New York Books

I saw this book at my brother's house and immediately knew I had to buy it for my husband. It is a high quality reprint of an older book and has that "60's" feel. Much excellent info and lots of great pictures. Very eclectic. We got it specifically for the info on Geodesic Dome houses but there's plenty more for shelter freaks.

I bought this book when I was fourteen years old and it blew my tiny little mind! Now that I've lived a bunch of years in the design field, and I take it off the shelf, tattered from three decades of intense study, it still blows my (now even tinier) mind. Mr. Kahn has done us all a great service with this book that goes beyond architecture to higher values and has a spirit that leads by example. Sure it's got some crazy hippy parts, do with that what you will. But a deep devotion to what you make and why; it's all here. I'm thankful for this inspiring work.

Now I don't know if I want to live in a tree, a yurt, or on a converted vehicle. This makes my 'normal' house seem quite ordinary. Drat!

Throughout the 1960s and `70s, hundreds of unwashed, longhaired youth from around the world descended on the open foothills around Placitas, New Mexico, and established multiple communal hippie settlements. These youth had read of the Placitas scene in national magazines and counterculture books, or heard about it from other hippies; they were idealistic types from all around the world, and they came to the area to try to raise their own food, escape The Man, indulge in free love and mind-altering drugs, and live communally in tents, geodesic domes, adobe shacks, and experimental homes they built themselves out of plastic and scrap metal.
This book, "Shelter" documents their bizarre housing experiments in wild detail. It also documents curvaceous mud homes in Africa, riverside huts in Yugoslavia, thatched huts in Ireland, homes in busses, homes in caves, dome homes, homes made of car parts, homes carved into mountainsides, homes made of hay, tipis, barns, gypsy tents, and more.
If there's a strange kind of housing, you'll probably find it in here, and you'll probably be inspired by it.
"Building this house was more of like feeling where you went as you started working with it, you know, the material and just playing it from there," said one Placitas hippie interviewed in this book. "...It's like three dimensional sculpturing, you know, we just got into building a house out here that's like jewelry. ...OK, let me put it this way, the inspiration like as we move along through it, like I found it in [Stanley Kubrick's film] 2001, where the dude had finally split out of the satellite and was heading towards Jupiter, just as he was coming in, what they had done was they had used different types of film, infrared for one, and just taken a plane and flown over Grand Canyon at a high speed, low, what is created you know, is in some respects synonymous to what the house is, you know, and certainly our cell structure in our body is synonymous with that...."
As you can probably tell, this is not "Better Homes and Gardens" or even "MTV Cribs." It's "Shelter," and it's a trip.

I studied architecture in Australia and dragged my feet through the course. That is until a mate suggested I check out this book.
It liberated me.

Here was a bunch of common folk who met one of the most basic needs of all humanity - shelter.

So much of what we encounter in our 'western' enlightened age is alien and regulated. The materials that we commonly use in buildings & infrastruture is devoid of any life or connection with the earth. They are not in or close to their natural state. And even if they are, there is so much regulation and stipulation on how we are to use them.

But this book gives you hope, a chance to dream. It shows buildings as art forms, useful & practical but completely expressive of the owners they serve. They are not bound by regulations and conventions. This is craftsmanship not industrialisation. They are made from from natural unrefined materials which in essence connects us to the earth, which we all belong to. From dust we came, to dust we will all return. The beauty of nature is your own home.

This book is filled with ideas and ways in which people have often 'escaped' from the life draining cities to a more peacuful and harmonious way of life. It's superb photo's, hand illustrations and even the way the book is laid out are a freedom in itself. This is one book you will not regret owning and will always find pleasure returning again and again to.

What a pleasure to finally read this classic book. I grew up loving Cousteau's television programs. Ultimately, I became a diver because of Cousteau.

This is adventure writing at its best. Cousteau was always a master storyteller. That was probably more instrumental to his success than his bravery, innovativeness, or his ability as a diver. This book is a collection of Cousteau's experiences with early scuba. He masterfully captures the awe, the fear, the struggles, and the sense of adventure of the first years of scuba.

I love adventure writing, but sometimes great adventurers are not great writers. Cousteau was both. If you have an interest in Cousteau or in scuba diving, this book is a must read.

As promised in the title, in this book Jacques Cousteau reveals a new world of unanticipated beauty, fittingly described in his charming, French-influenced English phraseology. C. Blickenstorfer has done a fine job explaining the contents of this book, particularly as it relates to divers or those interested in diving history. However, The Silent World, read as a frontier narrative, also has relevance for anyone interested in our current and historical treatment of the ocean.

Humans have interacted with the ocean for ages, but before divers like Cousteau it was a blind interaction, a grasp at resources based on guesses and historical results. Cousteau's underwater observations of trawl-net fishing make clear the change of ideology his "aqualung" opened to humans. Watching the net destroy grasses on the ocean floor, Cousteau reports "Man's method of undersea farming seemed to consist of blighting the acre while reaping a small part of the crop" (48). As opposed to a history of blind grabs at ocean creatures, Cousteau's aqualung gives him the capacity to see without touching, and his narrative provides a chance for our knowledge to begin catching up to our know-how.

Another epiphany facilitated by the aqualung is a completely new set of fears and a new evaluation of old "monsters." The killers of which Cousteau writes are nitrogen in his blood and clams with shells sharp enough to sever air pipes. On the contrary, the octopus, demonized by Victor Hugo as a monster who will suck out a man's innards, shows itself as harmless and shy. Cousteau concludes his chapter "Monsters We Have Met" with a jocularity that is persistent in the work: "If none have eaten us, it is perhaps because they have never read the instructions so generously provided in marine demonology" (222).

Cousteau's reinterpretation of the ocean brings readers to the fundamental questions of humans and their environment. How are we going to think of this new space? Should we sell it as new realty? Militarize it? Farm it? Should we simply Keep Out in a quest to guard some portion of the earth against ourselves? Those from my generation who have mythologized Cousteau as a heroic conservationist might struggle with Cousteau's narrative. This is not the work of a dolphin-hugger. Cousteau writes of his exploits kidnapping an endangered monk seal pup in his desire for an aquatic hunting dog (the seal almost dies and is given to a zoo) and bludgeoning most large sea creatures who get close enough. This includes wounding a captured porpoise to watch sharks eat it alive, an act which he justifies with "It was cruelty to an animal but we were involved in a serious study [. . .] and had to carry it out" (234).
In his conclusion, Cousteau asserts "Obviously man has to enter the sea. There is no choice in the matter. The human population is increasing so rapidly and land resources are being depleted at such a rate, that we must take sustenance from the great cornucopia" (266). Both those who would agree with this 1950s assumption and those who believe this "cornucopia" has been already overexploited can gain insight from this book as a well-written record of human reactions to the new world under the waves.

As a diver for long years, I remember the old b&w tv days, when we find happiness with Cousteau's documentary films. Now it's a mirracle to be able to purchase the whole collection in DVD format.

As great a read today as it must have been over 50 years ago. Being a modern day technical and recreational dive instructor I still find this book a fascinating read and would recommend it to all ages to divers and non divers alike.

What can be said about Jacques Cousteau and his groundbreaking book that hasn't been said a thousand times? He is undoubtedly the defining figure of modern scuba diving, his books, films, and documentaries known to millions or billions. Even the name of his ship, the Calypso, is known the world over. It's a small volume, this book, just 160 pages, yet it's absolutely mandatory reading for anyone interested in what Cousteau termed "the silent world" under the surface of the water that covers 71% of our planet. The Silent World is the bible of modern scuba diving.

Jacques Cousteau himself died in 1997 at the age of 87, but the legacy of his pioneering work with diving and diving physiology lives on. It is all well documented and disseminated worldwide, thanks to this French explorer's unique combination of instinctive understanding of the world under the surface and his equally unique knack of spellbinding the world with his words and images. A total master of public relations and getting the word out, Cousteau managed to grab attention and media coverage wherever he went. Critics went so far as suggesting his media talents exceeded his actual contributions to understanding the seas.

At first it's hard to figure out why this slim volume became such a success. It's not a textbook, it doesn't cover the history of diving or even much of Cousteau's own research, and it's not an adventure book. Though Cousteau was French, he wrote The Silent World in English as he had attended American schools in his youth, widely traveled the US, and, of course, extensively lectured in his enchanting French-accented English. Yet, The Silent World clearly reveals its author's non-English origin and decidedly "non-English" thinking. The writing, while precise, often suggests that Cousteau frequently described a word or concept that existed in his native French, but did not directly translate into English. As a result, the writing at times seems a bit flowery and, well, foreign, and you need to read a sentence or paragraph two or three times to figure out what it actually means. Cousteau's liberal use of metaphors, artistic nuances, poetic concepts and words that have since fallen out of currrent language only serve to make The Silent World even more unusual of a literary treat.

Anyone looking for technical explanations, precise history, a logical flow of events, or anything one might expect from a world-famous documentary maker and researcher will not find it in this book. The Silent World is a totally unique, very compressed tale flowing from Cousteau's mind. Read half a chapter and you know the man; he's a unique combination of inspired philosophical observer and gifted researcher with uncanny intuition. While others conducted their research methodically and ploddingly, Cousteau always just seemed to know what to expect, how to behave, and what to seek and avoid to make it all seem easy. He and his close associates and friends Phillipe Tailliez and Frederic Dumas used their "aqualung" to experient liberally in sort of a "Hmmm.... this is probably what will happen, let's go check it out!" approach.

Using this, Cousteau describes the difference between "helmet divers" and the newly liberated users of their "aqualung" -- what we now know as air tanks and regulators. The book casually touches on all the principles of diving physics and physiology, the stuff we learn in our PADI and NAUI classes. He describes sea life, how it reacts, where it lives, how it behaves, and what is dangerous and what is not. They see just how deep they can go. They check how colors change. What nitrogen does and why we need recompression chambers. He offers his views on treasure hunting (not worth it; if you find real treasure authorities and hordes of lawyers will soon apprehend it). He reports on atrocities he witnessed underwater, like the needless destruction of corals and cruel killing of fish. He debunks myths of sea monsters, seeks answers to geological phenomena such as the Fountain of Vaucluse near Avignon, one that almost cost him and Dumas their lives in a pioneering effort at extreme cave diving. He describes what fish do and how they react. And sea mammals and other sea critters. Sharks remain an enigma to Cousteau as his conclusion is that you simply cannot understand or predict them.

So The Silent World relates, in 14 fascinating self-contained chapters, pretty much everything we know about diving today, 60 years after Cousteau began researching as a "manfish," all the principles we know, and it's all neatly and attractively presented in tales that always mix research with adventure. Cousteau never preaches or lectures. He just explores, pushes, interprets, and reports. Maybe Captain Jacques-Yves Cousteau was a showman as much as a researcher. If so, good for him as otherwise we may never have had the opportunity to learn from him and enjoy his remarkable insights. -- C. H. Blickenstorfer, scubadiverinfo.com

I was Sara in a production of this play. However, that is not the only reason that I love it. I first read the play for a women playwrights class that I was in, and I instantly fell in love with it. My director described it best when she said "I read the last page, gasped, then went straight back to the beginning and read it again." I feel that way every time I re-read the script. After speaking these words for months of rehearsals and performances, I still gasp. Diana Son herself said it best when she said that it isn't a play about homosexuality or violence. It's a play about love. I think it's a play about humanity. But most of all, it's a play about taking chances and finding out who you really are no matter what that means.

I might be in a minority, but I don't have any problem with the parallel time line device. The structure makes it easy to give physical cues to separate the elements, and the story unfolds evenly between the stories, so you aren't left with gaps or redundancies.

Possible challenges in a couple scene changes, mainly costume/makeup, but a good director will find a way.

Diano Son captures this touching store told in scenes that jump from present to past. Every other scene tells the present and past of two women who fall in love without the knowledge of their sexuality. When one is beat and injured by a madman in the city, they must confront their families with their sexuality. One, too unstable to be on her own, needs the other. The story is touching, melodic and wonderful.

Diano Son captures this touching store told in scenes that jump from present to past. Every other scene tells the present and past of two women who fall in love without the knowledge of their sexuality. When one is beat and injured by a madman in the city, they must confront their families with their sexuality. One, too unstable to be on her own, needs the other. The story is touching, melodic and wonderful.

This is an excelent exploration of love and what constitutes it, and a painful reminder of hate--specifically homophobia. The message here is one worth hearing, and the telling of it is skilled and a pleasure to read. Highly Recommended.

THIS BOOK IS GREAT. A BOOK ON SUGGESTIONS?? I SUGGEST YOU BUY THIS BOOK. ANYONE FROM NEW YORK WOULD LOVE THIS AS GIFT. THE AUTHORS, ILLEGAL ART, ARE REALLY ON TO SOMETHING HERE. SUGGESTIONS FROM CITY DWELLERS IN THE GREATEST CITY IN WORLD, NYC.

This book leaks out pure amazingness. The editors spared no one's beliefs, thoughts, or feelings while compiling this book-- and that's a good thing. Along with the funny things (i.e. "I suggest you give me the box"), there's whimsical advice, heartfelt thoughts, religious and political suggestions or observations, and truly thought provoking statements.

This book gives you a glimpse into the minds of strangers, and, no pun intended, pulls you out of your own box. It opens your mind to things you might not have ever even considered.

It's thoroughly enjoyable to read, and doesn't take long, so why not give it a try?

Thank you Illegal Art for giving voice to the people of New York City and beyond. The Suggestion Box is not only a mobile polling machine that
samples peoples views, it is a monitor for the state of various urban conditions.

Keep it Public.

Malachi Connolly

This book is a great collection of what those around you might be thinking at the time.
If you were sitting on the subway and could put a bubble with one sentance over everyone's head representing what they were thinking or feeling, this is what you'd come up with. The guy next to you might be saying "beer flavored nipples" and the woman across from you suggesting "Dave should stop wasting my precious time" Humorous, thoughtprovoking and entertaining, this collection of suggestions, thoughts and opinions of your fellow humans walking by you on the street and sitting next to you on the subway is worth the read and a fun experience.

Very few art books make you open your mind and think like this one does; yes there are some expected suggestions but there are also some really weird no-one-person-could-make-this-stuff-up suggestions. There is a breadth, scope, emotion and imagination that couldn't come from fiction or conventional art. It really makes you think, laugh and wonder. A truly inspiring book, that is really good for angry New Yorkers, but I think the ideas will resonate wherever you are in the world.

Scarlett Martin thinks she's in for a summer of boredom until various circumstances arise, throwing her into a position to save her family's hotel, watch after a somewhat-insane guest, help her brother get (and keep) a job, and possibly start a relationship with one of her brother's cute coworkers. Also, there's Hamlet with unicycles and dasterdly trickery. What more could you want?

I *loved* this book. Maureen Johnson is always great, but Suite Scarlett really stood out as her best book so far. Johnson has an amazing ability to remember what it was like to be a teenager and create intriguing "everywoman" characters that allow the reader to peek into a world populated by somewhat insane (but loveable) people. Johnson's particular off-beat brand of humor shows up in full force in this novel, as well. It's absolutely hilarious, with a very memorable cast of characters. Luckily for us, this is the first book in a series, so we'll be seeing more of the Martin family and all of their associates.

I thought this book was so interesting and unique. Unlike normal teenage girl books it wasn't just about drama with guys, other things actually happened while still having the teen love plot in there. Everything about the book was amazing, the characters were introduced wonderfully, making this a great start to the series. I also thought the setting and plot was so different adding to the story. Maureen Johnson is such a great writer, her style is amazing adding her own voice in. I cannot wait for the next book in the series.

I heard about Suite Scarlett about two months before it came out. The premise sounded extremely fun and I can confirm it was. The line up of characters were a unique and realistic blend. Between the witty Spencer, diva Mrs. Amberson, sweet talking Eric, composed Lola, and the bratty Marlene- Scarlett is immersed and interacts truly, madly, and deeply with them all.
The plot is surprisingly well put together, never focused on one thing. There's drama, suspense, romance, comedy. It flows realistically and entertainingly. Johnson is a magical writer and she can transform a scene into something unforgettable. If there is a sequel I will surely be buying it.

This is the very first book I have read by Maureen Johnson, and she's already one of my favorite authors. I thought this book looked very interesting when I picked it up at the library and now that I've read it I realize it was just as interesting as I thought it was, maybe even more so. By the end of the book I found myself really missing the characters because I had grown so attached to them. I LOVED this book and I can't wait for the sequel!

I actually laughed out loud a couple times while reading this book. I think it was Johnson at her best... like she is really starting to master her technique in that her voice totally shines through. I've read some of her blogs in which her personality (and amazing sense of humor) are shown and I could definitely tell that she wrote this book. That said, I really enjoyed it.

John Gardner wrote many good works, the Sunlight Dialogues being by far the best. In it he captures the range of hope and anxiety that made the 1960s such a thrilling and tormenting time to be alive. Using the small town of Batavia, New York, Gardner plunges the reader into the life of a prodigal son of the most prestigious family in town and that of the dedicated police chief. And do the intellectural sparks fly! The illustrations by John Napper are reminescent of those from the Yellow Book in the 1890s, by Aubrey Beardsley. There is a lot of subtle humor ("take a gun of, say, x caliber...") as well as dead-on observation of what makes people do outrageous things for perfectly logical reasons.
It's a roller coaster of a novel, so hang on and enjoy the ride. You might even want to go back for a second trip. I did.

The Sunlight Dialogues_ is truly John Gardner's magnum opus, equaling and perhaps overshadowing _Grendel_, the book for which he is best known.

Grossly over-simplified, it is about the tide of discontent and change that came about in the 1960s, exemplified in the stories of a handful of people who live in the small New York town of Batavia. All of these characters' stories occur at roughly the same moment, and to a certain degree overlap each other; they all come into contact with one another at some point during the novel, and may even influence each other, but every member of the book's huge cast has his or her own story and denouement.

The primary one of these stories is the one that concerns Police Chief Fred Clumly and a haggard, maniacal drifter known as "the Sunlight Man", and the happenings of this particular storyline are the catalysts for the rest of the stories. "The Sunlight Man", whom we later find out is Taggert Hodge, the black sheep of the wealthy and powerful family the members of whom comprise roughly half the other characters in the novel, is the one who sets all of these denouements into motion with his seminal return to his hometown as a magician, hippie, murderer, and poet. His has been a life of disillusionment, loss, betrayal and unattainable wants, and he returns to Batavia to set into motion a sort of romantically juvenile plot to take revenge on the world and to mewl out his disappointment with the way things are, the latter of which he does through Fred Clumly(thus is the origin of the title.)

Gardner is remarkably adept at character development; Taggert Hodge, Walter Benson and Fred Clumly are among the best painted characters of fiction I know of. The author has a gift for articulating neuroses and flaws of characters, from miniscule ticks in their everyday behavior to major personality faults. And with a cast of roughly eleven major characters, making each and every one entirely unique in their drives and hamartias is no task to be scoffed at. However, the ability of John Gardner's I perhaps envy the most is that of taking a very normal, even pretty environmental setting, and turning it nightmarish and haunting. In the novel, the dense forests and century-old barns of Batavia are made into artifacts and ruins of an almost Lovecraftian caliber of queerness, and yet it does not serve to displace the small New York town from the realm of believable reality, but rather forces you to evaluate your reality on the same dark and weird basis as his authorial voice.

The sheer scope of the novel (that of several stories cycloning around a unifying theme and plot catalyst) at times threatens to tear it apart, however; the reader at times is left wondering why the author has switched point of views when the scenario he was describing previously had yet to be resolved. This is a mere annoyance, however, and is not really something for which I believe the novel should be faulted, for the rewards of its pages are vast ones.

Due perhaps to its relatively young age, it has yet to receive the proper "classic" status it so rightly deserves, and, sadly, it may never, for "Grendel" seems to be John Gardner's only remembered and widely read work, and is perpetually overshadowing the rest of the author's material, most of which are just as powerful and memorable as tale of Beowulf's tragic nemesis. In fact, some may even be better, as I propose The Sunlight Dialogues is, but until the higher-ups at Norton and the like get around to looking at this master of fiction as a master should, I advise any and all of the people reading this to purchase this book from whatever obscure publisher it has currently been tossed to.

Back in the 70s, I became fascinated with John Gardner, starting with The Wreckage of Agathon and Grendel. When The Sunlight Dialogues came out, I was hooked. I picked up a paperback copy and just fell into the story. After that, each new Gardner was purchased in hardcover, which I could ill afford back then.

About 10 years ago, I tracked down a fine condition copy of TSG and re-read it. Bad move, though, donating the paperback to the library.

I welcomed the arrival of a new trade paperback edition of the novel, and of one or two others by Gardner until I actually had the opportunity to hold them. The reprints were done without the original illustrations, which are integral to the books. Unbelievable!

For old times sake, I bought a used Ballantine paperback copy and am re-reading it. I have no intention of buying this new edition.

So, five stars for Gardner and the book, with a one-star demerit for this compromised reprint. The new introduction doesn't add much to the book.

I recently met a recent graduate of the State University of New York: Binghamton, an English major. He had never heard of John Gardner, author of the one American post WWII novel that stands comparision in scope and quality, if not import, with Middlemarch.

This novel is unabashedly symbolic, it's many characters each representing the dichotomies of order/chaos, love/hatefulness, light/darkness. But don't think that the work is heavy handed or didactic because of the obviously metaphorical quality. Rather, it is like other great metafiction, the reading of which is akin to entering a complex microcosm, and best of all, having a bird's eye view into the lives and minds of all the many characters. The multiplicity of narratives, some dramatic, others hilariously banal, is nearly perfectly balanced so that when one character might get tiresome, we are transported into another new and fascinating life. Most impressively, all these narratives are eventually woven together in perfect and beautiful harmony. Once you enter this work, you will not want to stop. I don't advice reading this unless you have some free time, otherwise all your other responsibilities will suffer.

The 1998 Yankees championship team, which has to be seen as one of the greatest teams of all time, produced two quick paperback books by NY sportswriters after the season was over. This one, by NY Post beat reporter George King, is the superior one and the one to read if one wants to re-experience the 98 season with the freshness of how perceptions were at the time. I've gone back to it many times in the years since, and those who want to write an account of the 98 Yankees from a distance in years to come will have to utilize this book for needed reference purposes.

It makes you re-live, one-by-one, all those magical moments from the best baseball team ever (125-50).

I am not an avid reader but i read this book for school. I love the yankees and i loved this book. It was very fast reading and i would recomend it to everyone. Yankees Rule!

George King has captured the true essence of this great team. Without ever having managed,coached or signaled one player within the lines, Yankee fanatics everywhere can sense that King communicates the day to day heartbeat of this great team.

Let me just say that I picked it up and it was awsome! I didn't put it down, and know, a year after it happened, it still remains one book that I will re-read untile I basiclly knew it from memory!

This book is full of fascinating stories and discussions of the dioramas and their impact on animal drawing and animal conservation movement.
The pictures are excellent. Good for children just becoming interested in the field as well as adults. Highly recommended. mj

My father introduced me to the wonders of the American Museum of Natural History at the age of five.The Hall of African Mammals was the highlight of my first interest in the 1930`s.The dinosaur exhibit and ocean life can capture the imagination and fascination of any child.
Windows on Nature is a must have in the library of any one with an interest in Natural History.

This was a gift for my mother who visited this museum years ago. It brought back great memories we had when we went. The book was very well done.

Stephen Christopher Quinn, Windows on Nature: The Great Habitat Dioramas of the American Museum of Natural History (Abrams, 2006)

Dioramas are amazing things. Looking at them may not make it seem so, but that, more than anything, is testament to the artistry practiced by the men and women who construct them. Windows on Nature goes behind the scenes of the construction of the dioramas at the Museum of Natural History in New York City.

This is a coffee-table book, so there are a large number of excellent pictures of the dioramas themselves accompanying the text on how they were created. Both are as fantastic as they are fascinating. If you're a fan, this is a must-have. ****

There is nowhere beneath a roof, anywhere on earth, that means more to me than the great diorama halls of The American Museum of Natural History. It is stunning (and, really, rather sad) that it has taken this long for a popular book to be written about these magnificent works of art and science, but at least it has been done well. (It is also gratifying to see the book getting such good--and well deserved--reviews here.)

For many millions of people habitat dioramas have been their first taste of the beauty, calm, and nobility of wild creatures and wild places. More people are familiar with nature documentaries these days, and since I love good documentaries too I can't really complain about that. Nonetheless there are some things that habitat dioramas, when done well, can convey that the flickering image, even on an IMAX screen, just can't. No medium portrays the spacious calm of wild country, and the simple dignity of wild animals, better than dioramas. It's also important to remember the valuable record dioramas can provide: many of the dioramas in this book are of places no longer wild.

Stephen Quinn's credentials for writing this book are probably as good as anyone alive. He started as an artist for the museum and has been an important force in helping keep the medium alive through the dark years of the 60s to 80s, when across the U.S. it was frequently neglected, if not despised, by curators though not, blessedly, by the general public. Things are at least somewhat better now, and Mr. Quinn is now project manager for exhibitions at the museum. He has done a fine job with this book. The text is engaging and informative and the photos are big and beautiful.

I do have a few quibbles. He sometimes uses the word "captured" for animals collected (read killed) for the dioramas. I'm sympathetic with why he felt he had to do that, given what he's trying to do with the book and given the cultural forces with which he must contend. The moral issues behind hunting and museum collection are complex and beyond what a book like this could be expected to cover. Nonetheless, animals are never "captured" for taxidermy.

I should hasten to add that animals do not need to be killed specifically for taxidermy. Many if not most animals mounted for museums in the last few decades died in zoos, were hit by automobile traffic, etc. That generally was not a realistic option at the time these dioramas were created.

My other reservation is deeper, but harder to articulate, and I don't have a real solution to it. I also know that a lot of readers will be unsympathetic with it. I'm not completely comfortable with "behind the scenes" stuff in anything other than technical manuals, trade magazines, etc. The people who made these dioramas were of course just people but had high ideals (ideals that Mr. Quinn without question shares) and they wanted the dioramas to be about their _subjects_. His behind the scenes writing will engage people more with the medium and is interesting in itself, no argument. But how much does it really help to have people thinking "I wonder if that rock in Diorama Z is the one that employees used to go to make out behind on their lunch hour."?

I don't know the answer, and so I can't really fault the author. I also recognize that many of the reviewers here loved that aspect of the book. My hope, and I'm sure it's the author's as well, is that it will all stay in perspective. Let's hope that's right. It would be very sad to see dioramas become the subject of the kind of psychologizing and trivializing that permeates the world of "fine" art.

That said, this is a beautiful and well-written book about a noble, if often neglected, realm of art and natural history. If you've read through a long review like this one about a book on this subject, I promise you won't regret owning it.

This was given to me as a present. I had never heard of the book before, and indeed, when I told people about it, I always got strange looks. But the 52 capsules of people's lives--not all of them well-known but they're people you should know about--are fascinating. Some personal favorites are the guy who invented the U.S. zip code and the founder of an AIDS group in a small town.

An enjoyable collection of obituaries written my Robert McG. Thomas Jr. These short (2-3 page) obituaries will make you smile and wonder what would be written about yourself. Some of the people you will recognize, most you will not, but you'll gain an understanding and appreciation for their time on this planet.

Recommended

When this book was first recommended to me by a friend, I must admit I was a little put off. A book of obituaries? Now there's a fun read! Although I know there are "die-hard" obit enthusiasts out there, I certainly don't count myself among them. All of this is leading to the further admission that I ordered the book with some trepidation. I needn't have worried. This book is an absolute joy. To say that it is well-written would be an understatement of Homeric proportions as Mr. Thomas had a subtle way with words that hints at Twain (I know! I know! They're "just" obituaries, but this gentleman could turn a phrase with the best of them!). Far from being ghoulish or depressing, these 52 McGs are fascinating celebrations of everyday extraordinary lives. Most importantly, each humorous account is filled with such warmth and respect that you don't get the feeling you're snickering at some poor dead guy "behind his back". 52 McGs falls into the category of "little discoveries that you can't wait to share with other people." Heartily recommended as an addition to your library or as a gift to anyone that enjoys highly skilled writing.

Regular readers of The New York Times will have noticed that while the paper's style has a certain consistently, some of its writers stand out anyway. Robert McG. Thomas was one of those writers. He made his mark not with flash, but with grace, and he did it in the most unlikely place of all: the obituary pages. Thomas (who died in early 2000) had an eye for detail, and an amazing touch in telling not just a life story, but the story behind it. Many obit junkies picked up on and actively sought Thomas's obits between 1995 and 1999; one was Chris Calhoun, who has pulled together this excellent collection of 52 of McG's finest offerings. They aren't stories of the most famous figures who passed on during his tenure. Quite the opposite, these are often people you hadn't heard of, but who, thanks to Thomas's style, won't want to forget. He could be serious, and he could be funny. He's as good writing about the South Vietnamese officer who famously executed a Viet Cong prisoner on camera as he is with "The Goat Man." He's as insightful on the woman who helped create soap operas as he is on the Greenwich Village icon who created nothing but a hipster reputation. Every miniature profile here entertains and informs, as the cliché goes. This is a great little collection; one could only wish for more.

Read 52 MCGS: THE BEST OBITUARIES FROM LEGENDARY
NEW YORK TIMES WRITER ROBERT MCG. THOMAS, JR. . . . this
is a quirky, fascinating compilation of obituaries about unsung
heroes, eccentrics and underachievers . . . among the inclusions were Edward Lowe, the inventor of Kitty Litter ("Cat Owner's Best Friend"); Angelo Zuccotti, the bouncer at El Morocco ("Artist of the Velvet Rope"); and Kay Halle, a glamorous Cleveland department store heiress who received 64 marriage proposals ("An Intimate of Century's Giants").

Thomas never got to put these pieces into book form. He died, but a fan of his work decided that his work should live on . . . and I'm glad this was the case . . . Thomas had the gift of being able to find something worth writing about--regardless of the subject . . . my only regret is that all obituaries in loca papers aren't as interesting . .. but as long as I don't come across mine, I won't complain!

There were several memorable passages; among them:
[in an obituary about Francine Katzenbogen] Her neighbors were
not amused that she planned to house 20 cats in a converted
two-story garage she had refurbished at a cost of $100,000. The
luxurious cat complex included tile floors, climbing towers,
scratching posts, skylights and cozy, low-lying window ledges
where the cats could stretch out and watch the world outside
their air-conditioned lair.

Not content to recognize a Brooklyn accent, Mr. Berger drew
on his broader knowledge of American speech and history to
develop a theory of just how the signature "Toidy-told Street"
evolved. It was, he theorized, a result of the close commercial
connections with the pre-Civil War South in which upper-class
southern speech, primarily from New Orleans and Charleston,
SC, was imported and hammered down to a lower-class
Brooklyneese.

A man given to gross exaggeration when simple embellishment
would suffice, Mr. McCartney also claimed to have visited every

state except Hawaii: His goats couldn't swim that far, he
explained, and if they could, they'd just end up eating the grass skirts off the hula dancers anyway.

It's a nice book, well written and with a nice alternating between anedocts and game recaps with box scores and precise recollection of the Mets most important games over their history. I wish the author had expanded a bit more the final part of the book dedicated to players profiles. But overall it's a nice reading for baseball fans interested in the recent history of the game, not only Mets fans

I loved this book. If you are a baseball fan, half the fun is reliving great moments. Blatt puts you back on the field only the way a seasoned sportswriter can. There is also plenty of stuff from off the field. I love baseball and this book does it for me. Even after reading it, it's a book you can pick up and enjoy all over again. Buy it.

I just finished reading Howard Blatt's book, Amazin' Met Memories. I really enjoyed the trip down memory lane with the Mets. This book had terrific accounts of over 40 of the greatest games in Met history. My whole family have been fans of The NY Mets for many years. Since we don't live in New York anymore we can't attend the games, but this book made me feel that I was sitting on the third base line at Shea. I will keep this book in the company of every Met yearbook I own, since '62. Mr. Blatt, keep the Met books coming!!!

After realizing that Howard Blatt couldn't possibly have spent 40 years in the Mets' lockerroom, I became aware of the fact that his amazin' book only makes it seem so, and that he has astounding knowledge of both the Mets and baseball in general.
This is an enjoyable and fascinating chronicle of 40 sometimes great, often frustrating years.
Perhaps my biggest kick, however, came from Bud Harrelson's wonderful and honest introduction. It alone makes the book a great buy, and brought back for this original Met fan many fond memories of the '69 Miracle Mets.

Might this be the best Mets book -- ever? I'm old enough to recall the Mets first win in 1962, and here's that game again, one of dozens of games -- from the good years and the wishful -- with dozens of box scores (box scores! Why don't baseball books have more box scores like Blatt gives us?) and excellent game stories, with the best quotes, scene-setting and analysis you could want. I just pick this book up, read any game at random and next thing I know I'm reading three games, four, and the writing of each game-story is so crisp, evocative, witty and intelligent that nothing about it tires. It's like sitting next to a great afficianado who's seen it all and makes you feel as if you're seeing it fresh in the thrill of the original nights and afternoons. Like a time machine, you're placed in the game's seasonal situation, the immediate dugout calculations, and the cultural implications for the Blue and Orange. And then there are the chapters on best/worst trades, best players (complete with stats and rain-delay musings) and like the song says, "I don't care if I ever get back." And the topper is that he even includes "bonus" games, plucking the extraordinary from the ordinary (if there is such a thing as ordinary in baseball). Any old book can give you the World Series games but Blatt gives you it all, from the Aprils to the warm summers to the October chill. It works on every level. Not only is this a book for the deepest, most passionate fan but also the perfect volume to introduce and explain to your girlfriend, wife or kids why the Mets matter, why this is not just the Mets history but our own. Just as you can love and appreciate Wrigley without being a Cubs fan, or appreciate Jordan without being his team's fan, you can love this book even if you're not a Mets fan. If you value great baseball writing you'll become a Howard Blatt fan. As do all great authors and their classics, this book transcends its particulars to become something any fan will find fascinating and historically compelling. This book will become as dog-eared as your first scorecard and just as precious.