horror fans should be nearly euphoric after reading the credentials behind this flick--and they won't be disappointed!

The first story is based on Poe's "Morella," but Corman and Matheson take great liberties to make the tale darker and scarier than the original. Unfortunately, the altered plot and its resolution (?) are a bit hard to follow, and it is therefore the weaker of the three plays.

The second--and best!--vignette, "The Black Cat" is actually a composite of Poe's story of the same name and his "The Cask of Amontillado." Peter Lorre hilariously hams it up as the cuckolded Montresor Herringbone, and Vincent Price is also a riot as Herringbone's nemesis, Fortunato. In spite of the humor, however, there are still plenty of chills when Lorre builds a wall around his "problems."

The final vignette, based on Poe's "The Facts in the Case of M. Valdemar," features the wonderful Basil Rathbone as the hypnotist who uses his powers to put the titular character, Valdemar (portrayed by Price), in a sort of limbo between life and death. Again, Corman and Matheson have taken liberties with the original story (e.g., making the hypnotist malevolent and self-serving), but this time it's to great effect, as Rathbone makes a delightfully devilish villain. The make-up job on Price in the final scene is pretty creepy, too, in spite of the film's low-budget effects. Good old-fashioned frights in this one.

The DVD edition of TALES OF TERROR is short on extras (trailer only)--it would've been great to have a Corman commentary on this one, which many of the other MGM releases of Corman's films DO have--but seeing this film in widescreen makes it well worth the reasonable cost. A worthy addition to any fan of classic horror.

Don't waste your time or money with this DVD. The best part of the DVD is probably the Trailers and most of those are Garbage also. My DVD came loose in the package and scratched, too bad it didn't do any damage to ruin the Movie. I couldn't wait until the Movie was over, I would have stopped it earlier, but wanted to see if any damage was done. You'll be counting the minutes and seconds after watching the first half or even earlier. The last story was stupid and horrible and should have been left off. Don't waste your money, spend it on the cheap $5-6 horror DVD's, because at least those can be somewhat entertaining.

What happens when you take great actors (Vincent Price, Peter Lorre, Basil Rathbone), a great writer (Richard Matheson), great source material (E.A. Poe) and a passable director (Roger Corman) and have them make a movie? Nothing very good, as it turns out.

This movie is actually three short movies linked by Price's narration. The first story deals with a young woman who returns to the home of her father, a recluse tormented by the death of his wife; how she died is not really clear, but she is nonetheless intent on revenge. The second story - the best of the three - is a take-off on the Cask of Amontillado with Lorre as a murderous drunk. The final story has Rathbone as a mesmerist who traps Price in a state between life and death.

All three stories have potential, the first and last for horror, and the middle one for humor. Unfortunately, none of the stories are executed well, a fault that seems to lie primarily with Corman. For fans of the Poe movies of the sixties (directed primarily by Corman), this might be worth watching, but for horror fans, it is best to look elsewhere.

Vincent Price leads an all-star cast in this horror film. Price appears in all three segments. In the first, he plays a man named "Locke" who blames the death of his wife on his daughter who's just came back after 26 years. This is great, verbal horror sort of like a throwback to "Night Gallery" or other dramatic anthology shows, where the horror is in the character's personality and not in the graphics. only the final minutes does the story turn into what AIP movie goers expect. The second story, as has been voted by mostly all on here, is the stand-out. Peter Lorre and Joyce Jameson team up with Vincent in a re-telling of "Cask of Amontillado" but re-titled "The Black Cat". If you've heard or read the story, you pretty much know what's going to happen...the wine tasting scene is hilarious. The final segment offers Basil Rathbone and Vincent although Rathbone has the most action as Price's character, Valdemar, is bed-ridden. Rathbone plays an evil mesmerist who mentally tortures Valdemar's wife and keeps Valdemar in suspended animation you could say in an effort to kill him and run off with the wife! The segment ends with a memorable scene that isn't really sick...but it's not for the squeamish, either! It's one of Rathbone's finest roles, aside from Sherlock Holmes and the hilarious nut-case character in "Comedy of Terrors". This film came along in 1962. At 85 minutes in length, it's short for a feature-length film...but the material and the first-rate acting by everyone make it seem even SHORTER!!

I missed the detailed description of Archy's dress, his meals, and his Marc and English Oval at night in his room. Also, his policeman friend, Al, was hardly around in this book. The plot was good and kept me interested but it seemed to lack the personal details and daily routine of Archy that makes this series so good.

Lardo is changing McNally's style, in sort of the way Roger Moore changed Sean Connery's version of James Bond. In other words, it gets a little too silly at times. But the story is interesting, involving a rich young man from Switzerland who may or may not be who he claims to be. Another young man ends up dead in a swimming pool at a party, starting the mystery. At one point, McNally is working for three clients at the same time, which I thought would develop into more conflicts of interest than it did (seemed like a lost opportunity for the author). The drama of the second pool party was one of the best parts of the book. Especially when McNally started to count toes.

Briefly, I am a big fan of the McNally series as created by Lawrence Sanders and, IMO, Mr. Lardo has never caught the "flavor" of ANY of the characters.
I could go on and on, but briefly, would Simon Pettibone ever call Archy "Archy" in Mr. Sanders' books? Of course not, always it was "Mr. McNally."
And Mr. Lardo has entirely altered the character of "Al," his policeman buddy/sometimes friendly adversary. Of course he has done this with all of the cast. I could go on and on, but, as stated, every single character is changed; although I will admit it would be hard to duplicate Mr. Sanders' witty dialogue and "where's the nearest dictionary" words.
And now Archy is acting occasionally as a PI instead of strictly as a member of his father's firm...in charge of discreet inquiries, of course.
It's enough to take the enjoyment out of these books for me.
If I run across a paperback copy of one of his "Archy" books, I might spend a quarter for it just because of my fondness for the series...but not a penny more.

It cannot be easy, writing a mystery series and keeping the prose fresh. It has to be even more difficult to take over characters created by another author. Keeping these two points in mind, author Vincent Lardo does a good job in McNALLY'S DARE, continuing a series begun by the late Lawrence Sanders.

In DARE, the story is fresh and, oddly, believable, once the reader accepts that Palm Beach, the place where all of these McNALLY mysteries are set, is a peculiar town. PB forever marches to the beat of its very own drummer--a drummer who uses solid gold drumsticks.

And since, for a time, I had lived in Palm Beach, I can say that Lardo definitely gets its rhythms. The sense of place is perfect and Archy, the protagonist, never fails to be amusing.

In fact, Archy's being, well, arch may be these books' greatest problem. There are times when the dialogue gets too damn cute. Lardo needs to watch this; there is a fine balance between clever and fey.

Still, as with all of the McNALLY books, McNALLY'S DARE is lots of fun.

Vincent Lardo was definitely gilding his wings in DARE (# 12 in the series), and they glided mighty fine, glowing in heady sunlight. He appeared to be attempting what I was saying (in my previous review of McNally's ALIBI, # 11) I wanted to avoid; yet he held my interest and maintained entertainment satisfaction. By first honoring (through at least 3 Archy novels, DILLEMA, FOLLY, and CHANCE) and honestly imitating the spirit and style which Sanders had begun, Lardo had (to me) more than earned the right to veer off Sander's patterns and ploys with this series. I had been concerned that I wouldn't be able to stay with Lardo if he did that too soon or too dramatically. He clearly dared to veer, here, and I was impressed.

At first, the TENNIS EVERYONE! gala in the opening chapter felt like GATSBY redone in an Archy slant, exposing the ennui and utter superficiality of the repetitively empty, "grand" doings of the very wealthy, accompanied by the utter terror of not being invited, by those aspiring to remain in good standing in the social strata of Palm Beach.

Do I have a natural interest in social class issues? The truth? Not really. People are what they are. I am what I am. I've proudly earned everything I have, and have no desire to cling to anyone's skirts, especially not if they're of designer quality, with the resultant price tag. Wouldn't want to seem (seam?) unseemly. I'm okay (for now) with the comfy "rags" I wear and wear, until the holes become too obvious or too breezy.

Yet, Lardo made this social climber scene interesting to me. As a coup of a bonus to that, he designed the situation into a light literary artistry, without the drama descending into depressing drudgery.

I was surprised to realize I had immediately become curious about who Jeff Rodgers and Lance Talbot were and how they were connected. Ironically, considering the outcome (in a complexly satisfying ending), I wanted to know who the real Lance Talbot was, and what his story was, as contrasted the real Jeff Rodgers. I realized that Lardo might be making a statement of disdain of class pretension's chilling abuse to the "less fortunate" young people serving the Palm Beach "snobs," but whatever.

The more I read in this novel, the more it felt very different from any of the previous 11 novels in the series (see my Listmania and reviews). It almost felt to me as if it had been written in a geographic location very potent to the author, though not in Palm Beach. Its atmosphere felt like the Hamptons, as that area has been described by those who live there (thank you again, "HeyJudy," Top 1000 Amazon Reviewer, for insights on your home grounds) or have visited, and especially as described in Cleo Coyle's latest coffeehouse mystery, MURDER MOST FROTHY (See my Listmania and review). In that novel this special area was vividly described, not merely as a cultural phenomenon but as having an unusually ethereal feel in the sunlight and climate. The way Coyle described it made me think of a sort of heaven on earth. Strange.

Yet, the exclusivity of the tremendous heights of wealth of both old and new money in the Hamptons, as described by many authors who have used that area as a location for a novel, seems to have somehow diminished the prime or pristine physical atmosphere. On the other hand, in the cold light of reality, might the exclusivity have also preserved something of value in that ethereal glow? I truly don't know. Cocoons are necessary for caterpillars to metamorphose into butterflies.

I may never have the opportunity to actually step foot into any of The Hamptons, but I feel as though I have, through reading McNally's DARE (with the preparation of MURDER MOST FROTHY). Yet, (I kept reminding myself) the novel's plot took place in Palm Beach. Did Vincent Lardo somehow transfer the atmosphere of his Hamptons home to his plot in DARE? Did he write the plot while living so solidly and joyfully in the Hamptons that he unintentionally transposed one geography onto the other?

Whatever happened, I enjoyed the privilege of Lardo's Transportation Device.

Final last words are that I'm still trying to understand, more precisely, how/why DARE felt so different in so many ways from the previous 11 novels. It's like a third Archy rose out of the ashes of the first and second versions (Sanders' then Lardo's). Archy has 2 new cozy cohorts, Georgy and Denny, and his relationships with his regulars have changed (especially with his father); he received (it seemed to me) more teasing and more flack, and he etched out more underlying respect. To me, it felt like a 37-year-old man was just stepping into an early, youthful manhood. It felt like he was stepping into the Palm Beach social arena, for the first time seeing it, feeling the potency of the open doors of high echelon money, fame, and status, which had always been open to him, but, he hadn't understood the import of the position to which his father and grandfather had contributed their strongest talent and clearest blood.

Of course I felt the parallel to the situations of the two authors of this series as well.

Thesis, Antithesis, Synthesis?

As it appears,
Linda Shelnutt

"Murder in Exile" is smart. Its protagonist--a likeable Everyman. Its writer--a witty Bard of distinctive voice who has given us a tale worth reading.

Frank Cole is living in Exile, Florida after being forced to declare bankruptcy when his fledgling computer company went belly-up. An inept judge looking to make an example of Frank places an attachment on all of his future earnings, so on the advice of his friend and attorney Frank works as an insurance fact-checker earning subsistence-level wages. It's while working on what would seem to be a routine case that he investigates the hit-and-run of a twenty year-old man who suspiciously took out an insurance claim shortly before his death. Although Frank discovers that the man was liked by everyone and had a reason for the insurance policy, another investigator's allegations of the his gambling habits has the insurance company canceling the claim that would benefit his pregnant widow, leaving Frank feeling used and guilty. Further prodding the otherwise unambitious investigator is an implicit threat left on his dining room table, and soon Frank is housing bodyguards and coming to the conclusion that Eddie Gonzales may have been at the wrong place at the wrong time and not the intended target of the "accident."

The winner of the 2005 Malice Domestic/St. Martin's Best First Traditional Mystery Contest, Murder in Exile's breezy 195 pages speeds quickly to a conclusion that is ultimately satisfying even if justice is not traditionally served. It's the character of Frank Cole who carries the novel as he determinedly and somewhat unenthusiastically investigates the murder. Frank's investigative mentor, the ethically challenged Bill Haskell, and his two oversized bodyguard employees as well shine, revealing O'Neil's gift for humor and wit. This is an impressive debut, and if the author can return with Frank Cole and a more intriguing investigation he is sure to have a series that will gain readers and attract fans who love weary, cynical, but hopeful investigators.

This is what I wrote the author about his first published mystery:

"Dear Mr. O'Neil,
Excellent job writing "Murder in Exile". I like how stubborn Frank is,
and how he sees things from a different angle. Good insider info and a
mature, linear storyline. It was enjoyable to meet a guy that DIDN'T
know guns or fighting, but had wits and friends that could help him out.
I found your book to be a solid engaging mystery and I'll certainly be
looking for your name in our library's shelf of new books.
Thanks for a good read!"

The characters in the book were a bit dull. But I had no problem remembering who was who. THe plot was good and the alibi was better. I thought the fact that the main charater as a regular shmo was interesting gimmick and also the fact that the book outlines the ways for a person to find out about things without having to be more than an amateur.
The only time it lacked is that literally three quarters of the way in it said. "The case was solved." And my mind basically went into. "skim" mode thru the information about how it was solved. In other words. It lost it's inertia three-quarters of the way in.
I would not mind reading more books by this author in the future though.

This book will keep the reader's attention while not working them too hard. It is a nice, easy read, with some interesting twists and turns while our reluctant hero sticks his neck out a little too far trying to solve a murder.

I bought this book over 5 years ago and it sat collecting dust on the shelf. It looked too long and too arcane to spend any serious time with 'The Ungovernable City'. Then last weekend I picked it up and could not put it down thru 600+ pages.

Cannato perfectly captures the time and the enormous societal changes that swamped mere mortals like John Lindsay. The fact that Lindsay was mayor at a time like this is almost poetic tragedy: the sensible man of upper income gentility suddenly faced with the disenfranchised demanding a piece of the pie.

Also great are the descriptions of how politics was changing in America....old coalitions were fracturing and in the rush by government to address rising minority demands the white, ethnic working classes were becoming 'forgotten men'. One can see the seeds of the 80s Reagan Revolution being planted in John Lindsay's 60s NYC. This is the most fascinating part of the book. Cannato does a fantastic job of describing the dynamics that led people to switch sides: Lindsay eventually becoming a Democrat and millions of working class becoming Republican.

This book is would be an excellent reader for a course on the 60s social studies.

Mr. Cannato's biography of John Lindsay provides an interesting and informative account of Lindsay's mayoralty. At the same time, he provides a great narrative of the major events that were gripping New York City at that time, and how they factored in Lindsay's governance of the city.

In a major way, Mr. Cannato portrays Lindsay as a tragic figure, a man who sincerely wanted to clean up the city, but proved himself to not be up to the job. Three examples from the book illustrate this nicely. For instance, he came into office on a warpath against what he called the city's "power-brokers" (unions, police, etc.), but ended up being strung up by these groups (who, in the case of the unions, ate him alive at the bargaining table). Moreover, Lindsay thoroughly alienated the city's middle class voters through a number of poorly thought out actions/policies (i.e., the Ocean Hill-Brownsville experiment, the 1969 blizzard response, and the proposed Forest Hills housing project, to name a few). As a result, Lindsay was increasingly dependent on the support of the far-left and of disaffected minorities, forcing him to radicalize his message. Finally, Lindsay burned all of his bridges with the Republican Party, became a Democrat, and then immediatetly sought that party's Presidential nomination. This proved to be a complete disaster, as the Democrats owed him absolutely nothing.

I would highly recommend this book to anyone interested in urban history and/or 1960s-70s American politics. It makes a great contrast to American Pharoah, which is a biography of long-time Chicago Mayor Richard Daley.

Like many other reviewers, I found this to be an engaging review of some of New York's most recent history, and was pleased to have the opportunity to reflect on that tumultuous era. However, as a Native New Yorker who lived through Mayor Lindsay's administration, I was troubled by the inaccuracies of which I personally was aware, and therefore was led to question the scholarship generally. Otherwise, I share the same problem with many other reviewers: The fact that the book could have been better if the author had left his disdain for liberal policies on the floor with other discarded parts of the first draft.

I guess the theory that Lindsay's administration was a flop would have been appreciably harder to substantiate if there had been an accurate description of the racial turmoil New York avoided due to his leadership. I vividly recall what happened in the late sixties in Newark, and Detroit, Watts and a half dozen other cities. It matters not at all what the author says (particularly when it is a repetition of the mantra that because only two were killed and twenty arrested, Lindsay was wrong to deny that this constituted a "riot").

I don't know what another reviewer means when he speaks of a New Yorks's time as a "quiet riot" That seems rather onymoronic to me. The fact remains that New York avoided the turmoil that infected too many other cities because of Lindsay himself. Thousands correctly believed that Lindsay cared enough to actually interact with people who had been ignored (save at election time) in the past gave them a sense that there may well have been an alternative to destroying the City. I guess that the facts obscured the author's political agenda.

While it is certainly "Inside Baseball", I must point out that the author (in discussing Lindsay's relationship with teachers) describes the allegedly deteriorating relationship between teachers and kids at Springfield Gardens High School. Cannato quotes a teacher saying that prior to the strikes in 1968, life was better at that school. However, as a proud student of S.G.H.S. from those very same days, I know that the school didn't have its first graduating class until that year. Since it was not open in the years before (the good old days, I guess), I must question the validity of this comparison. Makes me wonder how legitimate some of the other justifications and his other "facts" are...

I grew tired of the unnecessary characterizations of some of the other individuals who were quoted. Noted sociology professor (of N.Y.'s Queens College) Andrew Hacker could have been quoted (like others) without having his political beliefs being labeled as he was. The truth will show itself, without varnish of this hyperbole.

Practically ignoring the fact that Lindsay inherited staggering deficits from his predecessor but responded with a string of balanced budgets reflects (at least to me) that Cannato is more interested in asserting his theory of the inadequacy of the Lindsay years than the facts. Without balance, there is simply no legitimate analysis.

Given the author's admitted bias, it is inexcusable to be so critical with NO suggestion whatsoever of what policies Mayor Lindsay should have put in place rather than those he did. What would Cannato have done with students at Columbia University, surrounded by the neighborhood hostile to its expansion on one side, and young activist students on the other? Ditto the New York municipal unions, like the Police, Transit Workers, Teachers and the Sanitation Department. Does Cannato suggest that the appropriate response would have been to bring in the National Guard to run the trains or teach the children? Or, should he have immediately capitulated to the Sanitation Workers, rather than seek the Court's intervention? It is so easy to be critical now, thirty years and some appreciable prosperity later. But even with the benefit of 20-20 hindsight, we are not afforded the author's wisdom. Be nice to hear what he would have done differently, as opposed to just telling us what he thought was wrong.

The bottom line? The challenges faced by Mayor Lindsay in The Big Apple were later seen by big city and small-town mayors all across the country. It sure made it easier for some others to respond after they had the chance to see what New York had done first, and respond either by imitation or contrast. Cannato has shown that those who can do, and that some of those who cannot merely criticize.

An excellent book, but Cannato is too quick to criticize Lindsay without pointing out the constraints that New York and other cities are tied with. Cannato asserts that Lindsay's failings came from his personality and liberalism, but I believe they came as much from the structure of NYC's governance and from the turbulence of the 1960s than the mayor himself.

New York City is burdened with more local responsibility for programs for the poor than any other county/city. Everywhere else in the country, Medicaid is entirely federal and state, not so in New York. No where else in the country does a city have to pay 50% of non-federal Aid to Families with Dependent Children (and w/ the successor too). Most states have neutral school funding, or funding that tries to help poorer districts, not so in New York, where the formula actually aggravates existing disparities. In common with other cities, New York City is home to concentrated poverty, unlike other cities, New York is made to deal with those problems alone.

NYC's mayor is also a weak one. He has/had to share power with the Board of Estimate, borough presidents, and independent school boards. Due to there not being a machine, to win elections you must pay off public sector unions. Lindsay had not been backed by the unions, but the years of appeasement of previous mayors had made the unions the most militant in the country, there was little Lindsay could do to temper them. Chicago has its problems, but public sector strikes are not one of them. New York also is an experiment in socialism in one city. It was during Lindsay's administration that New Yorkers realized the impossibility of that dream.

With more resources, and in a calmer time, Lindsay might have been a success. In another environment Lindsay might be remembered the same way Robert Kennedy is remembered, and not as a dupe.

John V. Lindsay was a peculiar choice for mayor of New York Cituy. A WASP with absolutely no talent for administrative detail and a xstrong sense of noblesse oblige, his politics was the politics of platitudes and bromides.

I was 12 when Lindsay was first elected in 1965 (he never received 50 percent of the votes in either of his two campaigns). On his first day on the job New Years Day 1966 he was faced with an illegal strike of transit workers. After first standing firm against them, he caved in to most of their demands (a pattern he was to display with all the municipal unions) conceding benefits to them that would help bankrupt the city a decade later.

During Lindsay's tenure we were "treated" to lectures about white racism and the plight of the poor by a man who if you were a white ethnic from the outer boroughs who worked hard and paid your taxes and obeyed the law, he had no use for you. Lindsay never was able to connect with the outer boroughs middle classes and they sensed his distance from them and as a result New York City during Lindsay's 8 years lost almost 1,000,000 residents. The streets became more and more dangerous, the subways were full of graffiti and full of fear and menace. Municipal serivices fell apart and ..."the sunny city of Breakfast at Tiffany's gave way to the sullen despair of Midnight Cowboy." To which I could ad the terror and identification that so many people felt watching the movie Death wish in 1974.

The turning point for many people was the disastrous school strike brought on by the Ocean Hill-Brownsville decentralization controversy in the Fall of 1968. Militatns using anti white and anti Semitic language tried to fire white teachers for no other reason then they were white. Before that was the horrible Columbia University student takeover. That was quickly followed by the failure to remove the snow from the borough of Queens in 1969. It was obvious that Lindsay did not have any managerial skills and although a lot of the problems would have been there even if Lindsay were not the mayor, Cannato shows that Lindsay's philosophy and management style helped exacerbate the situation.

Lindsay is often given credit for keeping the city "cool" during the 1960's urban riots throughout the USA. However Cannato points out that that is misleading. Although New York CIty did not suffer the fate of Newark, Washington D.C. and Detroit, we did have several "quiet" riots during Lindsay's mayoralty such as East Harlem, East New York and sporadic rioting after the death of Martin Luther King. Lindsay referred to tehm as "local disturbances" and a sympathetic press went along with him. Lindsay also paid off many community militants by putting them on the city payroll. Lindsay's relationship with the police department rank and fiel was already starained by the controversy of the Civilian Complaint Review Board which he supported but was opposed by the police and defeated in a referendum. He seemed not to notice that the problem wasn't brutal cops in minority neighborhoods, but not enough law enforcement in those neighborhoods. Cannato also points out the interesting fact that Lindsay the champion of urban schools and integration never set foot in a public school as a student, nor did his wife and 4 children.

Ironically Lindsay losing the Republican nomination in 1969 helped get him reeelected that year on the Liberal Party line. As in 1965, he won against two more conservative (Democrat and Republican) candidates who split up the anti Lindsay vote. By this time Lindsay had become so left wing after joining the Democratic party in 1971 that when he ran for the Democratic nomination for President in an abysmal campaign in 1972, it was to the left of George McGovern!

By the time his term ended in 1973 Lindsay was a beaten and exhausted man and had no energy or politcal capital left to try to run for a third term. Shortly after he left City Hall, New York City went bankrupt -a result of Lindsay's ruinous fiscal policies. He resurfaced briefly in 1980 in an attempt to gain the Democratic nomination for Senator but came in a poor 3rd. After that he dropped off the radar screen until his death in December 2000.

This book is a good read for New Yorkers who need to be reminded how far this city has come from the years of Lindsay, Abe Beame (the hapless Controller who succeeded Lindsay as Mayor and who was taken by surprise when the city almost went bankrupt), to the inept David Dinkins. The mayoralties of Ed Koch and the great Rudy Giuliani stand as a sharp contrast to the failed liberalism of John V. Lindsay.

I've read this book with passion. The first chapters I turned to were, of course, the Vincent Price movies I loved the most. What makes this book so great is for the first time, Midnight Marquee actually featured a chapter on Vincent Price's radio work. That fascinated me more than anyone else and the author of that specific chapter, Martin Grams, Jr., needs to be commended. What Gregory Mank does for horror films in the realm of documentation, Martin Grams, Jr. does for radio. That chapter alone is worth the price of the book.

Although LCW has the trophy on books about Vincent Price, this is a thoroughly interesting read. You'll agree wholeheartedly with some of the views of the various authors and shake your head sadly at some of the others, but it's always engaging. The usual MidMar high quality!

The best part about this book is the variety of Price-related topics, from a Tim Burton short to his television work. His most popular movies are covered, from either a critical stand-point to a historical one, and each and every chapter is flavored with a selection from a very large interview with Vincent Price himself, never-before published. Of all the horror stars to grace the radio waves, Price was the most versitile, as apparent in an excellent chapter about his radio performances. Not only did Vincent Price guest, star or host on a variety of American and British radio series, but comedies, movie adaptations and WWII radio relief programs are also covered. A job well done for Midnight Marquee!

Although I thought several chapters of this book covered ground that was too familiar,with several chapters being little more that plot summary, there are several chapters that are quite astute, as is the selection of stills, many never widely seen before. Undoubtedly the best feature is a long interview with Price, by Lawrence French, placed next to each film chapter under discussion. A Q & A interview segment with Price also opens and closes the book. Since each film covered is by a different author, the results, like Price's own films, vary greatly (from good to awful).

The multi-faceted pov of this book -- what with different critics reviewing the most important films of Price's oeuvre -- is both its greatest asset and biggest shortcoming. Some of the critics are wildly off the mark, some of them celebrating the mediocre and others unfairly damning minor genre gems. I caught a couple of factual errors, too, although by and large the book passed the scrutiny of a rather discriminating fan. The most enjoyable aspect of this book, for me, was the asides where almost all the guest critics confided a personal encounter with Vincent Price -- a fan letter answered, an autograph, an impromptu interview session. In fact, the mosaic of these individual encounters seemed to create a cohesive substance to the book that otherwise may have been lacking. The Lawrence French interviews were quite nice to include -- and it is worth noting that the editors did seem to go out of their way to include lesser known photographs as illustration. Also quite nice was the essay about Price's radio work -- surely one of the lesser known sides of his higly versatile career.

I love Rascal Flatts... And i promote what ever they do. I love this book and the song its self. The song and the book are both very inspirational.

I read the other reviews on this site that said that this book was good so I purchased it and read it in about 15 min. It was decent but it no where near lived up to my expectations, I was thinking that I was going to be "changed forever" but I would have gotten more out of watching 10 minutes of Dr. Phil re-runs. My advice is to "Move On" to another book.

I saw the video of I'm Movin On on TV and was struck by how the song just cut to the heart of what's wrong in so many people's lives. It was simple and profound and had catchy lyrics and I never forgot it. Today I found the companion book and although the pictures are terrible it makes a very nice gift for anyone who was deeply moved by the wonderful song.

I read this book tonight. When you feel you are truly as far down as you can possibly go--this book will let you know that you are not alone. The authors have been there, and every word of the book lets you know that. Very inspirational, motivational.

Another cookbook with print that one can't read. This print is in a light brown and extremely hard to read.

Hartford's family-run, Italian restaurant celebrates its third generation with a compilation of favorites, from Fried Eggplant, Cheese Fondue, Pepper Steak, and Green Noodles with Hog Jowls, to Fettuccini Alfredo, Duck Orzo, Pear and Gorgonzola Salad, and Conch and Squid Stew.

There's a chapter on "Stone Pies" (pizza), which includes Clam and Pancetta, and Grilled Pear with Stilton Cheese and Foie Gras, but for the most part, the food is solid and traditional and mouth watering. The sauce chapter includes an Anchovy and Caper Sauce, several wine sauces and a Gorgonzola sauce as well as pesto and tomato sauces. A must-try is a sauce no longer offered at the restaurant - a pesto made with salted peanuts.

There's cannelloni (made with real crepes), risotto and ravioli, Veal Marsala, Piedmont Beef and Chicken Cacciatore. There are also lots of family specialties and dishes inspired by customers and friends over the years. A fine addition to the series of restaurant cookbooks put together by regional food experts Jane and Michael Stern.

Collaboratively presented by Jane and Michael Stern (with recipes by Gaetano Carbone and Vincent Carbone) Carbone's Cookbook: Old-World Elegance And The Best Italian Food In The Northeast is an impressive cookbook collection celebrating popular favorites of Carbone's restaurant with utterly delectable Italian old-world culinary creations. Taste and customer-tested dishes include Gorgonzola Salad, Spinach Pie Nicola, Chicken Diavola, Salmon in Phyllo, Pumpkin Cake and more. An informative introduction offers a fascinating glimpse into the colorful history of Carbone's, and the recipes themselves each have a brief overview of the dish and its highlights in addition to extensive, easy-to-follow instructions. Carbone's Cookbook is a simply superb guide for cooks of all skill and experience levels seeking to create true restaurant-quality Italian food.