Michael Benedikt Books

For those of us who struggle with some of the contradictions of modern religion, but for whom pure secularism is not a sufficient answer, Benedikt's book clearly articulates possibilities about our lives, our relationships to one another and our relationship to the divine. Traditional religion answers three basic questions that humans have struggled with since the dawn of history - what are the origins of life, how should we live our lives, and what happens to us after we die? Benedikt's book explores the second question, offering an inspired 'operator's manual' for life. At the same time, he leaves the other questions unexplored, preferring to allow the reader to rely on their own religious, secular or scientific explanations.

This book has given me a refreshing new way to make sense of the concept of God. Having grown up in the Unitarian church, I was given so many choices. There is good in most religions of the world, yet I could never quite find one that rang true to me. The wisdom I found in this book has given me a new tool with which to accept the various religious traditions without so much worry over the particulars. If the practice, religious or otherwise, results in good of a concrete nature actually being done, it is the practice of God (theopraxy.) It rings true, no matter what church you go to.

To see God as the youngest and weakest force in the universe, rather than the oldest and strongest, lifts eyebrows with most people I've discussed it with. You have to reverse roles; God being the child and you being the parent. God's existence "happens" or is born with every instance of good doing. Somehow, looking at it this way replaces the "fear of God" with the pull to create and nurture God. It opens a discussion among thinking people of all religions, about our responsibility in creating the good in this world.

It's a brilliant prospective and thoughtfully written. Benedikt first presents the ideas in poetry and builds upon that framework to fully illuminate each aspect of his philosophy. With all the references and footnotes, you could spin off into the depths of intellectual exploration to your heart's content. Yet, if you didn't read them at all, you would still understand the concepts and be thoroughly entertained and intrigued. You will want to keep the book around, so that you can go back and read parts of it again to reflect on.

--Judy Parker, Austin, Texas

God is the Good We Do is, by turns, profound, witty, poetic, and ultimately very practical. Thoroughly researched and beautifully argued, Benedikt's "Theology of Theopraxy" is also strikingly original. I believe this book will be discussed for many years.

Those who are uncomfortable with "God talk," but who understand that "God" is too important to be surrendered to fundamentalists should prove to be a receptive audience for God is the Good We Do. (Fans of John Shelby Spong take note.) Benedikt argues for a God that co-evolves with us, that is as dependent on us as we are on "Him," and that calls us to reverential, creative acts of good-doing. Here, God is not the all powerful originator, but rather, the "newest and weakest" force in the universe, one that is realized only when we choose to do good.

I highly recommend God is the Good We Do to both believers and non-believers alike. Rarely, have I read a work that has gotten under my skin in the way that this book has. Be prepared to be intellectually challenged for this is a serious work of philosophy and theological inquiry. Be prepared also to think about God and the potential for doing-good in an entirely new way. God is the Good We Do will lift you up, and hopefully, inspire you to do the same for those who share your world.

I picked up a copy of Michael Gibson's wonderful book at the largest exhibtion of Symbolist Art a few years ago in Toronto, and found it to be an excellent and thoroughly accesible introduction and overview of this fascinating and haunting art and the period of the "fin-de-siecle". The reader from AZ wants to know if there are any "better" books on the subject-- perhaps-- Phillipe Julien's classic "bible" of Symbolist Art, THE SYMBOLISTS and the follow-up, DREAMERS OF DECADENCE. In the early '80s Rizzoli/Skira published SYMBOLISTS AND SYMBOLISM, and in the '90's, Rizzoli published THE SYMBOLIST GENERATION, and Abrams published, THE SYMBOLISTS. All of these titles are beautifully produced, lavishly illustrated hardcovers that are unfortunately hard to find (and in good condition at a good price). Mr. Gibson's book seems to be readily available (in hc and pb), and it is truly a vaulable addition to anyone's art library, or to anyone curious about this beautiful school of art.

This book is fantastic! Seemingly hundreds of gorgeous paintings including lots of discriptions of the paintings and their meanings. Beyond that, the book puts the art work in historical perspective with an explanation of the life and times of the people who created the paintings.

Want to know the greatness of this work, just open to pages 94 and 95. Opposite each other on the two pages are the following: "The Angels of Night" by William Degouve de Nuncques in which "angels kiss in a ghostly, supernatural park" and "Satan's Treasures" by Jean Delville where "luxurious bodies lie sleeping among the seaweed and coral as Satan, with a dancer's agility, bestrides and takes possesion of them."

In my opinion, symbolism in art is one of the most interesting topics in the world. This book is a fitting tribute to the topic.

I owned this book in hardback a number of years ago and somehow lost it (probably loaned it to a friend). I was so glad to find it again. This book has great color pictures and a wide variety of well-known (and obscure) visual Symbolist artists, with an overview of other Symbolist art as well (music, poetry). I highly recommend this book over any other on the subject. If someone knows of a better book, please let me know!

Put this beautiful book of Saudek's hand-colored photographs on your coffee table and wait for an unsuspecting guest to pick it up! That is exactly how I was introduced to the equisite artistry of Jan Saudek. Rarely seen outside of Europe, Saudek's imaginative and erotic photos are at once sensual and disturbing in composition.

This is a very interesting and beautiful book

Yes, this perhaps the best anthology of surrealist poetry ever compiled. However, Rimbaud is not in it, and is not a surrealist, in any case, altho embraced by Breton through the surrealist time machine. Apollinaire being the only "precursor" appearing here. But also includes Artaud, Arp, and Daumal, who are marginally Surrealists, altho certainly influenced. Arp, of course, along with Tzara here, being of original Dada gang. Benedikt intro. and commentaries are worth the price of admission, if you can find a copy! For some reason, this is an amazingly elusive tome. Good luck.

And you thought surrealists only painted. Highballs can't compare to Verlaine burning on a streetcar at dusk in Paris; she is in the bath. The most complete anthology of surrealist poetry I've yet encountered. Rimbaud, Artaud, Reverdy, yum yum yum I eat it. Back order back order. Give me more!

After reading a number of prose-poem anthologies, I must say this is the best. I agree--"undeservedly out of print." For anyone interested in the form it is a must.

Benedikt's anthology covers both space and time in its overview of the Prose Poem. The earliest writing that might qualify as a prose poem (or that may have inspired early writers in the genre) is given, and examples abound from many countries, with top-notch translations. It is the only collection I know of, and it is wonderful.

One of the best essays relating literary deconstruction and architecture, and one of the few i have seen that has such a curious premise- That Louis Kahn was employing many of the methodologies described by derrida and that it is up to us to now discover those methodologies 30 years later. the first 25 pages of the book are a crash course in architectural deconstruction, and those pages alone make the book a must for architecture students, practitioners, and theorists. Also read benedikt's "for an architecture of meaning"- the two books create a strong couple.

Unlike poetics of bordom this one is short and sweet. Simple concept told with pictures and very little narrative. I read it on a train ride. Thanks.

Mr. Benedikt writes with good intentions but a pretentious flare that I feel undermines the very statement he is making with this book. If one is to get from the beginning of an idea to the end of that idea with efficiency and clarity, one should probably do so without excessive quotes, brackets and interstitials like "I think." This call to arms is reduced to an academic brain tease, muddles its point, and probably wastes a lot of black ink. How "real" is that? Covering one side of each bleached-white page with black ink? Excellent points are made, but there is much too much of Mr. Benedikt between each.

Even though this book was written a while ago (by fashions standard) it is completely relevant today. Benedikt nails down what I've been looking for and inarticulately talking about for a while: the "realness" of buildings. I'm tired of flash and fashion and this essay is a call to arms for architects to re-engage fundamental concepts about how our designs relate to space and time. A must read, preferably in masters years...

10 years ago I borrowed this small book to a friend who liked it so much I never saw it since. The thoughts on the essence of realness in architecture, though a reaction to postmodernism, have made a lasting impression, and I was happy to regain the book. It is a reminder that architecture sometimes, just by being there, defines a _here_ and _now_ for us. No references, no games, no pretending. Pure existance. Thoughtprovoking and challengeing.

I'm in the middle of an M.ARCH degree right now and this book has been the most influential thing I've read so far. It reminds me why I'm in school and what I'm supposed to be learning how to do. You can make sexy images and wonderful compositions that pretend to be sections and plans, or, you can think about the actual presence of the building. It's the difference between Hadid's work - which is incredibly beautiful on paper and in her paintings and yet often disorienting in real life - and Kahn's work which has fairly boring plans and sections (to me), but is powerful beyond words in actuality.

I bought this book as a gift to my dad, an avid record collector. The book was in good condition, and arrived sooner than I anticipated. My dad and I were both very pleased, thank you!

As the son of an Old School Disc Jockey my family received Albums in the mail every month from all the major labels. Between that and digging thru record bins at shops as a kid I think I've seen 60 to 75% of the art in this book. I really miss the size of those albums.

It makes me think of my first trip to Europe. Seeing the scale the masters used when creating art that we only saw in text books. It can be overwhelming. Maybe thats why most CD art "under-whelms me to this day. 4 and 3/4 square does not an impression make.

I would hope that they would create a volume two. As opposed to purchasing a competing book with some of the same artwork. Its no accident that I design covers for a living now. And yes, I design on a 12 inch spec and shrink down. The art demands it.

I wish it were more descriptive but the images of the covers make the purchase worthwile for the collector. It have does have some great images of hard to find covers from the 40's 50's and 60's.

As an absolute lover of music, I have come to miss that era of the vinyl album cover, when we rushed to the record store and purchased someone's long awaited first or follow up album. We then rushed home and played it on the old component set while reading the liner notes on the back of the album. This book reminded me of that time and many pages were a nice walk down memory lane for this music lover. I guess if I had a complaint, perhaps the authors could have divided the book up into genres as opposed to time period. It would have been nice to see various R&B, Country, Blues, Rock, Disco albums.

I will say this, when I saw it in the store- I bought all five copies and then used them for eventual gifts to people. Everytime, I have given one away, it was a hit because everyone is some form of a music lover and everyone can appreciate the vinyl era. Buy this and then buy it again.... for someone else.

This is really a great book for those who miss the great art we used to get with vinyl albums. Unfortunately, I just purchased this book on vacation, at the Hard Rock Hotel/Casino in Las Vegas for $40! And my book wasn't hardcover! I should have come home and looked for it on Amazon. Now I know that Amazon is the place for great deals.

I'm an artist,alright? I bought this book for the tattoos....Yeah...Really! Just joking. Frankly, this is a nice photo book featuring pictures of hot looking Tahitian men in next to nothing. There are guys swimming, catching fish, and just hanging out. Sure there are few women in these pictures but frankly given the amount of cheescake out there, there are plenty of books you can buy if you want to look at hot tattooed women.

I particularly like the photos towards the end in the water, and the photos with more than one guy in it are twice as cool. This book has an honored place in my art reference section. It gets 5 stars from me for the sheer hotness factor of the men.

5 stars

The "Robinet D'Amour" tattoo is so witty and amusing.

There are some good line drawings for references to study.

Page 112 does show that the tattoos were painted on and washing off in the ocean.

Aloha!

The book is quite beautifully done in a sepia coloring with artfully done photography of tatoos with a narrative of the history of tatoos throughout Tahiti and Polynesia

I purchased this book for a cultural anthropology class I took last semester. After examining the work, I then decided to use it as a source for a paper, in which I received an "A." The photographs of tattoos were both visually stimulating and inspiring, yet females should be included as a comparison for tattoo styles. Equal photographs (or any at all) of women's tattoos would indeed be a great help, and a joy to admire.

The book is good but I got disappointed with some pictures. The reason is that some of those polynesian guys arent really tattooed - those tattoos are FAKE. Pay attention and you'll see some of their designs being erased by the water. So many tattooed people there and he author decided to pick a non-tattooed guy to draw some fake tattoos just to take his pictures, probably because he found those guys handsome. What a shame.

A very good and beautifully illustrated museum guide, a bit too extensive, though, on the building itself and the story of how and why the museum was conceived. But it is the largest collection of Klee's works in the world, so if you can't make it to Bern, buy the book.