History Books

A great book to read especially if you are interested in building a great company.

I've done the leadership thing at Toastmasters. I've attended the 12-class Dale Carnegie Course. I've read a lot of books on leadership, and I've counseled clients at SCORE.org counseling sessions on leadership. What I've garnered from all of this on the subject of starting a business and doing it as a leader is described in this book.

If you are leading a company - are you interested in just creating short term profits, or are you looking to the long term? When you hire people are you promoting them because you have become their friend, or because they have earned it? Are you leading or just managing? Do you have passion, or are you just putting in your time? These and other topics are addressed in this book. Get it and read it. You'll be glad you did.

I was skeptical at first that this was a book by someone born with a silver spoon just looking to sell a book. But after reading through the thoughts and stories included, it's evident that Hutcheson has been on the front line throughout his career and the information included can be a benefit to any business owner and manager, particularly one looking to grow and transition ownership while facing the rough roads that will come with it.

As the world changes, a business must change or decline and die. Some do so even if their business climate has not changed at all. These businesses self-destruct due to internal incompetence or conflicts that blur their focus on what it is their business should do. James Olan Hutcheson is the grandson of the founder of Olan Mills, the world's largest photography company. After starting in the company as a telemarketer, he rose to a position of responsibility and then resigned to pursue a career as a business consultant. Therefore, while he draws heavily from the history of Olan Mills, he also uses examples from several other businesses.
His advice is sound, logical and yet not simple. Ideas such as having proteges (including relatives), work their way up through a company rather than having the reins of power simply handed to them without training is a sound yet often ignored management principle. Another bit of sound advice that is often ignored is the toleration of honest, well meaning and factually based dissent. An examination of business, political and religious history shows quite clearly that when dissent is crushed an organization loses its' health and eventually dies, sometimes rather abruptly. As greater details of the latest corporate fiasco's come to light, it is clear that those who dissented were hounded, and sometimes it continues even after they were proven correct. This is an absurd business practice, as denying the truth only makes it worse when the end finally comes.
The nine keys listed in this book will not make your business a success. Only the making of a valuable product and executing a sound business plan can do that. What it can do is increase the odds that you will do both by showing you how others have done it.

James Olan Hutcheson has written a book that should prove invaluable to owners of small businesses and other nonhierarchical organizations. Portraits of Success: 9 Keys to Sustaining Value in Any Business is a book that deserves--and will hopefully get--a large readership.

Drawing on what he has seen in his own family business' transition to second generation leadership, as well as what he has witnessed as a consultant on such transitions, Hutcheson gives the reader much to think about. As he makes each point in his "9 Keys" he illustrates it with a real-life example.

Many of the keys are basic but easy to overlook and (after having overlooked them) sometimes tricky to introduce in a static leadership environment. Yet Hutcheson is a faithful guide through the peaks and valleys.

Having suffered through encounters with ineffective organizations (my daughter's school) and reveled in being a part of an effective, on-purpose organization (my Church), I cannot stress enough how important it is for people in leadership positions to be intentional in what they do and have the ability to be life-long learners. Learning about leadership and listening to those who "have been there," like Mr. Hutcheson, is a big part of this. Nothing less is in the balance than the difference between a life of drudgery and one of joy and freedom.

My only critique of this book is one that springs from my Christianity. I feel that the missing tenth (and possibly most important key) is Spiritual giftedness. When people serve in an area they not only enjoy, but also are gifted by God to serve in, explosive results are to be had. Also, as part of the Kingdom, "Business Traditions, Myths, and Shared Beliefs" melt away in the face of the kind of common purpose given by the Great Commission and the whole history of salvation.

Bearing this in mind and also recognizing that Mr. Hutcheson's audience probably have not all partaken of the Kingdom as of yet, I have to say that this book does a darn good job as a whole. It is less of a compilation of other sources than are most other leadership books. I found it refreshing to be able to distinguish an actual authorial voice in a work such as this. Too many leadership books read like a cross between a presentation and an instruction manual.

Get this book. It is well worth the time spent reading.

"Portraits of Success: 9 Keys to Sustaining Value in Any Business" by James Olan Hutcheson is just another "how to succeed at business" book. I wish its value was more than that, but it isn't. It is neither passionate nor any more informative than its competitors.

In the business books I have read recently, I found this one lacks the authority and substance I found in others. William Pollard's "Soul of the Firm" has the authority, as he took ServiceMaster to a new level. "Values of the Game" by Bill Bradley was worth the read because of Bradley's unique metaphorical look at life. "Leadership" by Rudolph Giuliani has power because of what Giuliani has gone through. "Portraits," however, has a flaccid tone to it. I felt as if it was researched information regurgitated into book form. I felt like I was reading the kind of book which gets sold after a corporate sales seminar.

The book, as seen in the subtitle, can be boiled down to nine major points. In each, Hutcheson retells stories of business success and failures, from security company founder Richard Wackenhut to Yankees owner George Steinbrenner.

Action items accompany each chapter, and herein lay the book's greatest value. Hutcheson provides a topic sentence to lead the mini-lesson, but weakly completes the thesis in the following paragraphs.

The redundancy of subject matter mixed with a bland presentation has me suggesting to you to look elsewhere. It was not edited tightly enough to build the necessary tension and excitement. Overall, "Portraits of Success: 9 Keys to Sustaining Value in Any Business" lacks the poignancy I have come to expect from professional advancement books.

Anthony Trendl
editor, HungarianBookstore.com

I am really happy I bought this book at amazon, it was delivered really fast.

Reimagining Church: Pursuing The Dream Of Organic Christianity is without a doubt Frank Viola's magnum opus of his numerous writings on the ekklesia. In this book, church is realigned with all the "strange" descriptions and practices that we read in the pages of our New Testament. It is church as we dream about it being, a going back to her 1st century roots as intended by her Founder.

Reimagining Church is in my estimation a constructive summation of "The Best of Frank Viola." In these pages we find a more mature, polished, and cleaner compilation of reworked earlier material found in, "Rethinking the Wineskin" and "Who Is Your Covering?" and the original "Pagan Christianity" was intended as the third book in this trilogy of early church practice.

The newly released, revised, and widely read (and debated!) Pagan Christianity co-authored with George Barna, was intended to historically demonstrate how far the contemporary church has strayed from its original roots. Reimagining Church is the natural sequel where Viola paints a compelling picture "where the body of Christ is an organic, living, breathing organism."

Even though I believe I have read most of the published writings of Frank, a lot of his earlier writings often have the feel of a radical zealot--a modern John the Baptist "crying out in the wilderness"--preaching repentance from a church gone far astray from its 1st century roots. Reimagining Church has come a long way to bringing the same challenging ideas expressed in these earlier ground-breaking works, for mainstream evangelical consideration and dialog. If I had a $1000 (and the book was in Spanish--hint, hint, Frank!) I would buy every pastor, servant leader, house church worker/planter, and missionary I know a copy. It is that good.

A good idea of what is between the pages can be seen in The Table of Contents:

Preface
Introduction: Toward a New Kind of Church

Part ONE: Community and Gatherings

1. Reimagining the Church as an Organism
2. Reimagining the Church Meeting
3. Reimagining the Lord's Supper
4. Reimagining the Gathering Place
5. Reimagining the Family of God
6. Reimagining Church Unity
7. Church Practice and God's Eternal Purpose

Part Two: Leadership and Accountability

8. Reimagining Leadership
9. Reimagining Oversight
10. Reimagining Decision-Making
11. Reimagining Spiritual Covering
12. Reimagining Authority and Submission
13. Reimagining Denominational Covering
14. Reimagining the Apostolic Tradition
15. Where Do We Go from Here?

Appendix: Objections & Responses about Leadership
Bibliography
Notes

I have just finished reading Reimagining Church and what I found was that my heart was hungry -- hungry for the kind of fellowship that Frank describes, the kind of freedom from the weight of tradition that does not build my faith, the new kind of witness in the world that the organic church would give. I have always loved "church" so I find myself surprised at the journey this book and Pagan Christianity have taken me on -- surprised and now very hungry.

I have read many of Frank Viola's books and I found "Reimagining Church" to be an excellent resource for at least a couple of reasons: one, it brought together, in one place, many of the points that he has written about in other books (and he went deeper on some of these issues), and two, this book would be a great resource for a small group of people (i.e. "organic church seekers") to read together and discuss. I will be sharing this resource with others who are desiring to know more about this very important topic!

Peter Jones reviews Viola and Barna's Pagan Christianity. Here's the conclusion:
The apostle Paul gives the best definition of paganism (and do we ever need it in today's world!), namely, the worship and service of the creation rather than the Creator (Romans 1:25). Here is an explicit comparison of biblical theism and pagan monism, of the truth and the lie, of the truth of the Creature/creature distinction and of the lie of the divinity of Nature preached by the prophets of the New Spirituality. Of this true paganism, Viola seems dreadfully or naively ignorant. What could have been a significant book, as the title ambiguously suggests, by containing a solemn warning about the inroads of neo-paganism into the culture and the Church today, will alas succeed in doing the very opposite. By evacuating from the term "pagan" any real theological content, and by failing to identify the re-emergence of ancient idolatry in the form of modern mystical spirituality, this book, with the name Barna emblazoned on the front cover, will simply ensure that many will be inoculated from seeing the real thing, namely, the invasion of real "Pagan Christianity," which, as the next great impending apostasy, will threaten the Church to its very roots. From that, Viola's "liver quiver" gatherings will not save us.

Otto Prohaska was a Czech serving in the Austrian navy at the outbreak of World War I. He is given command of a U-boat in the Adriatic at the beginning of the war, and we follow his ups and downs, some harrowing escapes, romantic interludes, and humorous incidents through four years of hard fighting. The story starts as an aged Prohaska, living in a retirement home in Wales, recounts the story of his life as an Austro-Hungarian naval officer. Prohaska briefly recounts his early life in a small Czech village and some of the silliness as to whether it should have a German, Czech, or Polish name. From there he briefly discusses his early training then his first U-boat command at the outbreak of WWI. Most of the novel examines Prohaska's voyages up and down the Adriatic in the small submarines, with a few excursions into the Mediterranean. He attacks (and is hunted by) Italian and French warships in the Adriatic, gets saddle with a camel from a Bedouin tribesman in Libya that is a gift for the Emperor, and is stranded in Haifa frantically trying to repair his U-boat before the approaching British take the city from the Turks.

There is a lot to like about this novel. As in the best of historical fiction, this is a history lesson of first order. As you read through this book you'll learn a great deal about life in the Austro-Hungarian empire before its end. The conglomeration of languages and cultures, the complex political dynamics between the Austrian and Hungarian leaderships, and Prohaska's view as somewhat of an outsider (he's a Czech) make for an interesting backdrop. You'll also learn a great deal about naval operations in general, and U-boat operations in particular, in the Adriatic during the Great War. Every student of the Great War knows about Jutland and the Battle of the Dogger Bank, but there was certainly no lack of action to the south. You'll also learn a bit about the technical details of the early submarines. It took a brave man to get into one of those cans. Biggins' main character has a strong sense of duty that is applicable to military service today as it was in the Great War. One may think that a given war is stupid, but that doesn't change one's duty. The ending is particularly well done as it is clear that the Austro-Hungarian empire is doomed and Prohaska's world and the monarchy that he was sworn to defend are collapsing.

The reason that I give this novel only four stars is simply that in my opinion it isn't as interesting or as well developed as the best in this genre, the Flashman series, by George MacDonald Fraser. Prohaska isn't all that well developed as a character and is somewhat of a cliche of a naval officer. Additionally, Biggins attempts at humor pale in comparison to some of the ridiculous antics of Harry Paget. Finally, there is a level of historical detail in Fraser's books that is absent in this novel. Even though this falls short of the best of the genre, I wouldn't hesitate to recommend this story to anyone with an interest in historical fiction, particularly with a military bent.

I wish to say "Thank You!" to reviewer Douglas Woods who brought this book to my attention. This is an absolutely delightful story about Austro-Hungarian Naval Officer Ottokar Prohaska who captained submarines for the Hapsburg Empire during the first World War. I really enjoyed this book and found it fascinating in many ways. I've always been interested in the Austro-Hungarian Empire but there is remarkably little fiction on the empire and I must say I learned a lot reading this book. Yes, the empire had a submarine service and our protagonist captains several submarines, but like most things in the Empire the service was a shambles and our friend Prohaska has many challenges ahead of him.

The novel was not as light-hearted as the title might give you reason to think, and it certainly had its sad parts too, but it was a delightful story told with heart, whimsy, and an engaging sense of self-deprecation at times. Told as a series of recollections by the 100 year old Prohaska while in a nursing home in Wales, the book is a wonderful story of how a rural, landlocked Czech boy rises to become a submariner in the first World War and about the trials the service, his ship, and his crew faced during that conflict.

The book also did a wonderful job of showing how the Empire worked, why it worked, and why it ultimately fell apart. The Empire had eleven different nationalities, all speaking different languages, and ethnicities that are still slaughtering each other today. The story of the Empire and how it bound those groups together cohesively for as long as it did was simply fascinating. I whole-heartedly recommend this book, and am eagerly waiting for the second book to arrive in the mail. The good news is that there are four books in this series, but that bad news is that it doesn't look like Mr. Biggins wrote anything else. He certainly deserves recognition for this series and a wider readership.

Biggins has done a fantastic job capturing the complexities of the Austro-Hungarian Empire during its twilights years. Years ago, I read a memoir of a WWI Austrian officer who fought in the trenches and his memoir presented many challenges that strikingly paralleled the same challenges of leadership that Prohaska faces in this work. In addition, Biggins depiction of the Hungarian nobility in Transylvania was brilliant--though I found it to be a striking odds with the description of what Patrick Leigh Fermor encountered when passing through the region a decade later. Which makes me wonder if Fermor's memories are romanticized or Biggins was trying too hard to bring out their differences (Romanian and Hungarian)? But that aside, this book was fantastic. For any student of Eastern European history, I recommend this gem.

Both John Biggins and Ottokar Prohaska are to be treasured!! Biggins style is to educate the reader and keep him laughing at the same time - only George MacDonald Fraser and Flashman are rivals in this genre'. Biggins has made history memorable and taught me things that I did not think even existed. Good job, John....Good job!!

I've always been confused by the Sound of Music. Why would a land-locked country like Austria need a naval captain? This, and many other little-known aspects of the first world war are explored in this extraordinary novel.

Set primarily in the Adriatic sea during world war I, the story follows the career of naval officer Otto Prohaska. The Balkan coast at that time was part of the Austro-Hungarian empire. Prohaska, a native of Czechoslovakia, also a part of the empire at that time, experiences a series of adventures which are in turn, poignantly tragic and laugh out loud hilarious. Biggins weaves a story full of pastiches and events which are fascinating if only because the setting is relatively unknown here in the west.

However, what makes this novel succeed is not simply a well-researched, skillfully written story about an interesting subject. That would simply be a Tom Clancy-style book. What elevates this to the Patrick O'Brian level is the depth of the protagonist's character. Dismayed by the decay of the Hapsburg dynasty, he clings to the structure provided by the military life. That contributes greatly to the richness that makes this book such a rewarding read.

After reading the reviews I knew this book would be great... It greatly surpassed my expectations. If you are a Star Wars fan, you should order it right now!

I bought this book for my husband. He really loves it. Its like a scrapbook collection of 30 years of Star Wars. Very neat! I was disappointed because the shipping caused the book to be dented in the corners. I know its a heavy item, but Amazon should make sure to accomodate.

My husband LOVES all things 'Star Wars' and I don't think there's a single day in his life that goes by without him making at least one daily Star Wars reference. This collection has so much to offer. So many little gems that will surprise even the biggest Star Wars fan. It's so masterfully crafted and quite a show piece! It's like a modern heirloom, and sure to provide hours upon hours of enjoyment.

STAR WARS VAULT BY STEPHEN J. SANSWEET AND PETER VILMUR: Celebrating it's thirtieth anniversary this year, the Star Wars franchise is in a similar predicament to the time after the release of Return of the Jedi: no plans for future movies, apart from a continuing animated series of the Clone Wars. By the same token, fans are in the same state with little to nothing to look forward to. Thankfully, to commemorate the third decade of the blockbuster, internationally bestselling movie series, there's the Star Wars Vault: "thirty years of treasures from the Lucasfilm archives with removable memorabilia and two audio CDs.

This is not just a nicely decorated picture book in a sturdy slipcase; it's an experience, a journey that one is immediately taken one when they open up the cover. Star Wars Vault is part of the new style of picture being published, like that of 1776: The Illustrated Edition, where the book goes beyond glossy, colorful pictures and photos, but incorporates all types of media, and with the rich heritage of the Star Wars franchise which literally revolutionized the world with merchandising, Star Wars Vault is a gift that would make any fan of the series, no matter how old or how much of a fan, respect you greatly in your choice of gift.

Sansweet keeps his story short, taking up little room on the page, and leaving the evidence reproduced here in various forms to speak for itself. He begins with the fascinating tale of how the first movie, Star Wars Episode IV, barely made it to release, and with little support, until the enormous numbers of audience members proved that the studio executives were very wrong. While Sansweet spends less time on the development and release of the rest of the movies, the experience as one turns the pages and relives the history of the Star Wars empire is unlike that of any other. With unique photos, movie posters, and a plethora of pictures from around the world, there are innumerable insets and handouts of unique items like patches, stickers, collectible postcards, film cells, and even two audio CDs with a variety of different pieces ranging from the mid-eighties radio ads, to special interviews, to a recording of the song sung by Carrie Fisher for the infamous Star Wars Holiday Special.

While the price for Star Wars Vault is considerable, no one will regret it when they turn the page and discover the world within. It is a book that will immediately be quickly read, the stickers and patches possibly used, and added to the shelf to be rediscovered over and over.

[...]

My 8-year-old, who is a huge Star Wars fan, loves this book. Unfortunately, because it's so cheaply made, it fell apart shortly after he got it. The pages have completely separated from the hard cover, probably because the materials/methods used in the binding are too flimsy. For a more-than-$50 "collector's edition," the publisher should have made the book to last more than two weeks. It will cost me $85 to have it repaired.

I recently inherited my uncle's book collection and going through the boxes, I found this stack of 5 books and once I realized what it was I couldn't control my excitement!! I've made no attempt to read straight through but each night I pick up a volume and read about he all the Doctor says concerning the Trinity, the Eucharist, the Immaculate Conception (though he is not entirely accurate on that point), Passions, Virtues, and more!! This is truly one of the greatest additions to my library.

The clarity and insight of the Summa is unrivaled in philosophical theology. St. Thomas is dedicated to finding the truth and attaining happiness. He pursues the truth with formal logic and applies Aristotle, Scriptures, Church Fathers et alia to reach solid conclusions which make perfect sense. Like Euclid, Aquinas requires some postulates, i.e. the existence of God and God's revelation of Himself. Positing these, he builds a solid invulnerable theology which must convince any intelligent reader.

This is the definitive work of Catholic theology and is still studied in all the divinity schools. I had the two-volume set included in the Great Books of the Western World. It isn't the sort of work one goes to for a little light reading, obviously, but as an exercise in applied classical logic as well as theology, it is one of the most important ever written.

Thomas is important to both mystical and non-mystical traditions within Christianity, and for me the most interesting aspects of the work are where he attempts to deduce the various aspects and attributes of God. This was a popular exercise in the area of natural philosophy, and even mathematicians with a religious bent, such as Newton and Leibnitz, had a go at it, Newton referring to God in his Principia (his mathematical theory of universal gravitation) as "...an infinite and elastic spirit." And of course Leibnitz is famous for the ontological argument for God's existence.

In addition, Thomas was also concerned with everyday life and ethics and morality, with a person's natural and supernatural life, countering heretical thinking, and the nature of beauty. He influenced early Renaissance artists such as Fra Angelica, who followed Thomas's three canons of beauty: immaterial purity of form, luminous clarity of color, and harmonious beauty of proportions, and Angelica's paintings are really meditations upon these three principles, in some ways not so different from the way Perugino's paintings (Leonardo's teacher) were sometimes meditations on spatial geometry.

Finally, you may know the story that when Thomas was in school, he was very quiet in class and so his fellow students thought him dull. But at the conclusion of one class when the teacher gave the final exam, he was the only one with the right answer. Sort of reminds me of those stories about Einstein. :-) All of which just goes to show you that you can't judge a book by its cover--nor the Summa Theologica, too, I might add.

I purchased this Five-volume set after taking a couple of philosophy courses, which I feel like I should recommend to anyone starting to dive into this hefty text. If you don't feel like taking a class, perhaps some of the secondary texts written by philosophers about Aquinas will help in reading this fantastic set of info.
Aquinas forms his arguments in a way that is almost flawless. I am not Catholic, yet I find this to be an explanation of Catholic doctrine that makes me almost want to convert. For anyone from the atheist to the devout catholic, this text is a window into one of the greateast natural and revealed theologians to ever document his thoughts. Footnotes are aplenty to send you on your way to other documents, especially Augistine, so be prepared for an obsession.

Mike Yandell

Probably the best sys theo work ever. Oh, that more fellow Protestants would pour over this text!

I am new to making armor, but not so much to metalworking. This book gets you started on techniques (although a few could have a little more attention), and has terrific sections on measuring and padding. The illustrations and photos are a big bonus, and most are helpful to some extent. Overall a great example of a master passing on some of his knowledge to the apprentices of his craft.

I have yet to find a better book for armoring. Nearly every fundamental is covered.

Tools, stock, techinque, buying tips, and even history is covered.

The Maille section is somewhat lite but there are other books that are fully dedicated to that discipline.

It's worth every penny. You can't go wrong with this book.

This book is an awsome read, very interesting and the info on constructing armour is just incredable. Every aspect is covered even lining the armour to make it more comfortable, if you are intersted in medieval armour this book is second to none.

Good book. BUT compleatly failed to mention safety glasses. These are IMPORTANT. you need to get a good pair and wear them when you are working in your shop. unless you think you will look good with a eyepatch.

This is a book on how to build armor. Tools, techniques, materials, workspace needed, cost estimates are all part of it. I make leather armor for re-enactors, so much of what was taught here was not directly applicable. However, there are chapters on how to measure, pattern, and cut. These are useful even if the material used isn't metal but leather. There are even some basic instructions on leatherworking. Overall, a pretty straightforward work. I recommend it for anyone who is interested in armor construction, collecting, or re-enacting.

Popular scholarship at its best: engaging, entertaining, and very informative. Magee systematically illuminates some of the most elusive and misunderstood aspects of Wagner's life, work and influences, with graceful clarity. He summarizes and recapitulates just enough so as to ensure that each idea is remembered and understood in light of what proceeded. A broad scope of complex topics are made remarkably easy to digest. A tribute to Wagner both unapologetically celebratory and intellectually rigorous!

People who have learned how to write properly organized essays in school might find the kind of writing that Wagner did rather loose, to say the least. I'm far more interested in rock 'n' roll as an artform that appeals to the contemporaries of those who are moderately talented than in the fine art of Mozart, but favorite songs can be done well no matter where they came from. Not half bad is more likely to be my judgment on anything I would like to hear. I have enough CDs to remind myself of music in many forms, but the creative tension involved in trying to write a review of a book like THE TRISTAN CHORD also reminds me of many things that are not in this book.

THE TRISTAN CHORD ~ WAGNER AND PHILOSOPHY by Bryan Magee starts out strongly with the idea that Wagner's work is based on an understanding of life that exceeds anything within the confines of philosophy or knowledge as it is contained in universities. Clearly Nietzsche acquired so many of his ideas from Wagner because Wagner had realized that ancient Athens was the kind of society he wished to inhabit, and the festivals at which tragedies were performed were so different from the commercial nature of entertainment values in modern global intellectual property that the context has to be explained to modern readers as follows:

... Third, human participation was also maximized, in that the whole community was involved. Dramatic performances were accorded the highest possible importance, a significance that was tantamount to religious - nothing that the community did was seen as mattering more, unless it was fighting a war. This attitude could scarcely be further from that of a bourgeois society towards its commercialized art. When Athens put on a play the entire life of the society revolved around it: the day was a public holiday, all other activities came to a halt so that everyone could go to the play, no one talked of anything else, attendance was free, the actors were maintained by the State; what we would call commercial considerations were totally absent. As Wagner summed it up in his essay `Art and Revolution,' published in 1849: `With the Greeks the perfect work of art, the drama, was the sum and substance of all that could be expressed in the Greek nature; it was - in intimate connection with its history - the nation itself that stood facing itself in the work of art, becoming conscious of itself, and, in the space of a few hours, rapturously devouring, as it were, its own essence.' (pp. 86-87).

Few adults in American society were able to offer young people anything as compelling in the 1960s, when Walter Kaufmann was writing and translating, but rock 'n' roll was having more impact. The Beatles are not listed in the index of THE TRISTAN CHORD, but one of their songs, `All You Need Is Love,' is mentioned on page 60, long after comments about the early Wagner opera `Das Liebesverbot' (p. 24) being in response to the intellectual discontent of the Young Germans:

In the arts they saw the classic figures of their immediate past, people such as Goethe and Mozart, as pre-revolutionary, and therefore antediluvian, no longer speaking to the condition of the young. ... They glorified love as it really was, the sexual intoxication of the young, and they saw it as socially subversive. To express it they wanted an art that was freely and frankly erotic. In opera this caused them to look away from Weber to the unabashed sensationalism of the French, and also, much more seriously, to the sensual, hedonistic lyricism of the Italians. Perhaps most important of all to the Young Germans as individuals, they wanted to live out these principles in their own lives, loving and expressing themselves as liberated beings, innovating boldly in politics and the arts, deriding authority, and free for ever from the stultifying conservatism and conventionality of their elders. (pp. 24-25).

The philosophy of Feuerbach is considered a major source for the setting of Wagner's `Ring' cycle of operas. I tend to associate this kind of catastrophe with the Vietnam syndrome of my generation, but THE TRISTAN CHORD links Feuerbachian philosophy of religion to picturing the gods as a gang of crooks. Just imagine, "Isaiah Berlin used to exclaim complainingly, `But they're just a lot of gangsters!'" (p. 54).

The interesting theme for me is the idea that Wagner did a lot of writing to generate the creative tension which he would like to turn into a form of art critical of his own society by composing music that would maintain a stream of consciousness worthy of the kind of life currently possible or imagined as a future ideal. "Because Wagner believed that we live in `a whole world of injustice' which was about to be swept away and replaced by `a righteous world' there is a sense in which he was living for the future." (p. 59). "Because the drama of ancient Greece is the art he is bent on re-establishing, and the opera of his contemporaries is the obstacle he is determined to sweep away, he is liable in a discussion of almost anything to dive off into the question of how whatever it is he is talking about relates to either or both of those things." (p. 91).

... The musical motives need not simply be repeated, they possessed infinite possibilities of musical transformation - the light hearted could be made tragic, the triumphant hollow, the confident full of foreboding, the loving grief-stricken. The potential for musical metamorphosis was protean, and also endlessly subtle. (p. 91).

Rock 'n' roll has filled many pockets with big bucks, but it is also carrying remnants of more than philosophy could say. The vocabulary was entirely different, but the simplicity of a chorus that kept repeating after verses that can go from bad to worse in so many ways, certain songs could be described as blues. Just one example is a song, `(Down to) SEEDS & STEMS (Again)' recorded in Austin, Texas, November, 1973, written Billy Farlow and George Frayne, who do vocals and piano for a group called Commander Cody & His Lost Planet Airmen, which was included on a collection of their songs `Too Much Fun' released on CD in 1990. A looser version on `Marijuana's Greatest Hits Revisited' has someone singing, "I have a few decent memories of what I was going to say. I'm down to seeds and stems again, hurray!" At times, it is nice to discover that the fun is going to stop and life can go back to being about something else. But for us, what else could there possibly be?

This is THE book on Wagner that I hoped would one day be written and which I knew could be written. The author has no use for post-Holocaust axe-grinding or ideological regard, and neither does he indulge in any of the by now ubiquitous but ultimately superficial KULTURGESCHICHTLICH approaches in which Wagner is one more symbol-player to be pigeon-holed and arranged (much like the props in Hans-Juergen Syberberg's "Parsifal" film), nor does he dish up Wagner with a sideorder of Marxist criticism. Instead you get Wagner as a living, breathing, thinking, AND creating human being, a real man (no mere puppet of impersonal cultural forces here!) who encountered ideas and reacted to them in the completely unique way that his personality demanded.

In a way one can only appreciate this book if he has already spent time ploughing through even a fraction of the tendentious trash in print that attempts to deal with this man (e.g. Gutman, Millington, even M. Owen Lee at times). If you have done that, then you will really be in a position to enjoy what Bryan Magee has done, how he has done it, and what a tremendous debt we owe to him for presenting to us Wagner the man in all of his outrageous but fascinating complexity. This is a book for people who are interested in learning more closely what kind of man Wagner actually was (that, for example, he was a 'commanding' personality and what that might mean in real terms, and that, in itself, should not be held against him) and who are equally interested in distinctions being made along the way that really do amount to something and are not just so much critical hot air.

For example, people need to know about Wagner's anti-Semitism, but that fact alone must be seen in relation to the greater fact that he despised so many other groups and that he did so in accordance with his own artistic/intellectual principles. And besides, whence this smarmy assumption that any artist or intellectual must already be some fully formed politically correct forerunner of our own pseudo-enlightened age? It is a woefully dishonest attitude to adopt since it serves to divert us in the end from the demons lurking in our contemporary secular righteousness as it is manufactured and propagated by the literary Left.

After you read this book--and if you have not already done it--read Michael Tanner's "Wagner" and enjoy hearing from someone who actually knows what he is talking about and who has bothered to spend some time thinking about it instead of listening to the clowns who parrot the easy cultural prejudices culled from "The New York Times Review of Books".

Bryan Magee writes with enthusiasm and clarity. He's particularly good at explaining philosophy in layman's terms. According to Magee, Wagner was the most erudite of all the great composers, and his philosophical beliefs profoundly effected his compositions. His intellectual life can be broken into two main periods: the early, one of political radicalism and activism, and the late, one of resignation and mysticism.

As a young man Wagner believed that a revolution - a total annihilation of the existing order - must take place in order for people to start anew to build a free and equal society. This was the intellectual zeitgeist throughout Europe in reaction to the sweeping changes brought about by capitalist industrialization in the early 19th Century. It was, in part, a romantic longing for a simpler past.

In Wagner's first period two figures were his main influences, Mikhail Bakunin, the anarchist, and Ludwig Feuerbach, who taught that mankind created the Gods, or God, in its own image. This was not to dismiss religion but to appraise it seriously as something illuminating about human beings.

After numerous inconsequential attempts at revolution took place throughout Germany in the mid-1800's Wagner became disenchanted with politics. He immersed himself in the philosophy of his contemporary, Arthur Schopenhauer. Schopenhauer wrote a great deal about music and it occupied a large part of his philosophical outlook. Both he and Wagner shared an interest in Buddhist thought.

Schopenhauer maintained that human beings are the embodiment of a metaphysical "will", so that willing, wanting, longing, craving and yearning are not just things we do, they are what we are. And he believed that music was a manifestation of this metaphysical "will." Thus, music directly corresponds to what we ourselves are in our innermost being. Wagner's "late" period dates from his extensive study of Schopenhauer.

Schopenhauer wrote that music proceeds by creating certain wants which it then spins out before satisfying. Even the simplest melody makes us want to close eventually on the "tonic" and provokes dissatisfaction if it ends on any other note than that.

Schopenhauer gave special attention to a technical device in harmony known as "suspension," and this instantly appealed to Wagner's musical sensibility. The suspension in music is the penultimate chord, when what we had just heard was what we thought was the penultimate chord. This causes a sense of discord in the listener. Schopenhauer said "this is clearly an analogue of the satisfaction of the will which is enhanced through delay."

This inspired in Wagner the idea of composing an entire piece of music moving from discord to discord in such a manner that the listener was always in a state of tension waiting for a resolution that did not come. This would be the musical equivalent of the dissatisfied longing , craving, yearning that our being is. There could only be one resolution to it, the final chord that was the end of the musical score (and in an opera, the end of the protagonist's life). This would be a musical expression of the essence of humanity in the universe.

The first chord of Tristan is the most famous chord in the history of music: F, B, D sharp and G sharp or any chord of the same intervals. It contains not one, but two dissonances. It then moves to resolve one of the dissonances but not the other, thus providing resolution, yet not resolution. Thus as the music proceeds, in every chord shift something is resolved but not everything. This "partial satisfaction" yet continued "frustration" carries on through the entire work. The only point where all discord is resolved is in the final chord, which is the musical analogue of freedom from striving, freedom from the tension that is existence. It is like a mystical state of nirvana.

What made this double-dissonance chord so famous was that it, in effect, closed the door on the age of classicism. And it opened the door to impressionism, atonalism, and modern classical music in general.

It was under the influence of the Schopenhauer-Buddhist belief system that Wagner's late works, Tristan, The Mastersingers, and Parsifal were written. Actually, since most of his operas were written piecemeal with many interruptions (sometimes years in length), there are traces of the early and late philosophical influences in almost every opera. Tristan is the only opera that Wagner wrote uninterrupted from start to finish.

There are many more aspects of Wagner's life and work contained in this book. New insights are provided into the Nietzsche-Wagner relationship and the vexed anti-semitism of Wagner. It should be noted that although Magee believes the above conjunction of philosophy and music in Wagner, he is not dogmatic. He says late in the book that "one does not have to be familiar with Schopenhauer's ideas, let alone accept them" to appreciate the greatness of Wagner's music.

This book has added a new dimension to my understanding and appreciation of Wagner. I heartily recommend it.

I'm a careful fellow yet I make quite a claim in the title of this review; and I confidently stand by it. Wagner has stimulated an enormous bibliography, but most of it is biography and/or polemics regarding the man himself or else "way out" (e.g. Jungian) interpretations of his art. Surprisingly little criticism of real seriousness pertains to the actual music. Bryan McGee's book magnificently fills that gap.

It is not a musical analysis per se, but a study of Wagner's changing philosophical values and how they influenced his music...and there is no composer in history who was a more acute intellectual than Wagner and more influenced in his art by ideas. You cannot fully understand his art without this book...it is that seminal. And it does not pertain only to "Tristan und Isolde," despite the title. It covers the entire sweep of Wagner's output.

Mr. McGee brings to his text the virtues which previously made him an outstanding author in "popularizing" philosophy: clarity, honesty, common sense, and even-handed weighing of the evidence. I hesitate to say he "popularized" philosophy. That could suggest a "dumbing down." And that is definitely not this book. It is crystal clear for a layman yet it is a scholar's dream in substance...a rare combination.

The book is an absolute must for anyone who has ever been moved by Richard Wagner's music...and perhaps even for those who have wondered why the rest of us are so moved by it. I cannot recommend it enough. There are only two other texts in the last century which compare, in my opinion: 1) Ernest Neumann's multi-volumn biography of Wagner; and 2) Deryk Cooke's "I Saw the World End," (first published 1979), which is the definitive (if incomplete) analysis of Wagner's "Ring."

If you love Wagner's music, or want to investigate it, this book is both a delight and a "must."

In wine there is truth, or at least in this case, wisdom and a beautifully written book. I have been a fan of Mr. Mate's writing for many years and this book does not disappoint. Written in a similar style to The Hills of Tuscany, Mr. Mate brings the reader along on his quest to restore a dilapidated friary and establish a vineyard of his own. Equal parts insight, humor (the tractor driving experiment) and adventure; Mr. Mate has once again blended a perfect read.

I read the "criticisms" on this board and do not share them. This was not intended as a treatise on vine growing and wine making but a deeply personal account of one family's quest for achieving a dream -- told with wonderful writing style, transporting the reader into the magical and unique world of discovery, illumination, and appreciation of one of God's gifts -- Tuscany. Try to imagine yourself getting "tips" from Gaja; rubbing elbows in the rich soil of this region with the Conterno's and Banfi's; re-discovering the special beauties that the Etruscans built and the centuries hid from plain sight. This book is not a "how-to" dissertation; rather, it is a nearly mystical rendition of unearthing (literally) a treasure nearly lost to us, and a saga full of fun. Talk about being "transported"; Mr. Mate takes the reader on a "magical mystery tour" of his and his family's sheer delight -- and terribly hard work -- in bringing back to life a thoroughly delicious slice of creation -- God's and man's. Even if you're one who puts ice cubes in your Syrah, don't pass this up.

A Vinyard in Tuscany by Ferenc Mate is the second in a series on life in Tuscany. In a genre loosely known as expats move to Tuscany, Mate is truly in a class by himself. If Frances Mayes is the standard ,then Ferenc Mate far excells her in poetry , lyrical description , humor and sensitivity. If after reading this book, you don't want his life then you better check your pulse. A love song to Tuscany and the art of wine, makes Frances Mayes akin to watching paint dry. Read The Hills of Tuscany as well which he wrote about first moving there 20 years ago.

Ferenc Mate's second book on Italy (buy the first one "Hills of Tuscany" also, they are distinctly a matched set to be enjoyed one after the other) is, if possible, even better than the first one. He had a wonderful understanding of Italian culture and is able to convey that to his reader. If you have ever visited Italy, or are planning to, then his books are a must read. One of the things I really like about Mr. Mate's writing is it is appealing to both men and women. I love being able to discuss a book with my husband. In fact with this one, it is the first time I have heard my husband laugh out loud while reading. At first I thought he was choking and when I ran into the room he said "honey, it's the part where he is driving the tractor". Michael and I spend two weeks in Tuscany every May and truly, in this book, the essence of the Montalcino area is captured and wrapped up like a Christmas present for the reader.

Based on the other reviews, I had high hopes for this book; I expected a more thorough story of his experience starting his own vineyard, people he had interacted with and the "terrior" of his vineyard embedded with light-hearted anecdotes. Instead, I found the details lacking. Little time is spent on the characters who appeared in the book, the restoration of the estate, planting and cultivating of the vineyard, wine-making decisions, and his (and his family's) tie to the place. The fact that this book is written in many short chapters averaging less than 10 pages each should have been the first sign. I do not doubt that Mr. Mate will be an interesting guy to have a drink with, and I am sure that he has many interesting stories to tell. But after reading this book, I get a feeling that this is a tale of a wealthy individual (despite his repetitive mentioning of being/getting poor as a result of this endeavor) who spent his way to have people make great wines from a land he has purchased. While this statement may not do him justice, and perhaps that is what this book is meant to be, but more on the people, more on the place, more on his (or the wine maker/consultant's) philosophy of how to cultivate the land and make a great wine will greatly improve the book.

Like the other books of his I've read (Black Book -- really great book), this book manages to be extremely factual yet at the same time emotionally gripping. Grossman's reporting narrative puts you in the time and the place and gives a strong sense of what it was like to be there - the senses, the feelings, the despair, the players, the impact to real people. If you are interested in the Soviet side of the war, or WW2 in general, this is a must read.

Grossman, most famous for his Tolstoyan work, 'Life and Fate' was, first and foremost, a journalist. He spent the majority of the Second World War on the front lines, witnessing some of the most violent confrontations of the war. He was in Stalingrad, widely acknowledged as the bloodiest battle in history. He was at Kursk, the major tank battle of the war and the military turning point-Stalingrad being the psychologic hinge-of-fate for Nazi Germany's imperialistic and ideological ambitions. He was at Treblinka during it's liberation and in Berlin during the final death-throes of the Nazi beast. In other words, he was an eye-witness to all the major events on the Eastern Front.

This book, cleverly and unobtrusively edited and translated by Vinogradova and Beevor excerpt relevant segments from Grossman's diaries. These wartime diaries were kept at great personal risk, since such activities were prohibited by the Stalin government. While many of the depictions of the attitudes and behaviors of Soviet soldiers seem redolant of 'socialist realist' propaganda, the descriptions of Treblinka and the author's sentient observations on Soviet military men are obviously the product of a gifted writer and psychologist.

The reader should recall that these diary entries were not intended for publication but rather were kept by Grossman to provide source material for future literary efforts. Unfortunately, Grossman fell afoul of Stalin, largely for his efforts to publicize the fate of Jews at the hands of the Nazis and secondarily for failing to sufficiently promote the role of Stalin's leadership and the Party in the Battle of Stalingrad. As a result, 'Life and Fate' was only published posthumously and stomach cancer claimed the author's life before much of the raw materials presented in this book could be crafted into a final literary effort. Any serious student of WW-II should read this book, as it is a major contribution to understanding the Soviet perspective on the 'Great Patriotic War'.

I'm very glad I've read this book, because it is truly one of the greatest, if not the greatest eye-witness account of the war on the eastern front. The chapter about the liberation of Dachau and the writer's thoughts about the Holocaust made me shiver, I've read dozens of books on the Holocaust but nobody ever put it to paper like Vassily did. If you haven't read this book, please do. You will never forget it.

Parragraphs of intense live experiences on the Eastern Front are interspersed with the introduction and analyses of historian Mr. Beevor. If it had been in a linear sort of narrative, so we could feel the progression of the drama, and we could get used to the comings and goings of our narrator, it would have been a great book. But we have only scattered pieces, fading images of a soul soaked in the pain of war, glimpses of horrors witnessed and stories that remain untold.

It's what it hints at that gives it its precious value: the authenticity and honesty of the man, Grossman. But it lacks a linear storytelling; it leaves a chaotic impression of imprecise locations and hard-to-pronounce names. I'm the first to be sorry about this impression, nevertheless it is what it is. I would have packed the best passages into a short book, made it more concise and more precise.

Vasili Semenovich Grossman was a decorated Soviet military journalist best known in the West for his epic novel, Life and Fate (New York Review Books Classics). In 'A Writer at War' editors and translators Anthony Beevor (Stalingrad: The Fateful Siege: 1942-1943), an esteemed historian and author in his own right, and Luba Vinogradova, follow Grossman's progression through the war by piecing together stories from his notebooks and writings. At times one would have liked a bit more context to be provided by Beevor, but that is a minor quibble.

Grossman, while still a loyal Communist at this point, managed to maintain a relatively objective viewpoint. He often pushed his editors to allow him to write stories they did not want written, in particular regarding the fate of the Jews in the Ukraine under German occupation and the role of the Ukrainians.

While at time the stories have to be stitched together from bits and pieces, `A Writer at War' is a gold mine and provides a rare view into the inner workings of the Soviet military and Soviet military journalism in particular. Grossman experienced the initial German onslaught and the Russian flight from it, Stalingrad, the tank battle at Kursk, and the death camps. The book includes an extensive article on the workings of the German death camp Treblinka. Earns the highest recommendation.

Dr. Bennett shares American history like no one else. He presents the good, the bad and the ugly of this wonderful tale of building the worlds first free democratic society. He makes you proud to be an American while recognizing that it comes at a very high cost. It is a wonderful review of how our culture developed and from whom it was developed. Soon these brilliantly written books will become High School History Books and that is a very welcoming idea!

A very concise outline of American History - much of which too many seem to have forgotten or never learned. She has made mistakes but has always tried to do right and has succeeded far more than any other country ever.

Mr. Bennett has a gift for making history come alive. It is very interesting and enjoyable to read.

These 2 volumes manage to capture the drama and magic of "boring" history as few have. It has a very engaging and page-turning style that will promise to bring to life the American story for those who have become frustrated with all the names and dates that is the usual fare in history classes. It will fascinate all who will read it with fascinating sidelights, accomplished writing, and appreciated anecdotes. If one has been away from history for a spell, and feels that it would be drudgery getting back into it, you will treat yourself by engaging in these volumes. Bennett has given careful attention to historical accuracy and a short glance at the collected footnotes (Vol. 1 35 pages; Vol. 2 41 pages) will demonstrate that he has followed broad research. And I might add that it brings a refreshing antidote to many textbooks available in schools in this day. Every reader should thrill about this factual, readable, interesting, and emotive tribute to America as "The Last Best Hope."

I read these books and decided to donate this set to each of the four high schools in our area from our Federated Republican Women's Club Literacy Program. This is a set I suggest you buy for your family library. Written by William Bennett, former Secretary of Education and author of The Book of Virtues, it is our country's history in a brief and non boring form. It is a great starting point for anyone wanting to familiarize himself with events from our country's past. It's readable history written by a patriot.