Patrick White Books

Excellent read. A new appreciation for John Adams' contribution to the founding. Once again, Jefferson comes out as the original "conniving politician."

It hasn't been hard to notice that John Adams's reputation has been undergoing a serious rehabilitation in recent years. Joseph Ellis in particular has been dedicated to revising our understandings of both Adams and his nemesis/friend Thomas Jefferson. In his PASSIONATE SAGE: THE CHARACTER AND LEGACY OF JOHN ADAMS, FOUNDING BROTHERS: THE REVOLUTIONARY GENERATION, and AMERICAN SPHINX: THE CHARACTER OF THOMAS JEFFERSON, Ellis has been challenging a long established scenario in which the arch conservative John Adams was pitted against the populist liberal Thomas Jefferson for the political destiny of America, and the hero Jefferson triumphed over the mildly villainous Adams. Ellis has been questioning whether any part of this scenario makes any sense, whether Adams is at all a villain, and whether Jefferson is nearly as heroic. He has done this not by asserting the virtues of conservativism, but whether Adams has been correctly understood at all, both by his contemporaries and by subsequent generations. This reevaluation of Adams was continued by the spectacular and unanticipated mega-bestseller by David McCullough of 2001. This process of reassessment is clearly carried forward by John Patrick Diggins. For the record, I find the rehabilitation of Adams by these and other writers to be both welcome and highly convincing.

For two hundred years, our view of Adams came very much through the lenses of his critics and opponents. The truism that history is written from the standpoint of the victors is perhaps truer of Adams than any other major political figure in United States history. Adams was said to be a closet monarchist, a favorer of aristocracy. In the face of this criticism, Adams explicitly challenged Jefferson to point to a single passage in any of his writings that endorses monarchy or aristocracy. In fact, if one reads extensively in Adams works, as argued by Ellis, Diggins, and McCullough, one finds instead a powerful and subtle critique of the dangers of the development and influence of an economic elite, placing him at the opposite extreme of Alexander Hamilton, whose ideal of government came very close to the espousal of plutocracy. Adams did hope for the emergence of natural elites, but this was based on ability and character, not on wealth. Contained in the reassessment of Adams is implied a questioning of whether Adams is the arch conservative he is often portrayed as being. The case for Adams's conservativism is based largely on his belief in monarchism, his favoring aristocracy, his support for a bicameral Congress, his looking to the past for guidance, and his opposition to the French Revolution. As these authors have shown, Adams transparently did not favor monarchy or the growth of an aristocratic class and a bicameral legislature in the United States has not resulted in the Senate being a sort of House of Lords. Today many leftist historians have found grounds for critiquing the French Revolution, and a host of leftist political figures have found inspiration for their beliefs in the past (not least Karl Marx, who was a student of the Greeks and Romans). Furthermore, Adams was hardly a passionate capitalist, and was suspicious of a life devoted to the acquisition of wealth. In fact, if you compare Adams and Jefferson to that modern conservative icon Ronald Reagan, it is hard to find many issues that Adams would not differ sharply on from Reagan, while one can see a number of points of contact between Adams and Reagan. Diggins, in fact, finds numerous points of contact between Adams's political writings and many French radical writers of the late 20th century. I will say that as a leftist myself, I find much to love in Adams's thought. I share his fear of the negative effects that economic elites have on the democratic process, his belief in the need for a strong central government to protect citizens from the pernicious influence of greed (Adams would understand my fear of deregulation), and his instincts that government rather than less or no government is a better safeguard of individual liberty. Diggins rightly states that the American president who would most closely incarnate Adams's principles would be Teddy Roosevelt, who envisioned government as the means of breaking trusts and promoting economic justice.

Of all the books in the Schlesinger series on the American presidents, this is probably the one that I found most provocative intellectually. It is a dense, rich book, in large part because Diggins focuses more on the thought of Adams than his life. Diggins is more intent on explaining Adams ideas than the various events in his life. In one sense this is a weakness as a biography, but because his discussion of Adams's ideas is so clear and interesting, it more than makes up for the lack of biographical detail. I do regret some of the sketchiness of the biographical narrative. For instance, he doesn't' deal in any detail on how Adams became either vice president or president. This contrasts sharply with the rather deep discussion of Adams's ideas. This is in line with Diggins's role as apologist for Adams. On the purely historical side, most of Diggins's effort is put into dispelling the myth that the election of 1800 represented the defeat of Federalism by Republicanism (that's Jeffersonian Republicanism, not what we associate today with the GOP). I personally found this section less interesting that the sections dealing with Adams's thought.

I would strongly encourage anyone reading this volume to consider picking up the new volume THE PORTABLE JOHN ADAMS, edited by Diggins. I completely agree with Diggins that Adams's writings are more interesting than his presidency, and that he may be the most unjustly neglected political writer in American history. This new volume contains a wide ranging collection of his writings, not merely from his theoretical writings, but his diaries and letters as well.

To start with and to avoid disappointment for those looking for something other than what this is, some of the trade reviews are just plain wrong: this is not a biography focusing on Adams childhood and youth. In fact, it isn't really a biography at all. What it is is a short, to the point but nevertheless fairly deep analysis of Adams' political thought with a particular emphasis on the politics of his presidential administration. It is written from a very positive view point (one shared by David McCullough) and from a view point that is quite hostile to Thomas Jefferson. As such it is an invaluable read for anyone interested in the development of presidential politics in America as well as anyone seeking the "rest of the story" regarding Adams, Jefferson, and their relationship.

John Adams (1735 --1826) was rescued from relative obsurity by David McCullough's popular and accessible biography. Engaging as it is, McCullough's work has little on the thought and writings of John Adams and on the impact of his thinking on American government and on Adams's own presidency. John Patrick Diggins's short biography, written as part of the American Presidents series, helps remedy this lack. It provides a deeper picture of an American political philosopher and president. Diggins is a distinguished professor of American history at the Graduate Center of the City University of New York. He has written widely on American intellectual history, including books on Abraham Lincoln, Ronald Reagan, pragmatism, and the American left.

Adams was born to a family of modest means in Massachusetts. Following graduation from Harvard, he became a lawyer and married Abigail Smith. Adams early became involved in the Revolutionary movement and served in the Continental Congress. During the Revolutionary War, Adams was abroad where he made vital contributions to the war effort in France and Holland. He helped draft the treaty by which the United States secured its independence. Adams served restlessly as Washington's vice-president and then became the second president in a close election against Thomas Jefferson, who became vice-president. After his narrow defeat by Jefferson for reelection in 1800, Adams retired to his home in Quincy.

More important than these external events, Adams was a writer and a thinker who wrote works in support of American independence in the 1770s and books expounding his political philosophy and his understanding of American constitutionalism in the late 1780s and continuing early into his tenure as vice-president. Adams continued his writings in his long retirement, particularly in a wonderful series of letters he exchanged with his former rival, Jefferson.

Diggins gives a good overview of a complex body of thought. Adams was opposed to the French Revolution and to writers such as Thomas Paine whose works helped to spearhead the American Revolution. Adams developed a philosophy based upon the unreliable and depraved nature of the human heart and its ambitions for power, wealth and success. He argued that a diverse government structured to allow for the wealthy classes and the common people, headed by a strong executive, would be the best way to restrain human greed and folly and to channel these traits for the common good. He objected to the French Revolution for its levelling tendencies -- for its attempt to obliterate distinctions, which Adams thought, were ingrained in the human desire to compete and excel, and which could not be artifically supressed. Adams also objected to the French Revolution because it was not properly succeeded with a solid institutional form of government. The American Revolution, which unlike the French revolution, was not based upon classes within the United States, and the American Constitution, with its separation of powers and strong executive were, for Adams, the antithesis of the French Revolution.

During his presidency, Adams was excoriated by his fellow-Federalist Alexander Hamilton, who found Adams too weak and vacillating and by Thomas Jefferson, who attacked what he claimed were aristocratic and monarchical tendencies in Adams. Yet Adams worked carefully and delicately to avoid a war with France, the most significant accomplishment of his presidency. He established a tax system and pardoned a group of protesters who had been found guilty of treason by opposing it. Adams strengthened the military and left the budget with a surplus at the conclusion of his presidency. During his presidency, Congress enacted, and Adams enforced, the Alien and Sedition Acts, which Diggins somewhat downplays in his account.

In 1800, under attack from both Hamilton and Jefferson, Adams came in a close third to Jefferson and Burr in the presidential race. Jefferson prevailed in the House of Representatives when Hamilton lent his influence and support. This hotly contested and little-known election marked a watershed in American politics as it marked a peaceful transition from Adams to a leader and a party with a far different stated political agenda. The American era of party politics, based upon images, perceptions, and the pursuit of power, had begun.

Diggins is not afraid to state his own positions, and he shows a marked sympathy for John Adams over his rival, Jefferson. He sees Adams as a unique example of a president who tried to govern based upon principle rather than party or power. Together with Lincoln, Jefferson, Madison, and perhaps Theodore Roosevelt and Wilson, Diggins places Adams in a small group of American presidents who demonstrated intellectual leadership and accomplishment prior to and in the Executive Office.

For Diggins, Adams's strengths as a thinker, together with his curmudgeonly disposition, led to the weaknesses of his presidency. He writes (p. 174) "At times the sin of pride cursed the Adams presidency. He often preferred to work alone, rarely sharing his thoughts or seeking the input of others as we was making up his mind. ... Adams was one of America's most solitary presidents, and the isolation of the mind, while healthy for poetry or phiosophy, is fatal in the sphere of politics.... politics dwells in the present, in bargains and distortions, naneuvers and manipulations, and other strategies of exigency that had no appeal to a thinker better at analyzing power than dealing with people."

Diggins has written a thoughtful introduction to a thinker and president who remains incompletely understood. This short book should inspire reflection on Adams and on the nature of the political system which he helped bequeath to us.

Robin Friedman

This isn't much of a biography. It gives just a quick history of Mr. Adams early life. It mainly focuses on his political and philosophical career and his feuds with Jefferson and Hamilton. It does a good job of reviewing his term as second president and the policies and precedents he initiated. This book may be a stepping stone to a more comprehensive analysis of Mr. Adams's personal and political life.

In my humble opinion, Mission: Impossible is the most imaginative television series of all time. This book is the perfect companion, giving
much information on the gestation of the series, the creator, Bruce Geller, the actors, directors, writers, producers and a list of every episode made, including the 1980's revival of the series. What is not apparent to the viewer but comes out in this history of the series, is that the series underwent a number of major crises, any one of which could have finished it off, yet it survived to last for seven seasons, while generally maintaining its quality. For example, not many know that creator Geller actually only wrote one episode, the pilot (the story of the nuclear bombs stored in the vault of a hotel in a Latin American country). Although he rode herd on the show for several seasons, he was finally forcibly ejected from the studio. Original star of the series, Steven Hill was forced to leave the show due to matters of concience.
During season three, when the finest episodes of the series were being
produced, the top writers got into a fiery dispute with Geller and quit in the middle of the season leaving no scripts ready to be filmed. Fortunately, Paul Playdon, possibly the best writer of all to work on the series was recruited at this crucial moment and saved the show. At the end of this same third season, stars Martin Landau and Barbara Bain both quit the show. In spite of all this, the show survived and more or less maintained its quality.
One of the best things in the book is that it lists the stuntmen-doubles who appeared in the show. In the first-season episode called "The Confession", there is one of the most amazing stunts I have ever seen on television....Rollin Hand (played by Martin Landau) and bad-guy Andreas Soloweichek (David Sheiner) are hand-cuffed together and jump out of a moving vehicle. According to this book, the stunt was performed by Buzz Henry and Chuck Wilcox. It is about time these two heroes got credit for doing one of the most dangerous stunts I have ever seen...as you see them rolling around on the road, it is amazing that they didn't break every bone in their bodies and have their arms dislocated. And for all this, they weren't even mentioned in the credits! Kudos to Mr White for giving them and their colleagues their due.

Now that Mission: Impossible is being brought out in DVD, it might be time
to bring this book out as a reprint.

This book is outstanding! I own 4 copies myself. If you like entertainment, or research, this is the book for you. It's full of pictures, details, information, and synopsises. I love it! A classy, intelligent book, for a classy, intelligent show!

The book delivers as promised. Filled with interesting facts about the actors, plots, creators and devices of the series. Comments critically on each show. I wish there was a multimedia CD ROM available

This book is a perfect companion for any MI fan. Includes plot details and breakdowns and actor bio's and series reviews. Everything is here. Definetly worth buying and now all i want is for Paramount to release series on DVD. Life would be perfect then.

This single book has increased my success more than any other book or tactic
That I have tried. I went from killing a buck every couple of seasons to tagging out yearly!

I own all of Greg's books and they are all well written, decent reads. There's really nothing earth shattering here though; no new info. It left me wanting more. I won't change any of my tactics based on reading this book. Find a rub line and hang out downwind of it. When the rut kicks in, all bets are off.

Greg Miller has done it again with his latest book Rub-Line Secrets. Once again he gives the reader insights into big buck behavior that will increase their chance at getting that shot of a lifetime. Miller explored the topic of rublines in his book Aggressive Whitetail Hunting, but delves more deeply into the mystery of rub lines in his latest book.

Back in the early 80's Miller first began to notice that deer rubs were more than just random places where bucks rubed the velvet from their antlers. He began to notice, through countless hours of scouting, observation and hunting, that bucks used rubs to mark travel routes and that you could in fact find rub-lines, or a series of rubs that when connected together with an imaginary line create a line from a definate point A to a definate point B.

Miller describes how, by deciphering rub-lines, you can determine a bucks prefered travel route. He also describes how you can tell which time of day a buck is using a rub line that runs either to or from a feeding area. This is invaluable information for any hunter who wants to increase there chances at taking a quality buck.

In just a few hours of reading you can learn what it took this accomplished hunter years to discover -- rub-lines hold the key to harvesting a trophy whitetail.

Greg Miller's writing is sure to inspire even the most seasoned veterans of the deer woods. Spending the last 20 or more years studying the link between big buck travel patterns and rub-lines, Miller is able to communicate his findings and strategies in a clear,concise manner. With the insights gained from Rub-Line Secrets, hunters will be better able to locate and to analyze rubs left by individual mature bucks. Most importantly, Miller relates effective rub-line hunting strategies to specific time periods throughout the season.

"The Vivisector" is a document of the life of an artist, Hurtle Duffield, a painter who can only ever communicate through his art-the problem being his art is cruel and painfully honest. The book portrays the artist as the "vivisector", and is often brilliant in doing so-chapters one and five are pure, crystalline beauty, and it is here that the artist and White are closest in what they communicate-one often wonders just how much of Hurtle is based on White himself. If you are reading White for the fist time, I would recommend starting with "Voss", arguably his definitive work. In comparsison to other works by Patrick White "The Vivisector" is certainly not going to dissapoint, though I do not think it to be in the same rank as some of his other works, such as "Voss", "Riders in the Chariot" or "Eye of the Storm", all highly recommended. Start with those three and see if you develop a taste for his writing.

Patrick White is a genius. The Vivesector is, garunteed, one of the most original pieces of fiction ever written, not to mention one of the most subtley disturbing. It is beautiful, brutal, and above all, very very sad. We should all be so lucky as to have the imagination and sheer power of invention that Peter White possessed.

The Vivisector is a novel which commands some effort on the part of the reader because it is not fast paced. White portrays the essence of the artist with brilliance. It is compelling and revealing if you have the concentration to continue past the opening few chapters. While not giving us the fairytale ending, White provides such insight into the workings of a complex individual through his relationships with others and art that a resolution is secondary to the resonance that this novel evokes.

In his longest novel, written in 1970, Nobel Prize-winning author White examines the question of an artist's creativity, where it comes from, whether it can be controlled, and what obligations, if any, accompany it. As he traces the life of Hurtle Duffield from the age of four until his death as an elderly (and successful) avant-garde artist, we see Duffield always as somehow different from his peers.

The son of a laundress and a bottle collector, Hurtle is from birth inspired, painting large images on walls as a toddler, but he recognizes at an early age that "people look down at their plates if you said something was 'beautiful.'" To provide him with opportunities which will allow his genius to flourish, his parents sell him, when he is four years old, to the wealthy family for which his mother works.

As a member of the Courtney family, Hurtle travels and becomes educated, though he continues to see rather than think. For him, the usual emotional traumas of adolescence are accompanied by unique questions of his identity, both because of his two families and also because of his view of the world. Not religious, he sees God as the Great Vivisector, and men treating each other as animals, slaughtering each other in war.

When he himself goes off to war and returns to find that the family has gone in separate directions, he devotes himself, once again, to his art, using women who love him as vehicles for his own self-expression and behaving as a vivisector himself. About his painting of one model, White says "[Hurtle] disemboweled her while she was still alive." As time passes, Hurtle continues to search for love, inspiration, self-expression, and some sort of balance in his life between his immense need to paint, his desire for personal connection, and his simultaneous need to be alone.

White's prose style is direct and concise, elegantly simple, and easy to understand. He uses colloquial speech-words like "smoodge," "sook," "slommacky," and "mumped," which must be understood from context-and reveals character and action through dialogue. The novel is old-fashioned, using a straight chronological narrative with no complex flashbacks, and it is quite romantic in its plot elements, despite its serious theme development. The biggest problem for the reader is that the main character is not very likable, nor does he inspire a great deal of empathy--a difficult character to live with for approximately six hundred pages--and I'm not sure how typical he is of the artists he is supposed to represent. Mary Whipple

There is a touch of the chaos in Fringe of Leaves. It is not boring and it is one of White's better novels. It has a good story and I will not reveal the plot beyond what the publisher reveals on the book jacket.

I have read three of White's novels: the present work, the Tree of Man, and Voss. The present novel, is more complex than Voss, and unlike Voss here the author manages to breath some life into the characters. It has a good plot that reminds one a bit of Jane Eyre, but with quite a different setting. It is set in England in the middle of the 19th century. It is about a young woman from Cornwall who marries a wealthy gentleman. They go to Australia and are caught in a ship wreck off the coast of Queensland after visiting the husband's brother in Tasmania.

White uses stream of consciousness in a mild form which seems a bit novel after reading Voss. But the thing that grabs your attention is his use of structure. He introduces the protagonist, Ellen, by having two ladies describe her for about 20 pages. The two women ride in a horse drawn carriage chatting about Ellen. You, as the reader, realize that White will be creative in what will follow in the story.

After that we move the present scene in the story. But Ellen has these flashbacks to fill in the story of her life over most of the first half.

Patrick White gained fame as the Australian Nobel prize winner in literature and as a person with a prickly or difficult personality. He was educated at Cambridge but settled and wrote in Australia after World War II. He wrote about a dozen novels and a biography.

This is a good novel and it deserves 5 stars. After a dozen pages or so it becomes clear to the reader why White is famous: he has an unusual style and he is a gifted writer. There is no question about his writing ability. We see great writing ability in Voss and that skill is present in The Tree of Man and in the present novel.

Overall, I thought it was a good book and an interesting read and an interesting book to read if you are interested in the works of Patrick White.

Read any review of Patrick Whiteýs A Fringe of Leaves and you will expect it to be an exciting tale. One that includes adventures on the sea, a frightening shipwreck, and deaths of important characters; a tale of enslavement by the wild and savage Australian aborigines, sex, and cannibalism; a tale of the heroic rescue of a damsel in distress by an escaped convict. But if you are expecting this adventurous and daring plot, you may turn away disappointed. You may read halfway through the book and not encounter more than one or two of the events mentioned in the reviews.
What is it, then, that makes A Fringe a five-star read? Why do many readers across the globe claim it to be one of Patrick Whiteýs most brilliant works?
This is not, in fact, merely a story of adventure and excitement. Itýs a mission of humanity. Ellen Roxburgh is the image of any individual with conflicting views of life within herself. This is not a story of rescue, but one of survival. It reminds us all of our own personal inner struggles and how much we have been able to overcome. It is a reminder that the loss of innocence in every child is the first step in that childýs becoming an adult.
A Fringe is also an anthem of cross-culturalism that sings true today in America, though it was set in 19th century Australia. Living here, we have all acquired or developed a certain social standard unfamiliar to our infant natures. From living among many legions of immigrants, or even from traveling abroad, we know what it is to subscribe to other social standards. A Fringe explores the effects of such an initiation in Ellen Roxburghýs character. This initiation is exhibited as the cause of her internal conflict of social behaviors. She began as a Cornish farmerýs daughter, and then developed a façade of proper civilized mannerisms when she married her aristocratic husband. She initiated another set of social standards when she was forced to live among the aborigines. Whiteýs moving depiction of this struggle will inspire and comfort the patient reader.
Patrick Whiteýs A Fringe of Leaves may not satisfy an impatient adventurer. But it surpasses its acclaim of literary merit in its brilliant demonstration of timeless humanity and cross-cultural issues.

Patrick White writes like a castaway from the Victorian era. His novels are long and full of real characters and the society and civilization of which they are a part and from which they come is equally real. Each character possesses a fully developed history, and the story as a whole progress from one point to another. And in the process people are changed by the experience. If that sounds old fashioned to you, well, it is old fashioned but those are values that some readers miss and for those readers these novels. I don't want to make White sound too antiquated though for his themes are very contemporary ,or timeless, as his themes are those that don't go out of style. This is my favorite of his novels. In A Fringe of Leaves(c.1973) White tells a shipwreck story upon the shores of an as yet uncolonised Australia. The characters who survive the shipwreck are then captured by Aborigines and must adapt to a lifestyle quite unlike the one left behind in fair old England. White uses this tale to examine civilization first by showing his characters in it and then by showing his characters as they appear stripped of it.....in only a fringe of leaves. The examination is quite a thorough and engaging one. The novel feels Victorian partly because it is set in that time (or before) but it only retains the best of that periods use of the form. White himself is Australian(and one who has won many awards, Nobel included, and to many he is the best they have so far produced) and so his study of England is tinged with an insight reserved for the ousider or in his case the postcolonial. The shipwreck portion of the book is only about 150 pages or so near the end of a 500 page plus novel. It takes patience to get to the exciting part of the story but once you are there you will want to read that section more than once. In those blindingly intense pages the characters cling to but a few delicate and sacred strands of belief to keep the savage world from totally adopting them. The aftermath portion of the book is equally interesting.

Although it is out of print and difficult to find, the Vivisector is a rare opportunity to journey through the life of a fine artist, from birth to death. It is redolent with the imagery that drives the main character's development as a painter, from the moment he is sold into a wealthy family, through the recognition of his talent as a very young boy, and the efforts made by his adoptive parents to fully develop his obvious gifts, until world recognition enables an ongoing career marked by greatness. Peter White's gentle, sculpting prose builds not only the image of the artist, but of what he sees and what he paints, and therein is the author's brilliance. With an economy of language that is at once enviable and surprising, White provides a life-portrait that invades the mind of the reader with images of what it means to give one's life to art, and to be a great artist, and live that artist's life. Parallel themes of the book follow his original and adoptive families, and particularly a sister, who, mad and confused, roams the streets with her pets, as lost in her mind as the artist is able to explore his own. The panoply of emotions is so powerful at times that the reader must take a moment to pull images and feelings together before moving on. I highly recommend this book to anyone thinking of building a life in art.

I find it difficult to assign an exact number of stars to my assessment of this book. My "enjoyment" of the book is at about a three star level, but White's ability to achieve what he set out to do is worthy of five stars... so I am rounding off to four. What did he set out to do? To show the lifelong inner workings, to lay bare the soul of this particular artist, the painter Hurtle Duffield. White achieved his goal, we're left with a brilliant portrait, his depiction of the artist is itself a work of art, the work of a genius.
But the book is difficult, slow-moving and dark. It will not appeal to those who want a quick-paced storyline... and forget the word "action" all ye that dare to enter herein. These pages will rain on you. And, like all walking in the rain, you will have to remain fairly determined to reach your destination.
But the book is not without its merits. Artists are not normal. They are eccentric. Hurtle Duffield is a born artist, and as such, from childhood onwards he is not normal. He is consistently, and increasingly, eccentric. As a child, he is keenly observant... in a sense, vivisecting everything he sees and experiences. His adoption into a wealthy family allows for the opportunity to expand his horizons, to experience the world... yet even this good fortune is no panacea, it is clouded with difficulties, with dysfunction. The fertile ground for the artistic mind to germinate.
Hurtle (as perhaps all great artists) becomes the sort of person who influences those who come in contact with him, but is unable to influence himself. His relationships are tragic and self-destructive for everyone involved. He becomes a recluse, spending the latter portion of his life living with his equally eccentric sister, the kind of guy that neighborhood kids invent legends about!
In his mansion he continues to paint his masterpieces, which are internationally recognized.
The only way that Hurtle can REALLY communicate with the outside world is through his art, and White does a superb job of showing us how detrimental this type of obsession can be for the personal life of the artist himself. It's a world few of us ever see. And it's gloomy.
At one point the narrator says that Hurtle's "repeated downfall was his longing to share truth with somebody specific who didn't want to receive it." This is a significant theme of the novel, Hurtle searching for the Ideal. And Hurtle himself cries out at one point, "I'm an artist. I can't afford exorcism."
Brilliant stuff.
Of course, White's choice of title for his book is significant. So, as I read the book, I kept asking myself... "Who IS the vivisector?" Is it "God" as Hurtle concludes in chapter 8? Or is it Hurtle himself?
How easy it is to blame God for our temperament, or for the choices we have made in life... famous artist or not!
The title is significant. White is asking something here, not giving us the answer. If Hurtle dies alone, and unfulfilled, is this God's fault? Hurtle's?
Who is the Vivisector in this novel? God? If so... who does he vivisect? Everyone? (If so, I can think of many people I know who do not seem very vivisected at all)! Does God arbitrarily pick and choose then?
Does God even exist?
If it's Hurtle, who does Hurtle vivisect? Himself? His original parents? His sister? Every woman in his life? Page 458 says "there were days when he himself was operated on." And the inference is that he (Hurtle) was the vivisector!
White leaves these questions unanswered, and to me, it was an eerie feeling, like one of those paintings with the eyes that follow you no matter where you walk in the room.
The book is worth reading, but keep an eye to the title of my review...

In his longest novel, written in 1970, Nobel Prize-winning author White examines the question of an artist's creativity, where it comes from, whether it can be controlled, and what obligations, if any, accompany it. As he traces the life of Hurtle Duffield from the age of four until his death as an elderly (and successful) avant-garde artist, we see Duffield always as somehow different from his peers. The son of a laundress and a bottle collector, Hurtle is from birth inspired, painting large images on walls as a toddler, but he recognizes at an early age that "people look down at their plates if you said something was 'beautiful.'" To provide him with opportunities which will allow his genius to flourish, his parents sell him to the wealthy family for which his mother works when he is four years old.

As a member of the Courtney family, Hurtle travels and becomes educated, though he continues to see rather than think. For him, the usual emotional traumas of adolescence are accompanied by unique questions of his identity, both because of his two families and also because of his view of the world. Not religious, he sees God as the Great Vivisector, and men treating each other as animals, slaughtering each other in war. When he himself goes off to war and returns to find that the family has gone in separate directions, he devotes himself, once again, to his art, using women who love him as vehicles for his own self-expression and behaving as a vivisector himself. About his painting of one model, White says "[Hurtle] disemboweled her while she was still alive." As time passes, Hurtle continues to search for love, inspiration, self-expression, and some sort of balance in his life between his immense need to paint, his desire for personal connection, and his simultaneous need to be alone.

White's prose style is direct and concise, elegantly simple, and easy to understand. He uses colloquial speech-words like "smoodge," "sook," "slommacky," and "mumped," which must be understood from context-and reveals character and action through dialogue. The novel is old-fashioned, using a straight chronological narrative with no complex flashbacks, and it is quite romantic in its plot elements, despite its serious theme development. The biggest problem for the reader is that the main character is not very likable, nor does he inspire a great deal of empathy--a difficult character to live with for approximately six hundred pages--and I'm not sure how typical he is of the artists he is supposed to represent. Mary Whipple

The author presents a good history of the way people have been saved since the time of the Protestant Reformation, though I think it could have had more information in this area. The author did provide enough information to accomplish his goal of showing that saying a prayer for salvation was never done until Billy Sunday, and only later by Billy Graham because the crowds were so large. He shows that saying a prayer was actually not done on purpose by previous evangelists because it would give the person a false sense of his/her true condition; that historically, only a changed life was evidence of having been saved. As a result there are many false converts today.

The author has brought into focus a growing concern in the Christian church today. Are we focusing on the wrong method of sharing the Gospel of Christ Jesus. Patrick McIntyre brings to the table a fresh look at an age old problem in the church, who are really saved and who are really lost in the church. In this growing debate this book is a must read.

This book is incredibly refreshing and honest. Finally, a man who is not afraid to speak the truth and who really immersed himself in the Inuk culture to be able to understand these Canadians. A book well worth buying as youw will want to read it over and over.

I have a whole passel of personal connections with this book. Not only did I once live on the arctic coast for several years, I've fished the mouth of the river that almost took Bill's life. I was still living in Toloyoak in 1974 when Bill White made his return trip to Cam. Bay after 40 years, though I didn't know it at the time. I've walked and crawled all over the St. Roch in its permanent berth at the Vancouver Maritime Museum and visited Pasley Bay on the Boothia Peninsula where it once overwintered in the ice. Thanks to James Eetoolook and Pat Lyall I've visited almost every landfall along the ice coast the St. Roch stopped into the summer of 1930.
Then, while living on the Sunshine Coast in 1975, the author's father, Howard White (they aren't related to Bill), loaned me a copy of Bill's original 175 page manuscript. I thought it a dry read, historically questionable in places and grossly over opinionated. In fact, when Bill asked me what I thought of it, I told him I figured his opinions were as valid as anybody else's'. Holy poop! "Opinions," he bellowed, and that was the end of that politically incorrect conversation.
Jim

LIFE IN THE OLD NORTH

"I never wanted to be a cop. Christ, I didn't want to spend my life handing out traffic tickets. I joined the RCMP so I could get up north. There was nothing more to it."
So opens this illuminating book about fours years in the life of Bill White, one of the most unlikely of cops ever to build an igloo.
Written entirely in the first person by Patrick White (no relation to Bill), this tale will captivate arctic buffs, RCMP enthusiasts, historians and everybody else interested in a first hand glimpse of "the best years of my life;" how it was in the central arctic in the early 1930s. Life in the old north.
"I decided to join up with an eye on getting to the Arctic as soon as possible." After basic training in Regina: "...really nothing more than a modified Boy Scouts program," Bill began his career herding naked Doukhobours and chasing bootleggers along the US border in Saskatchewan. He applied for arctic service and was transferred to Vancouver, there to await transport north.
Bill shipped out of Vancouver aboard the St. Roch under the command of the legendary Henry Larsen in June 1930, bound for the arctic.
The book dishes up a smorgasbord of written and visual delicacies (there are 80 some black and white photographs throughout); snapshots of the old police posts at Herschel Island, Baillie Island, Bernard Harbour, Coppermine and Cambridge Bay as the St. Roch flounders in frigid swells, scrapes through pack ice, bounces off reefs, dodges bergs and slams across sand bars.
Bill meets arctic veterans like trader Charlie Klengenberg and his son Patsy, Ikey Bolt who married Charlie's daughter Etna, Gjoa Haven Canalaska trader George Washington Porter, Tree River Hudson's Bay trader Otto Binder and Mrs. Pannigabluk Stefansson. He befriends Sam Carter, Mahik and L. A. Learmouth. In fact, he and Learmouth once liberated three quarts of alcohol from the compass of the good ship Maud, by then a half submerged derelict in Cambridge Bay, and the two'm ended up having a fine old time.
Learning to live in the country, Bill was taught how to build an igloo, hunt caribou and seals. He spent the better part of each summer in a fish camp at Wellington Bay. And he got to go trapping too, albeit illegally, bringing in $3,500.00 in white foxes one year; quite a boost to his $700.00 annual salary.
A census took him over 700 miles by dog team to count 750 northern folk widely scattered over a wide chunk of real estate. Another trip took him a thousand miles by dogs to retrieve a body and witnesses in an alleged murder case.
Returning south to another land and another life, Bill finally revisited Cambridge Bay in June of 1974, went fishing with Bill Lyall and had tea again with Angulalik and his old friend Mahik.
"On a windy autumn day, snow crunching underfoot, two active Mounties, a priest and two Inuit elders stood on Mount Pelly, the hill overlooking Cambridge Bay, with Bill's ashes." It was the fall of 2001. Constable Dean Larkin let the wind scatter Bill's mortal remains in the one place in the world where he had always felt he belonged. Bill White was home.
This may Patrick's White's first book but he's sure enough learned how to use his tools. Patrick has done a bang up job of rendering Bill's adventures imminently readable, historically sound and immensely enjoyable. Feet up beside the wood stove, Mountie in Mukluks was a fine trip for me.

Review by Jim Green

This was a great book overall. It was factual history that has been obscured and hidden for 400 years. We have been fed the stories of the "great white hope" who came to "save" the slaves from their heathenish African ways. This book clearly counters that claim by asserting that it was through the African slaves themselves that Christianity spread in the caribbean. It is well documented and purely factual. Anytime the author made a statement of opinion that wasn't quite factual he said "maybe", or "perhaps". Overall, it was an excellent book. It was somewhat of a difficult read, but it never hurts to expand your vocabulary!

This is a much needed study on the history of black evangelical Christianity in the black diaspora. As a black African evangelical Christian woman with ancestral ties to both Europe and the Caribbean, I have been informed, intrigued, amused, puzzled, saddened, challenged and overall inspired by the story of Rebecca Protten's life. The author has done a remarkably thorough job. Thank you!

Aralyn and Zac's lives collide at The Dusty Swords. But this is more than a chance meeting; there are larger forces at work, and they need the combined talents of Zac and Aralyn to tip the balance. Aralyn is an assassin, hired to kill Zac, but finds the task a little more difficult than expected. They come to a truce when they discover they are both immortal, and there is a bigger problem to be faced. Death has gone mad and started to collect the immortals souls. Can they put aside thier differences long enough to deal with the Mad Death?

If you can't handle offbeat, quirky, anarchic fantasy adventure told in a blatantly thumb-your-nose-at-convention style, stay away from this book. Otherwise, it's a great read and a refreshingly original piece of work. The authors have concocted a pantheon of strange, dangerous, curious and occasionally horny characters that is introduced to the reader in dizzying, rapid-fire prose (if you survive the party scene, consider yourself a real trooper!) These characters populate a world filled with magic, gods, immortality, time-travel, medieval weaponry, psychics, shapeshifting cats and on-the-spot editing (don't ask... just read the book.) Lots of amusing side stories and rich character flashbacks give you a glimpse into the depth that the characters and their world have been--or at least seem to be--developed. The plot (such as it is) is twisted and, at times, hard to follow although I suspect that was the intention as the story reads more like a series of interconnected skits and short stories rather than a conventional, linear plotline.

I ding the book one star short of five for an uneven first few chapters (one would reasonably expect from a first effort) but after that, the authors find a mutual voice and the book is enjoyably mind-bending.