Robert Weaver Books

Back in the seventies, Silverberg really could do no wrong, at least by my estimation. Pretty much everything he did was an interesting bit of SF in its own right and often explored topics that SF didn't normally cover, or did it in ways that were new at the time. And he did this without being overly avant-garde or lessening the emotional impact of the work. "Nightwings" is probably overlooked because it was in its most famous form as a novella and in fact won a Hugo (and was also nominated for a Nebula) that year. Novellas are hard to release because they aren't long enough to warrant their own publication, so you either have to bundle them up in anthologies or piggyback them onto other books that may or may not have anything to do with the story in question. Fortunately Silverberg seemed to get around that problem by writing two other novellas to act as continuations of the story begun in "Nightwings". In the story he takes us to a far-future Earth that exists in the wake of a far more technologically advanced society that collapsed some centuries back. In this world humanity had fragmented into guilds, each serving their own purpose. Our viewpoint character is a Watcher, one of those who scans the skies in the event that we're invaded. Nobody really expects that to happen. But it turns out that everybody is wrong. The invasion, though, is almost beside the point. While it's the main bit in the first novella, what Silverberg does in the other two is deepen what we've already seen, exploring the intricacies of this new society and also how it reacts to sudden outside influence. In doing so, the Watcher sees humanity attempting to figure out if it has a place on its own planet, as well as trying to face its own shameful history that led it to this point. Its telling that for all the attention paid to the pretty flying people, they barely figure into the story, except to symbolize what most of us can't do. Silverberg manages to sketch out a fairly complex society in what amounts to very few pages, giving us enough for the big picture while letting us fill in the blanks, especially when it comes to the past history of Earth. He does this without making the novel six hundred pages and part of a larger trilogy. His prose, as is typical of this period, is sharp and lyrical, and he gives us plenty of nice mental images to take home: Pilgrims slouching toward renamed cities of our day, Fliers soaring into places most people can't go, people walking amongst the ruins of a past nobody can fully contemplate, decadent palaces and men both petty and bestial. It's fascinating and what other writers would spend entire series exploring, Silverberg nails it all in barely two hundred pages. And at the end we don't need to see more, he's shown us enough. Its impact isn't as great as his better known novels (it appears to share some of its themes with "Downward to the Earth") but the images it leaves us with of a future that is still recognizable even after everything is changed makes it one of his more notable works, and well worth giving your time to.

"Nightwings", an elegant collection of three novellas, shows the young Robert Silverberg at his lyrical best, telling a haunting, mesmerizing tale of a far flung Earth subjugated by the citizens of a distant planet once ruled by a brutal, imperial Earth. Told through the eyes of a "Watcher" - a former member of a feudalistic guild whose members were in charge of Earth's defense - the entire book works as a memorable tale of almost insurmountable loss, followed by redemption. Silverberg takes us on a magical journey through the streets of Roum (Rome), Paris and Jorslem (Jerusalem). Not surprisingly, the first novella, "Nightwings" - which chronicles the Roum adventures of the Watcher as the city is conquered by aliens - earned a Hugo Award.

The opening story of this collection, "Nightwings," is a classic: dealing with a decayed Earth, sexaul jealousy, a fascinating "guild" system, and alien invasion, it is one of the high points of the post-Golden Age era. The other two stories in the collection, while not terrible, do little more than flesh out the world. The major problem here is that "Nightwings" is avaiable in Silverberg's excellent collection _Phases of the Moon_; if you like science fiction at all, that book should be on your shelf. As such, it renders this collection somewaht unnecessary.

I am happy to say that this is the greatest book for science fiction lovers anywhere!! Silverberg has yet again astounded me with this awesome tale. Anyone who can read should read this book. :)

Long before Silverberg's Marjipoor Chronicles, there was "Nightwings."

This slim volume consists of three linked novellas that tell the story of a man who loses the woman he loves, and through one mistake, fails at his life's work and allows his world to be conquered. But ultimately, this is not a story about failure, but one about growth, renewal, love and redemption.

The story takes place on an Earth far in the future, one that has been brought to its knees by its own former arrogance. It is now a technological backwater in a large galaxy and has reverted to a medievalesque guild system. While some Watch the skies using intricate and decaying machinery, others Remember the world's history, and still others Dominate, using their position abusively where they will. The Fliers, descendants of genetically engineered humans fill the skies with beauty as they soar.

A Watcher loves the Flier with whom he has been travellling, but she loves another. He loses her in an invasion whose early signs he neglected to report. In the ensuing chaos, the Watcher becomes the unlikely custodian to a fallen Dominator and wanders the world trying to rebuild his life. He works as a Rememberer, learns the forgotten history at the heart of his world's downfall, and is ultimately purified, renewed, and given hope in the ancient city of Jorselm.

The story of "Nightwings" is simple and simply told, but it has a lyricism and beauty that make it memorable. Many of its themes resonate profoundly with contemporary concerns about cultural hubris, greed, and the growth of technology without the wisdom to regulate it properly. In the face of political devastation, personal redemption becomes intertwined with societal redemption.

"Nightwings" is a haunting and perceptive book. It made quite a splash when originally it was originally published, and the first part won a Hugo for Best Novella in 1969. It is good to have it available in paperback again.

A biography written by a child of someone famous often carries more than one burden, similar to the responsibility or encumbrance of the overshadowing parental fame. However, in filmmaker Jean Renoir's lovingly detailed remembrances of his Impressionist painter father, the reader gleans more than a timeline of an artist's rise to prominence. The author shares a richly detailed account of life in a culture that--in most areas of France save for Paris--was still foremostly agrarian. In this burgeoning Industrial world, Renoir tells of the rise of his father's art and the changing cultural behaviors, shifting societal patterns and troubling questions within that framework.

Beginning at Louis-Philippe's "July Monarchy" (1830-1848)-- generally seen as a period during which the haute bourgeoisie was dominant and the 1840's which saw financial crisises and bad harvests with an ensuing economic depression--we are reminded of the general and specific trends vis-à-vis how they affected the Renoir family's world. Curiously descriptive, this was a world of street oil lamps and chamber pots; anesthesia was not yet invented (nor any antiseptics); butchers slaughtered the animals on site in the back of the shop; great debates about the inferior railroad system and the overall safety of locomotives were waged (could a pregnant woman harm her unborn child by moving a such great speeds? Did the smoke and soot emitted hinder crops in nearby fields from growing). Adding to the vivid and graphic storytelling of French life are vignettes of the senior Renoir's dealings with fellow Impressionists and art dealers as well as his painting process behind some of his masterpieces. Family life, the defining touchstone of the artist as a man, is shared in humorous and matter-of-fact style ("My mother brought a great deal to my father: peace of mind, children whom he could paint; and a good excuse not to have to go out in the evening.") This book, which was first published in the mid-1950's, affords the reader a complete picture of the life of a great artist during a time of vicissitude and excitement in all facets of French society.

An affectionate remembrance of Renoir by his son, concentrating the years up to the turn of the century.

Renoir considered himself an artisan rather than an artist, disliked anything artificial, from margarine to ready-to-wear clothes, had among his friends artists, and musicians who are household names today. "It is when you have lost your teeth that you can buy the best beefsteak" he would say, and considering that he became more infirm with age, this truism affected him no less than the rest of us.

Impressionism is my favorite style of painting so I was really enchanted with this biography. Written by Renoir's middle son, Jean, Renoir, My Father not only gives us an intimate look at the life of Auguste Renoir, it gives us an intimate look at the Paris of Renoir's day as well.

As we get to know Renoir we get to know his contemporaries, too. Jean Renoir writes about Monet, Cezanne, Manet, Sisley and many other great artists. We learn many "little known" facts, such as Monet's penchant for lace and his "artful" way with the ladies.

Paris really comes alive in this book. Many of the places Renoir writes about still exist and can be visited today. This book makes any art lover's trip to Paris more meaningful whether he's a Renoir fan or not.

When reading this book, one must remember that this is not a "run of the mill" biography. This is a son writing about the father he adored. The portrait we are given is very intimate, detailed and loving. It's obvious that Jean Renoir adored his father, just as Auguste Renoir adored his family.

Ultimately, this book is a beautiful tribute from a loving son to a father who was one of history's consummate artists. If you have any interest at all in art, this is one book you simply must not pass up. The last page alone will break your heart.

We adopted "Renoir, My Father" as bedside reading while my wife was recovering from hip surgery, and (aside, perhaps, from "Goodnight, Moon,") I can't imagine better therapy. This is odd, in a way: Claude was an old man (and in pain) when Jean got to know him, and Jean was an old man when he finally brought his recollectios together. You might expect cranky, but nothing of the sort: it's a book full of sunny afterglow. Every parent would hope to be rememnbered so well.

The book might take a bit of getting used to: Jean has his own pace and his own way of telling his story. We did it in small doses and I'm not certain yet that I quite catch the rhythm. None of the rough edges have been smoothed off which, come to think of it, is just as Claude would have wanted: Jean speaks with his own voice. You have to listen well, but you know that the voice is nobody else's.

I suppose it helps to know a bit about the Impressionists to enjoy it all, but I can't say I know all that much, and I didn't feel impaired. Anyway, God bless Google: more than once, when Jean talked about a painting or a subject, I key-clicked my way to an image and completed (as it were) the picture.

Kudos also to NYRB (this time) for producing what it does not always produce: a finished physical specimen The paper feels like quality; the binding is sturdy, and there is a small but satisfying selection of pictures, both colored and black-and-white. There is even an index of sorts (I assume from the original translator) but it is patchy and incomplete. That last is a shortcoming, but forgivable in light of the book's other virtues. In the NYRB firmament, this is surely a star.

Renoir was far more than one of the world's greatest artists. He was an adventurer, a family man, a man who held interesting views on just about every subject under the sun, and finally, in his later years, a martyr to life. Although this book was written by Renoir's middle son, Jean, it is as vibrant and alive as if Renoir, himself, had just written the words in his own hand. Through this book we learn how the Renoir family left its roots in Limoges and moved to Paris. We read of Renoir's early years as a painter of porcelain and how and why he became an artist, more specifically, an Impressionist. We learn of Renoir's marriage to Aline Charigot of Essoyes, the birth of his three sons and his move to the south of France. Some of the most interesting sections of the book deal with Renoir's feelings about the effect of light on a painting and why he needed to paint in a "natural" setting. Also, most interesting are the chapters on the birth of Impressionism and Renoir's relationships with the other artists of the time, such as Monet, Manet, Sisley and Cezanne, just to name a few. Lovingly and charmingly written, this book truly brings Renoir to life and makes him accessible to all. Absolutely a must for anyone with even a passing interest in art or artists!

The other people who wrote this book are totally cool 2. They know a lot about statistics and math!! BUY THIS BOOK

GEORGE COBB ROCKS!!! He knows so much about statistics. I knows so much now. I feel like a light from above has captured me and brought me to the land of statistics. GET THIS BOOK!!! I want a good birthday present, and with your contribution I will be getting one, because Mr. Cobb is my dad and well my birthday is coming up and with each kind contribution I am closer to getting a good gift. So please I beg of you buy this book. It will help you learn about some bridge that is higher than statistics, and well that sounds like so much fun

As a math minor at Mount Holyoke (yes, my professors actually wrote the book!) I found the book extremely useful especially as an introduction to writing math reports and papers. You will too. :)

The book describes drafting program for new emerging operating system: Linux. Linux is a multitasking, multiuser operating system for PCs Sun Workstations and other computers. Up to recent time the usage of this extremely reliable and fully networked OS was limited by lack of application software which runs under it. LinuxCAD is the first CAD package developed for Linux. I purchased the book , installed LinuxCAD from the attached disks on my Linux Intel PC and used book as an instruction how to work in the program. As it appears LinuxCAD is very similar to Acad that I worked before , I was using book and the program for creating technical illustration for my University coursework. Good job folks. We need more developers like you so Linux can prevail !!! I may recommend the book and the program to anyone who would like to do any kind of drafting works on Linux. Program was pretty stable and I had not even one crash , although I may say the book is very helpful too, it helps to get up to speed with LinuxCAD very quickly.

Keeps you on the edge of your seat. It makes you wonder why someone didn't think to write about this years ago.

I purchased this book to study for the GRE in Biochemistry. The GRE says it is 33% Genetics. However, this book is so good with the biochemistry and so well written "GRE questions popped out" from what I read. If you are doing the GRE in Biochemistry or Biology reading this book is a have too. For example the night before the exam I was reading a later chapter and several exam questions were on that area the next day. After having taken the exam - I would rate this book as the number one resource to have along with Alberts 4th edition of cell biology and Watsons 5th edition of molecular biology of the gene. Also the terms in the back are heavily tested on the GRE.

Hill Street Blues may suffer a bit with the passage of time but it is still a great series worth watching. Great characters, plot lines, etc.
Hard to beat series.

This covers everything! I mean everything! Flemish watermarks, unified field theory, everything! Make space on your bookshelf.

Here is a refreshing change: a Hollywood autobiography (or sort of) written by someone who refuses to take himself too seriously. The result is one of the most engaging memoirs to have come down the pike in quite a while. Robert Clarke is almost too self-effacing; he is much better remembered than he thinks. Clarke was never a major star (not even close) but a true-blue working Hollywood actor -- and one with a keen sense of observation. Unforgettable as the dog boy in Val Lewton's Bedlam, Clarke went on to appear in Tim Holt Westerns, played supporting roles (some mere walk-ons) in more prestigious fare and starred in very early television swashbucklers. Never boring the reader with endless obscure personal details (Clarke, lone among Hollywood survivors apparently, doesn't seem to have had a horrible childhood), the author recounts working for next-to-nothing in no-budget B-movies, for Ida Lupino and Jack "just the facts, ma'm" Webb. and others too numerous to mention. He even produced and directed a couple of 1950s sci-fi flicks. All of this is recounted in engaging fashion and devoid of fake sentimentality. Robert Clarke is probably not well-known enough to have been published by Random House -- but that is their loss. Happily, horror specialist Tom Weaver brought him to Gary and Susan Svehla's Midnight Marquee, one of these technically up-to-par genre publishing houses made possible by new technology. It is due to folks like Weaver and the Svehlas that film books make such delightful reading these days.

This shows you how Antwerp was the Nashville Tennessee of the 16th century. They would have loved Toby Keith.