Literature in Art Books

Needed book for a class. I received it early and fast. I would buy from this seller again.

An incredibly thorough examination, making hundreds of original interpretations of the individual works of Duchamp as well as his body of work as a whole. Throughout I was charmed by Judovitz'sense of humor and punnery which reflects that of Duchamp. A real treat for readers, writers and artists like myself.

Dalia Judovitz has written a challenging, stimulating and exhaustively researched book on Duchamp. Her take on many aspects of Duchamp's career is fresh and imaginative, as for example in her close reading of his word play and ready-mades. After the comprehensive studies of Duchamp's ready-mades by Antin, Bauer, Caws, Compton, de Duve, James et al this is very impressive.

A key chapter on Art and Economics, cultural and economic value, as one Duchamp scholar observes, "opens up a whole new area of investigation. Her discussion of the Monte-Carlo Bond and the less well known Drain Stopper which she cleverly compares to Renaissance Art Medals will intrigue all those who are seriously interested in Duchamp.

This is a book to be read and re-read.

Unpacking Duchamp is a highly innovative and breakthrough investigation into Duchamp's transformations of the conditions and status of twentieth-century art, art making, and art viewing. Judovitz approaches Duchamp's "oeuvre" from many interrelated angles, offering detailed and illuminating analyses of individual works, all the while contextualizing her discussions through considerable research and erudition. Her mode of inquiry is at once historical and philosophical -- perfect for the study of Duchamp. Intellectually refined, the book is clear, well-written, with many dashes of humor.

Unpacking Duchamp will appeal to culture critics, historians, and theoreticians, as well as to artists and writers. It is a must read for anyone interested in the contemporary conditions of art.

With so much of the literature available on Marcel Duchamp offering accounts that neither seem to fully resonate with the evidence of the work or with the spirit of the artist himself, I find Unpacking Duchamp to be a refreshing exception. Not only does this book live up to its title's promise of showing us how to "unpack" the master's enigmatic thinking, it does so with such wit and grace that I suspect even he would tip his hat to its author. Taking a body of his work that often appears overly difficult and elusive to enter into, Ms. Judovitz does the nearly impossible, gently prying it open in ways that are beautifully lucid, accessible, and free of jargon, yet, entirely up to the challenge of her ever-moving subject. She constructs readings of the work that go beyond analysis and interpretation to become aesthetic acts in their own right --- reciprocating one that generously enable her readers to enter into and perform their own Duchampian thinking, in ways that genuinely illuminate and bring it to life. This is potentially Duchamp's most important legacy to us but an aspect of his work that often seems poorly understood by many specialists.

In short, I'm extremely glad to finally have a book like this, and I look forward to rereading it in the future. If you are considering it, I would say that it's a challenging read, but one I would strongly recommend if you are at all interested in Duchamp or just interested in exploring an extraordinary mode of thought and creativity. While I do have some knowledge of twentieth-century art, this was not really essential to my appreciation of the book. Its interest and appeal should be broad-based and not limited to either an art audience or one of largely academic interests.

I can confidently echo for you the praise the other reviewers on this page have granted The Virgin of Flames. It is the lyrical, grotesque, ecstatic, outcast story of a Los Angeles that simmers unknown to many of it's own citizens-migrants and natives alike. Chris Abani's imagery of Black, Iggy, Sweet Girl, Bomboy, Ray-Ray, Rio L.A. and East L.A., among others is quite reverential and even more than the pictures and qualities he conjures, they are brave.
As a resident of L.A. and it's environs I enjoyed those references to neighborhoods (yes, L.A. has neighborhoods), bridges, restaurants (Thai Palms-Thai Elvis) and the like that told me Mr. Abani walks these places and sees the faces and grafitti, decay and sublime magnetism that propels many of us here. He captures the mystery and possibility of Los Angeles in the radical expressionism of Black's identity experimentation, Iggy's underground venues and physical risk, Sweet Girl's bold sexuality and paralyzing trans/pro-gression. As well, the Catholic blood that run through the dusty past of Los Angeles and California, the WEST, in all it's harrowing, piercing pain. Abani's vision of a modern martyr, his many attempts at acceptance and expression reminded me of Leonard Cohen's Beautiful Losers. The artist living his life as a work of art, challenging the dominate modes through as many of his avenues of existence as possible.
Some favorite passages:
"It seemed, though, that those with a clear sense of the past, of identity, were always so eager to bury it and move on, to reinvent themselves. What a luxury, he thought, what a thing, to choose your own obsession, to choose your own suffering. Him, he was trying to reinvent an origin to bury so he could finally come into this thing he wanted to be, and he knew that if he didn't find it soon, it would destroy him, burn him up." (pgs. 123-24)
"This River was alive, this River was here before anyone knew this was a River, before anyone saw it and said, River. And its personality shaped this city. Was this city." (pg. 135)
Referring to the L.A. Mission, downtown: "It had long since lost out to Six Flags fun parks and Universal Studio's theme park. It looked sad, not in the way of a rejected wallflower, but more in the commonplace shame of a community center. A place kept open by a grudging love." (pg. 155)
Mr. Abani expresses one of the prime enigma's of Los Angeles life: "In LA we are always becoming, and any idea of a solid past, as an anchor, is soon lost here. And I mean any, that's why there is no common mythology here, that's why people come here, to get lost or to be discovered, makes no difference. It's the same coin. Other cities, like New York, have an overwhelming myth, and there is no you, as it were, without this-shall we say-New York state of mind. But here, there is none of that bulls**t, there is just you and what you see and imagine this place and your life in it to be, moment by moment. If you can't change, if you don't embrace it, you destroy yourself. The only landscape in this city is in your mind. It's very Zen..." (pg. 207)
"Ambivalence is the heart of this town. Not in spite of, but because of." (pg. 207)

I look forward to reading more of Mr. Abani's works.

This was a great read, start to finish. Daring and unexpected. Highly recommended.

I can't begin to tell you how much I enjoyed this book. Abani's characters leap from the page. It's a stunning book and I can't wait to go back and read some of Abani's earlier novels.

The Virgin of Flames is odd, complex, and accomplished. We find many of Abani's earlier themes: lost, found, and created identities, violent acts and defered release and the consequences of both, surreal consciousness, sublime sexuality and abhorent flesh, choices, imperatives, the absence in the human condition of objectivity - all ignited on the page into an escalated blaze that can keep you up nights. Abani's writing is not for those invested in happy endings. The suicides of his protagonists speed up the inevitability of a death most of us strain to delay. Yet, this is fiction, and, if you give youself over to it, The Virgin of Flames reads as a unique, disquieting voice, an extended prosepoem which will leave you changed. What other is the purpose of art?

In the Virgin of Flames Abani gives us a lyrical, daring portrait of a city and its inhabitants struggling to find their place between darkness and the sublime. Black, a mural artist, is a modern-day Hamlet searching for answers to the riddle of his past, fighting to create a whole from its fragments. This conflict is mirrored in the topography of Los Angeles, where the holy and grotesque combine in a city that reflects the struggles of post-9/11 America. Abani does not provide easy answers to any of this. Instead, he shows us characters that navigate violence and despair but retain the ability to truly care about one another and a city where, despite its urban malaise and constant veil of smoke and ash, people sing joyously in the streets. From its vivid dreamscapes to its gritty realism, Abani's novel will leave the reader breathless at the beauties and complexities of life.

Remarkable book beautifully done, for both children and adults. I'm going to purchase several more. What a find!

A wonderful little book for the youngest to the oldest to enjoy -- beautiful information about the rainforest!

A Walk in the Rain Forest is a wonderful introduction to the tropical rain forest- its plants, animals, and people. The book tells the story of XYZ- a small ant- and his journey through the rainforest. The beautiful pictures and simple text appeals to children of all ages. Additional factual information appeals to older children. This is a great book to use in the classroom to help introduce children to the wonders of the rain forest

This is a colorful look at different Rainforest creatures, written by a teenager. It follows a frog introducing animals you might meet in the Rainforest. It is not quite as good as her other book Under the Sea. I would recommend it for 4-8 year olds, it can be wordy.

I found this book in my quest for interesting books for a course I was teaching on the rainforest. At the ripe old age of 15, Kristin Joy Pratt (now Pratt-Serafini) developed this lovely book. Her illustrations take you on the journey through the rainforest with XYZ the ant. As the reader explores the ABC's, s/he also learns about the life within and the biodiversity. Words, facts and colorful illustrations will encourage discussion about this habitat and make learning the ABC's and exciting journey.

The junior version of Patricia O'Conner's WOE IS I, the best-selling grammar guide for adults, is written in a witty, fun manner for elementary to middle school grade levels and provides a lively series of examples covering both good and bad grammar. From confusing look-alike words to plural verbs which help multiply subjects, WOE IS I JUNIOR is an excellent survey adding life and fun to the topic of understanding English.

Who knew grammar could be such a good time? I like this version even better than the one for 'grown-ups'! This is a truly entertaining, informative and enriching read.

This is a terrific book to help the younger set realize that good grammar is not only important - it can be fun, too. Ms. O'Conner writes this one with the same wit and cultural relevance demonstrated in the 'adult' version. Her references to characters today's kids know and love provide an amusing and entertaining means of getting her message across - that using good English is easy ... and can be mastered without tears and fear. As a mom and a professional librarian also, I'll be recommending this book over and over.

Being a father of 2 girls, the younger 7 and the older 9, bedtime stories continue to be a compulsory nighttime ritual. I usually end the day with something from the "kids section" of the bookshelf that consist of books that I purchased when they were, erm...4 and 6, so as you can imagine, I was recently on Amazon ordering updated books for my daughters.

That's when I ran across this gem of a book.

It's a grammar book! But it's funny and doesn't get boring! Serious!

Now, granted, I'm the kind of dad who reads childrens books with wild enthusiasm, facial contortions, wide vocal range, the appropriate silly remark, sound effect or armpit tickle, but despite my whacky delivery, this book managed to keep my daughters interest focused on the prose itself! Not only that, but due to its interactive format, my daughters were even yelling out answers to the enticing questions which succeeds the seemingly impossible task of melding academics and entertainment in the dreary subject of grammar...a subject, which is about as delicious as unsweetened oatmeal.

Now there's some food for thought!

Jr. is every bit as funny and useful as the original. Although it is written for a younger reader the large print and witty illustrations (both the drawings and written explanations) also make it perfect for a Sr. reader who needs a quick reference. For example, I can never remember whether to italicize or use quotation marks for book titles. But I simply check the index under italics and quickly find my answer on page 93. What a great help! I wish I were the author (see page 56 - Wishful Thinking: Was or Were?).

If you are an actor or want to know what it takes to become a great actor, this book is a must read. I have not found any book on acting that has kept me interested and intrigued as this book. It is a wounderful read for all seriously interested in acting.

What I enjoyed were, in addition to notes on the role, the notes on what it was like to be an actor in England after growing up in apartheid South Africa. Good to meet some of the greats of theatre: "Trevor Nunn", "Chris Hampton" etc as well..

As a studying actor, I could relate to some of the mental processes that Antony Sher revealed in his book "Year of the King." Through this journal, I was able to see how Sher prepared to play the role of Richard III, his thoughts when confronted with a problem, and in what places he looked to find the answer. This book showed me the importance of keeping a record of my own progress during a production. The only thing I wish from "Year of the King" is that a video had been included to allow us to see Antony Sher's end result!

I first read Year of the King 6 years ago while studying in London. I fell in love with the works of Antony Sher on stage and was thrilled to find this book. Its been a source of inspiration and admiration since and has opened my eyes to what a different world actors live in. I am now that much closer to understanding the intricacies of performance through the words (and sketches) of Antony Sher.

This is the best book I have ever read on the process of acting. It should be required reading for every actor! It details the process that Antony Sher went through in developing the character of Richard III. It's a "fast" read because you are so eager to find out what he will do next. Highly recommended.

I bought a few books in this series for both myself and my daugher so that we could sit down to draw sth together. She is still a little bit too youg to draw sth serious, but it gave me a lot of fun.

I now have plenty of great pictures that my daughter has drawn with confidence. As time goes by she gets better and her pride is a wonderful gift to us. If your child wishes to draw it is a great way to introduce them.

This book is easy enough kids to have a good time with. Many of the drawing instructional books are too hard for elementary schoolers. My 8 year old used this book to learn how to draw a canary that looked like a canary.

Our family has other books in this series and we love them. If you think you are challenged when it comes to drawing, these are the books for you. My kids and I sit together and draw for hours, and I have as much fun as they do. I even sent some to my nephew for a gift, and he loved them as well.

Wesley Britton has written an original. In "Beyond Bond," he offers pithy insights on both fictional and real espionage, seamlessly blending discussions of movies, literature, and television. Britton has a fine spy eye, as he shows how few "degrees of separation" there are between fact and fiction. Lucid and intelligent, this is a must-read.

I get many spy books across my desk but Dr. Britton's is outstanding in the field and he has brought exhaustive research to a blend of the real and fictional. Fascinating reading!

Just finished Wes Britton's Beyond Bond. What a fantastic compendium of spy-detective related knowledge! A veritable reference book of interconnected facts about the espionage genre and a great read. Included in the tome is a chronological outline of spy fiction through out the past 100 years. Anyone who thinks James Bond was the first; but wonders where he came from needs to read this book. The best part of the book for me was understanding how life imitates art and vice versa. The actual historical events of the times many times informs art and it's great to see how that happens in this book.

Recommended to anyone who wants a greater understanding of the espionage genre; while specific enough to pique anyone's interest enough to dig further. Enjoy.

Tom Pervanje, www.spy-fi.com. Guitarist for Spy-Fi, spy-detective band.

What an amazing and compelling book about spies and spying throughout history--in literature, entertainment , and fact. This is a must-have treasure especially for all spy movie fans, and anyone else interested or fascinated by why spy?, what makes a spy, how to be a spy, and who has created the spies you know and love.

Wes Britton's 'Beyond Bond' is a must buy for any spy aficionado worth the
radio in his shoe. (Get Smart, for those youngsters amongst us.) Wes
manages to cram more interesting detail about spies into a book than one
would think possible. I have been closely associated musically with the
film spy movement, James Bond Theme, The Prisoner and others, for more than
40 years and this book proves how little I knew. Buy it and enjoy. Vic
Flick
www.vicflick.com

Guitarist on productions of James Bond, The Prisoner, Pink Panther and
others, and for many composers including John Barry, Henry Mancini, Jerry Goldsmith and
Michel LeGrand.

As with his previous works, such as FORBIDDEN KNOWLEDGE and THE INNOCENT EYE, Roger Shattuck manages to cover many topics in his new book. There is no thematic link between the essays--it is enough that Shattuck writes well about each subject. Shattuck is, along with William Pritchard, Denis Donoghue, and Andrew Delbanco, one of our most perspicacious and eloquent critics, as he is equally adept at analyzing a writer's words (such as in his essay on Mallarme's poetry) or a social phenomenon (such as in his essay "Radical Skepticisim and How We Got Here"). The clarity of his writing prompts one to question the value of the opaque prose produced by many academics in our age.

ýCandor & Perversioný collects nearly forty of Roger Shattuckýs previously published essays on a broad range of topics in education, literature and the arts. Nearly all of these essays were published after 1985, predominantly in ýSalmagundiý, ýThe New York Review of Booksý and ýThe New Republicý. It is an outstanding collection of essays by a scholar of wide-ranging, thoughtful and sober intelligence.

The collection is divided into two parts. The first part, ýIntellectual Craftsmanshipý, contains a series of polemical essays that deal with topics generally subsumed in recent years under the term ýCulture Warsý. In this part, Shattuck stakes out his position clearly in a number of essays dealing with the proper role of education and the importance of the canon. Thus, in the essay ýNineteen Theses on Literature,ý Shattuck states that, ýwe have brought ourselves to a great deal of perplexity about the basic role of education.ý This perplexity arises from the question of whether educationýs proper role should be ý[to] socialize the young within an existing culture and offer them the means to succeed within that cultureý or, in the alternative, ý[to] give to the young the means to challenge and overthrow the existing culture, presumably in order to achieve a better life.ý Shattuckýs response is in favor of the former, choosing a conservative view of educationýs role. In doing so, he essentially resolves this question consistent with a position he articulates in another of his essays, ýEducation, Higher and Lower,ý where he states that, ýsome of us have come to believe that it is possible, even necessary, to be liberal in political matters and conservationist in cultural matters.ý

These polemical pieces on the role of education are followed by a number of essays that explore such topics as ýThe Spiritual in Artý, ýHow We Think at the Moviesý (where he explores, among other things, whether thinking is possible without language), ýLife Before Language: Nathalie Sarrauteý (where he examines Sarrauteýs attempts to capture, in fiction, mental life as it exists before it ýgets caught and stifled in the rough net of conventional languageý), ýMichel Foucaultý, and ýRadical Skepticism and How We Got There.ý In all of these essays, Shattuck explores, with erudition and balance, a range of topics that have been prone in recent years to irrational polemics.

The second part of the collection, ýA Critics Job of Work,ý contains essays that are best described as literary journalism. In a series of essays under the broad title ýTracking the Avant Guard in France,ý Shattuck explores the biographies and artistic significance of a range of artists and writers, including Marcel Duchamp, Hans Arp, Sarah Bernhardt, Pablo Picasso, and Jean Cocteau. The most telling of his essays in this part of the book is titled ýFrom Aestheticism to Fascism,ý where Shattuck calmly proffers the lineage that ran from the ýantinomian, decadent aestheticismý of the ýart for artýs sakeý movement to the ýirrationalism, racism and nationalism that produced the most vicious and destructive aberration of modern timesý in Germany and Italy.

The final essays in the collection are broadly grouped under the title ýAmerica, Africa and Elsewhere.ý Here, Shattuck explores a number of writers, including Mary Settle, Arthur Miller, Octavio Paz, V. S. Naipaul, and Leopold Senghor, as well as the artistic significance of the collaboration between Stieglitz and OýKeefe. These essays are wide ranging, insightful and balanced. The last of these essays, ýScandal and Stereotypes on Broadway: The New Puritanismý, seemingly comes full circle from the opening essay of the book insofar as Shattuck reiterates his culturally conservative position in a stinging review of ýAngels in Americaý, stating that it was a play for which he was ashamed of himself for not having walked out. In Shattuckýs words, the play ýrepresents Puritanism inverted.ý

ýCandor & Perversioný reaffirms Roger Shattuckýs position as one of Americaýs foremost cultural commentators. If youýre interested in the polemics that have engulfed education, literature and the arts in the past decade, I can only say: read this book! You may not agree with Shattuck, but you will find his intelligent and careful reasoning regarding these issues a refreshing change from the often muddled and irrational posturing that characterizes much writing on these very important subjects.

"Candor & Perversion" collects nearly forty of Roger Shattuck's previously published essays on a broad range of topics in education, literature and the arts. Nearly all of these essays were published after 1985, predominantly in Salmagundi, The New York Review of Books and The New Republic. It is an outstanding collection of essays by a scholar of wide-ranging, thoughtful and sober intelligence.

The collection is divided into two parts. The first part, "Intellectual Craftsmanship," contains a series of polemical essays that deal with topics generally subsumed in recent years under the term "Culture Wars." In this part, Shattuck stakes out his position clearly in a number of essays dealing with the proper role of education and the importance of the canon. Thus, in the essay "Nineteen Theses on Literature," Shattuck states that, "we have brought ourselves to a great deal of perplexity about the basic role of education." This perplexity arises from the question of whether education's proper role should be "[to] socialize the young within an existing culture and offer them the means to succeed within that culture" or, in the alternative, "[to] give to the young the means to challenge and overthrow the existing culture, presumably in order to achieve a better life." Shattuck's response is in favor of the former, choosing a conservative view of education's role. In doing so, he essentially resolves this question consistent with a position he articulates in another of his essays, "Education, Higher and Lower," where he states that, "some of us have come to believe that it is possible, even necessary, to be liberal in political matters and conservationist in cultural matters."

These polemical pieces on the role of education are followed by a number of essays that explore such topics as "The Spiritual in Art," "How We Think at the Movies" (where he explores, among other things, whether thinking is possible without language), "Life Before Language: Nathalie Sarraute" (where he examines Sarraute's attempts to capture, in fiction, mental life as it exists before it "gets caught and stifled in the rough net of conventional language"), "Michel Foucault," and "Radical Skepticism and How We Got There." In all of these essays, Shattuck explores, with erudition and balance, a range of topics that have been prone in recent years to irrational polemics.

The second part of the collection, "A Critics Job of Work," contains essays that are best described as literary journalism. In a series of essays under the broad title "Tracking the Avant Guard in France," Shattuck explores the biographies and artistic significance of a range of artists and writers, including Marcel Duchamp, Hans Arp, Sarah Bernhardt, Pablo Picasso, and Jean Cocteau. The most telling of his essays in this part of the book is titled "From Aestheticism to Fascism," where Shattuck calmly proffers the lineage that ran from the "antinomian, decadent aestheticism" of the "art for art's sake" movement to the 'irrationalism, racism and nationalism that produced the most vicious and destructive aberration of modern times' in Germany and Italy.

The final essays in the collection are broadly grouped under the title "America, Africa and Elsewhere." Here, Shattuck explores a number of writers, including Mary Settle, Arthur Miller, Octavio Paz, V. S. Naipaul, and Leopold Senghor, as well as the artistic significance of the collaboration between Stieglitz and O'Keefe. These essays are wide ranging, insightful and balanced. The last of these essays, "Scandal and Stereotypes on Broadway: The New Puritanism," seemingly comes full circle from the opening essay of the book insofar as Shattuck reiterates his culturally conservative position in a stinging review of "Angels in America," stating that it was a play for which he was ashamed of himself for not having walked out. In Shattuck's words, the play "represents Puritanism inverted."

"Candor & Perversion" reaffirms Roger Shattuck's position as one of America's foremost cultural commentators. If you're interested in the polemics that have engulfed education, literature and the arts in the past decade, I can only say: read this book! You may not agree with Shattuck, but you will find his intelligent and careful reasoning regarding these issues a refreshing change from the often muddled and irrational posturing that characterizes much writing on these very important subjects.

This is a great book that attempts to see through our modern educational and literary theories in order to reach a more truthful and substantial way of thinking about how we educate the mind through reading, writing and literature.

This isn't a perfect book. At times Shattuck relies much too heavily on what I would call "crutch" artists (Marcel Proust and Jean Arp being two of them), and at other times he seems almost guilty of nepotism in his applauding of the work done by close friends. However, the overall success of the book is in opening the reader to entertain less mainstream or popularly-accepted ideas that eventually may bring about a better educational system and more engaging and critical readers of literature in America.

I don't feel the book is quite as revolutionary as the author expects, nor as "anti-pc" or "anti-liberal" as many readers might first suggest.

Instead, the book works best as a tool through which the reader is more fully exposed to the current debates on education, literature, and what it means for something to be "art" or for a person to be an "artist."

I was looking for some books to give my 5 year old daughter that she could do on her own with her 1st grade reading level. Well, these books definitely fit the bill. She ended up not even needing to read what it said, she simply followed the pictures and both her and her 4 year old brother (working with her) were bringing me all types of creative and neat hand animals and odd creatures they came up with their own imagination, all based off of this book. They really like it, it is good independent play time for them and for me as well! And the one thing that I really liked about the book is that if you run out of supplies, they are easy to replace, all you really need is to buy a huge bag of wiggly eyes and you are all stocked up again, or just have the kids draw their own eyes on the animals. So it's really nice that it's a "craft kit" and yet still usable to make more crafts after you run out of the supplies they provide.

My three year old and I could make these animals together all day long. It is fun for me and her. I think my older nephews and nieces would also enjoy this. It's a good buy. Get some extra eyes and pom poms and the book will last you ages.

We love this book. It has 20 different animals/aliens/bugs you can draw all from tracing your hand a certain way. The instructions are helpful and you can easily restock the supplies. All you need is some pompoms and googly eyes, though you can just draw those in if you'd prefer. My 5 year old can do these by herself and my 3 year old needs help. But I think it's fun, they do as well, and for kids who love to draw and/or do crafts, this is a great book to have!

My 8 year-old son and I just bought this book at G. R. Doddlebugs in Danville, California. We came right home and did a couple of the drawings. "It's super fun" he says. The book gives an interesting take on how easy it really is to construct good drawings.

Gerald Wood has written an incredibly inciteful book on this young Irishman who has yet to be fully recognised in his mother country. Mr Wood has guided us through the plays and scripts of McPherson and it becomes very obvious from the moment you read the first few pages that this is an author who has tremendous knowledge of the world McPherson comes from. It came as quite a shock to me to discover that Mr Wood is from the US but his ability to understand the concept of "The Irish Author" is remarkable. I can truthfully recommend this book to all students and professors of Irish theatre. It is a concise and very readable book and does not attempt to suffocate the reader with excessive analytical language. I agree with the above reader regarding "I Went Down." This film is one of the best we have ever seen produced in this country on such a limited budget. Hope to see more from MacPherson and Mr Wood in the near future. Excellent!

I found this book to be an excellent study and introduction to McPherson's work. Mr. Wood's analysis seems to be spot-on to me, and he makes some numerous insightful observations. Indeed, this Liffey Series is very good.

I'll admit that I have always found McPherson's work to be wildly inconsistent. Some of the plays are great (Rum & Vodka), while I always thought that others, particularly The Weir, were overvalued. My favorite is probably the movie I Go Down. This book does a good job of giving an overview of McPherson's work, and has made me better appreciate some of the plays that didn't originally mean much to me. In fact, Wood's book makes me curious about what the future holds for McPherson. I recommend this book highly.

I'm glad to see McPherson's work getting some study, especially in the US. I found this book to be a great introduction to the Irishman's works, and the author, Wood, seems to really know his stuff. Not only that, but the book is really readable. So much scholarship is poorly written, but this book is clear and intelligent without being confusing. For anyone interested in contemporary Irish writers, this book is a must for your bookshelf.