New York Books

if you are looking at a way to make the ordinary special, looking at the images contained in Atget definitely intrigues your imagination. details and compostion place the viewer in the scene, an active particpant.

Now that it is so cheap, don't miss this great book! Excellent prose by Szarkowski and beautiful pictures by a master... hard combination to beat.

Eugene Atget is known to everyone, perhaps not by name in all instances, but at least by the images of Paris and environs that grace all manner of books, essays, brochures, museums, art collections, and postcards throughout the world. At the time of his death in 1927 his enormous output of images was archived and has subsequently been studied, purchased and shared with exhibitions too numerous to mention. Yet in this fine book the essence of Atget the observer is appreciated as well as any publication of the many about the pioneering photographer, a man who served as an important bridge from studio formality of the art to entering the human realm of images of people on the streets of Paris and the surrounding areas.

Each of the 100 tritone and 5 duotone photographs in this elegant volume is accompanied by an insightful comment by the superb writer John Szarkowski who also happens to be the former director of the Department of Photography at the MOMA in New York. Rarely have photographic images been so enhanced by the written word: Szarkowski is in complete synchrony with the vision of Atget. Here are images of simple people of early 20th century Paris, images of streets, still lifes, woods, streams, rivers great and small, each captured with immediacy and yet with timelessness.

For those looking for an affordable introduction of Atget's work for the library, this is certainly the volume of choice. Highly recommended. Grady Harp, March 06

This book is another gift from a great writer and observer, an homage to Atget, to photography, to art and to Western civilization. For anyone who pretends to be a photographer or to love Art, it is a joy to share Szarkowski's easy erudition, one or two pages at a time.

Atget showed us the axioms of photography and axioms cannot be explained by analysis. The test of an Atget, Bach, or Cezanne, is that it is impossible to find the source of their revelation and impossible not to find their influence in future artists.

"Good pictures are not explained by words...With exceptional good luck criticism might with words construct meanings that are different from but consonant with the meanings of pictures. Such constructs of words might possibly guide us toward the neighborhoods where pictorial meanings live.", he says in this book. (Please, if you are an art historian or critic, take this pledge!)

Thus Szarkowski tours the photographs he has selected and writes a thought or two somehow connected to each one - sometimes a revelation, often a question. Each page of writing stands alone and will engage the reader in a conversation with the author and the photographer. Many times Szarkowski puts us somewhere behind the camera a hundred years ago, or on a bridge in Paris 600 years ago. He really brings Atget to life by putting us in his time and place.

There are plenty of revealing facts stashed throughout the writing. Szarkowski talks of the influence of Atget on Weston, Walker Evans, Winogrand, and others and leaves us to recognize the Atget in Cartier-Bresson, Dorothea Lange, and ourselves. He mentions just the relevant technical and biographical details.

He shows examples of how Atget handled Time,the essence of photography. As he wrote in "Photography Until Now" about Atget, "Perhaps from the practice of looking attentively and repeatedly at the same thing from different vantage points and in different lights he came to see that ...one tree, or one reflecting pool, was never twice the same, and would therefore last as a subject as long as one's concentrated attention. With this realization he became, surely not intentionally, a modern artist."

The reflecting pools and trees are in this book along with the more familiar Parisian architecture. Different views of the same subjects are also in other books such as Berenice Abbott's "The World Of Atget". Szarkowski thus, enriches the literature on Atget, giving meaning to many of the published mindless catalogs of his photographs.

Szarkowski shows another reason Atget is a modern artist. His work is meticulously constructed in the same cultural elements as the works of his more famous contemporary French painters and sculptures. There are no accidents and no mistakes in his work. The result is a richness that reveals something new every time we look at it.

The same is true of this book by Szarkowsi. I've read it three times. It is a masterpiece, "...seductively and deceptively simple, wholly poised, reticent, dense with experience, mysterious and true." To use the words Szarkowski wrote of Atget in Looking At Photographs.

Again, John Szarkowski takes us by the hand and leads us into the photographs of Eugene Atget, as through the magic of a looking glass. In these writings, on a selection of photographs from the first quarter of the 20th century, in his historically aware and individual way, Szarkowski instructs on how to read a photograph by doing so himself. We not only see into the environs of Paris through the eyes of the eclectic, determined and tender Atget, but also through the eyes and the keen, attentive mind of Szarkowski, who writes as though he lives inside these pictures, and tends them, and the photographer, with great devotion.

This edition is set up by the previous 4 volume study, The Work of Atget, by Maria Morris Hambourg and John Szarkowski, Museum of Modern Art, 1985. But this new book comes from a persistent, deep seam miner, one who knows that what it is about these photographs is so fertile, they can be studied throughout one's life, and still give more.

How rich is the mind that can bring another mind to light? Would it be bearable if everything in life could be keyed into focus, for us too busy and bothered to pay attention, by a poet as revelatory as Szarkowski? When considering entree des jardins, 1921-22, he says, "except occasionally, as (for example) during revolutions, the French have managed very well to sublimate the periodic human tendency to behave violently toward one's fellow human men, and have directed these impulses toward their trees", you cannot help but love the gardener who built the gate here, the photographer for seeing it, and Szarkowski, for bringing it to our attention in this way. He tells you what is on the menu, who lived in the house, how the hotel got its name, who built it, what may have motivated them to sculpt a Dionysus over a doorway, what member of the court of Louis the XIV was cast to live where, what other photographer may have attempted to photograph the same scene, and sometimes, what led Atget there.

The book is a beautiful masterpiece, and an accomplishment worthy of a life spent looking deeply. If you love (really looking at) photographs, you should consider your shelves incomplete without it.

Whether or not THE BLUE GUIDE NEW YORK is useful to you depends on what you need it for. It is quite heavy (1.6 pounds), making it impractical for the traveler who is going to be in New York for only a few days. It offers rather exhaustive information on subjects that the casual tourist may have little interest in, such as history and architecture. I would not recommend it to the first-time visitor who is only going to be in town a short time. However, this is the recommended book for people preparing to take the New York City Bureau of Consumer Affairs' licensing exam to become a tour guide. I've lived in New York for more than 40 years and I found every page loaded with useful facts that I was not aware of. I learned the architects of every major building in town, where the stone used to build those buildings was quarried, as well as the artists who were responsible for the internal and external decoration, not to mention the political machinations that were necessary to begin construction. It provides floor plans of the major museums and detailed descriptions of the collections they contain. But this is probably too much information for the average tourist. This is a book for those with a passionate interest in the world's most exciting city. If you don't fall into that category, you'd be better off looking elsewhere. But I personally find the book an extremely useful reference that I'm sure I will be consulting for years to come. Four stars.

Carol von Pressentin Wright's BLUE GUIDE NEW YORK is a brilliant guide to the city and stands alone for historical perspective, cultural depth, and effective prose. Though I've lived in New York City for 12 years, this book serves as a constant companion, and I grab it nearly any time I walk out the door--every outing can now yield new layers of understanding of this, my adopted town. In the midst of a busy day, I might pass through, say, Union Square and take a moment to read the appropriate entry. Not only do I absorb details of architecture and city planning that previously eluded me, but also the whole checkered and colorful history of the place jumps to life.

Thus, I heartily recommend the book to all longer-term visitors and to those New York residents who yearn for a greater appreciation of home. Indeed, the richness of detail and comprehensive geographical coverage may actually render BLUE GUIDE less than ideal for the short-term visitor. (For those in need of a restaurant or hotel guide, there are more than enough lesser guides to fill the bill.)

One caveat. As an avid user of the 1991 2nd edition, I looked forward to the long overdue 2002 edition. With all due respect to the two new co-authors and their well-intentioned efforts, I believe that the newer, more user-friendly visual format actually decreases the book's effectiveness, as does the additional text, which lacks the consistently high critical standards of Wright's solo work. I recommend seeking out the 1991 edition (Amazon seems to offer several copies at reasonable prices). Whatever inconvenience is caused by the several outdated entries is outweighed by the ample rewards of the text.

Although Amazon lists only one author, the current edition of this book was actually revised and heavily rewritten by Stuart Miller and Sharon Seitz as a glance inside the book itself will reveal.

Co-authors of "The Other Islands of New York City" and individually authors of "Big Apple Safari for Families" (Seitz) and "Where Have All Our Giants Gone" (Miller), we streamlined many of the routes and shifted the emphasis of the book to add more on the boroughs outside of Manhattan and to add places that reflect previous oversights in terms of nature and of popular culture (places like CBGBs, for example).

All right, the most recent edition of the Blue Guide added CBGB's, an East Village rock, punk club that has now gone out of business. A few other establishments in the various editions of this fantastic guide are undoubtedly also no longer with us.

Having said that, even the oldest first and second editions (the latter, from 1991) are still incredibly useful, even timeless. For even they have listings of the most important sights in each of the city's five boroughs, a bevy of maps, lists of hotels and restaurants, sightseeing services, theaters, amusements, gardens, museums and so on.

But unlike the average, perfunctory city guide, this one (at least the 1991 edition) has more than 760 pages, including all the maps. And those pages also encompass a broad spectrum of architectural descriptions and historical events.

Not only buildings and the like are described here. So are whole parks, streets and districts, along with detailed pointers on all the exterior and interior trivia one could ever want to know while on a walking tour.

I can't attest to the value of any of the other 40-plus Blue Guide titles. But if you forget every other guide book while in New York, it will be okay, so long as you bring along at least some version of this one.

--Alyssa A. Lappen

Carol von Pressentin Wright's "Blue Guide to New York" is probably the most comprehensive guidebook to the Big Apple available. Absolutely indispensable, it includes 41 detailed maps for all five boroughs: Manhattan, Brooklyn, the Bronx, Queens, and Staten Island, along with several black and white photographs. As a New Yorker, I cannot think of anything that has not been included here. I frequently use the book myself, especially when I have out-of-town visitors. It is also excellent, for New Yorkers and visitors alike, to use on walking tours. I have the 2002 edition.

In an extremely accessible format, "The Blue Guide" presents information on all NYC districts and important sights, including: practical information, lodgings, restaurants and eateries for every budget, transportation, museums and galleries, sports, performing arts, shopping, monuments, historic detail and districts, detailed walking tours and background information. As noted, there is a veritable plethora of clear and easy-to-follow maps, along with a large pull-out MTA map of the subway system, and bus, railroad and ferry connections.

From the posh shops on Madison and Fifth Avenues to the funky Lower East Side, from the streets of Greenwich Village and Soho to the brownstones of Brooklyn Heights and Park Slope, this is the one and only guide you will need to navigate through this fabulous city, and to find fascinating out-of-the-way places most tourests never discover. There are myriad cultures here: Little Odessa in Brighton Beach, Brooklyn, Little Italy, Chinatown, a thriving Greek community in Astoria, Queens, Atlantic Ave. in Brooklyn where Arabic is heard on the street and wares from all over the Middle East are sold. Almost every country in the world is represented here and you can visit them all easily with the Blue Guide in hand. I hope you enjoy the city I love!
JANA

While from a literary perspective, this is no masterpiece, it nonetheless captures a unique portrait of early twentieth-century Italian immigrant life. My great-grandfather, Nicolo, worked with tile in Philadelphia around the same time of the setting in this book. Many of the stories I've heard growing up make more sense now having read di Donato's novel.

The writing is stilted at times (di Donato's attempt to make the English sound Italian), and he allows his characters to go on angst-ridden rants for far too long. But there are numerous gems in this piece. I wholeheartedly recommend it -- to Italian-Americans to learn a little more about their heritage and to all others to catch a glimpse of early Italian immigrant life in America.

VERY GOOD BOOK, JUST DIDNT LIKE THE ACTUAL WORDING OF THE BOOK ITSELF WAS A LITTLE WEIRD FOR ITS TYPE OF PLOT, ANY WAYS VERY GOOD BOOK ABOUT THE TIMES.

This is one of my favorite books. It's a thought-provoking and lyrical portrayal of working class issues in America. Di Donato's prose style is wonderful. This book should be much more widely read than it is.

I had the privilege of spending an afternoon at the Long Island home of Pietro Di Donato many, many years ago when a friend of mine, John Liscio,took me to visit. Mr. Di Donato's father, I was told, died when he fell into a vat of cement back in the days when there were no labor laws to protect workers. The book was shaped from this incidence. Powerful book, and an even more powerful man. Both left an indelible impression.

This is the finest book I have ever read about Immigrants. As an Italian American it is especially rewarding. If made into a real film (not like the cheesy 1949 version)it could be a masterpiece -- it could be to Scorsese what Schindler's list is to Spielberg.

One note -- wait to read Fred Gardaphe's introduction until after you read the novel as he gives away a lot of the story.

This is a wonderful photo representation of the desecration and destruction of a beautiful train station. It provided me with images and emotions I have not otherwise experienced in reviews of the original Penn Station. I highly recommend this to anyone interested in the subject and photography!

This is an extraordinary, heartbreaking, must have book for anyone who loves New York and/or McKim, Mead & White's work.

Photographer Peter Moore and his wife Barbara moved into the Penn Station neighborhood in the early sixties. They used the building every day, whether they were passing through to the subway or catching a bite in the cavernous coffee shop.

With the railroad's permission, they documented its slow dismantling over the four years from 1963-1967. This book is the first appearance of that work. The black and white pictures are arranged chronologically, showing the faded but still magnificent station from its last days of active use through to its ghostly presence as a metal shell. The photography is beautiful and lyrical and sad beyond words, like a mournful love song to a love lost. The picures of the rubble-filled waiting room, its shape still intact but its side walls gone, are especially hard to take.

One note: this is not an exhaustive review of the building and its various spaces. It is a chrono picture of the concourse and waiting room through through their destruction. For more pics of the station in use, try "The Late, Great, Pennsylvania Station."

I remember as a kid in the mid-70s taking the train to NYC and having to endure the commuter's nightmare known as "modern" Penn Station.

In the late 80s, I learned what once was on the site of the current MSG/Penn Station monstrosity and became appalled that people could let a beautiful work of art be dismantled and replaced with a horrible building. In the early 1990s, I learned about the 1950s and 1960s and how Americans were obsessed with all things modern and new, rejecting anything with a hint of age or ornament.

Moore & Moore take a pictorial look on how the McKim, Mead and White's neoclassical masterpiece was dismantled over a multi-year period in the mid-1960s. While they really don't go into detail on why the old Penn Station was demolished, the spooky, B & W photos tell more than how an architectural gem was demolished. On a deeper level, the photos tell the tale of how an entire city was becoming irrelevant to suburban America and was sinking into massive decline (the years of municipal bankrupcy and burning neighborhoods in the South Bronx are only a few years away).

It was a very sad book that gets more depressing with each turn of the page, as more and more of the beauty of the old Penn Station gets stripped away. I guess that was the power of the photographs working on me.

Pair this book up with Robert Caro's _The Power Broker_ to get a good picture of New York in the early Baby Boom era.

This book just takes your breathe away, the images are so vivid and shocking. How on earth could anyone sign off on destroying this colossel beauty, it's something I just can't get my mind around. I am so grateful that this was documented, as hard as it is too look at, people need witness these pictures to make sure it does not happen again. Many people credit the outrage over the razing of this McKim, Mead, and White masterpiece with helping save Carnige Hall and Grand Central, which though appreciated, does not lessen the sadness over the loss of this New York City treasure, it really is such a tragic loss. I highly recommend this book for its text, great visuals, and the power is thought it provoks: great book.

I am one of the generation of New Yorkers that have grown up with the ghost of the old Penn station - and its unfortunate replacement. We have been forever robbed of this stately thing, which was so much more than a building. Watching it's slow death in these haunting pictures makes me hope this is the last time we have used our imagination to destroy rather than build. (This is an especially painful irony in light of our recent tragedy.) Get this book, and look at it with your children. And may we never treat the human-made beauty around us with such contempt again.

I was touched by The Doorman. A tale in which the doorman, a Cuban exile, tries to enlighten the eccentric tenants of a Manhattan high-rise. Though Juan has reached freedom in America he has not gained acceptance and has also left behind the friendship of those he shared his suffering with. The tenants, lost in their mostly hilarious excesses are completely blind to Juan's efforts and their own cruelty. Juan ultimately interacts with the tenant's strange pets with interesting results. I keep picking the book up to read some favorite pages I have marked and consider it a book to read again.

This is a very unique novel, with talking animals and the like. It shows that Reinaldo has an imagination that is completly infinate. Great read.I love Reinaldo

merchandise was in good condition. the shipment was fast.

this is book thet i will read agan.agan, agen. Just great. Please, read this book.

I love every one of Arenas' works, but this one might be my favorite if only for its comedy, absurdity and depth-- all wielded with perfect balance and execution. A great and often overlooked work by a seriously overlooked writer.

This is an excellent work that details the history of the Empire State Building. I was a bit surprised to find how much the author managed to pack into my paperback. Everything from skyscraper height restrictions to land leases and modern restructuring of ownership for tax purposes (and all the "interesting" stuff in between). If you buy this book and you're not from New York, do yourself a favor and get a map of the area. So you can follow along in the early chapters.

This book is a must read for anyone interested in not only the Empire State Building, but in New York City history of the late 1920s and early 1930s. Who would think that a building completed in 1931 at 1250 feet high would still be the tallest building in NYC in 2007 (of course, we can't forget the tragic loss of the taller WTC Towers). This book covers the quick construction of the ESB, but also covers the politics and history behind the building's location (the Waldorf-Astoria Hotel used to be at the corner of 5th Ave and 34th Street) and the people involved. This is an interesting book about an exciting time where anything seemed possible in one of the world's greatest cities.

Well, they didn't, but it's a classic anyway.

This is a terrific book for anyone who wants to learn how great projects are visualized, actualized, and pressed through extremely challenging environmental circumstances. It's a source of inspiration for the dreamers and the practical alike.

If you want to read about architecture and engineering, you get only a small dose here. It's more about the capitalization, visioning and building. But that story is magnetic and wonderful.

Only thing they left out: that it was to this (then half-empty) building that Annhaeuser-Busch delivered the "first" case of legal beer to Al Smith at the end of Prohibition. Smith, the "wet" and the eternal optimist, exemplifies what this building was conceived to be: a vibrant and living testimony to the human spirit.

So, it stands to reason that it survives now as New York's essential symbol.

From the outset, the Empire State Building seemed to have had everything going against it. Although conceived during the 1920s boom years, most of the construction went on during the earliest years of the Depression, thereby putting the idea of high occupancy in the severest doubt. Its location wasn't ideal either. It was three miles north of the Wall Street district and a mile south of the center of the midtown business center. And it was ten blocks south of Grand Central Station and three avenues east of old Pennsylvania Station. The idea of mooring dirigibles was quickly scrapped after failed attempts. And sure enough, although the Empire State Building did get built, the tenants did not come. King Kong did, but he didn't pay rent.

John Tauranac describes all this and more in his exhaustive book, THE EMPIRE STATE BUILDING: THE MAKING OF A LANDMARK. Written in an engaging style, Tauranac's book is as elegant and interesting as the subject itself, while his wit is as colorful as the characters surrounding the Empire State Building's creation. The book covers the idea for the building, Raskob's and Smith's supervision, the monumental task of the construction workers, and, most importantly, the survival of the building to become THE emblem of America's cultural and economic reach while become THE identifying symbol of New York City. The generous amount of photographs add to the understanding and enjoyment of the book. Highly recommended.

I bought this book shortly after a trip to NYC in 2000, and found it to be an excellent history of one of the Big Apple's architectural jewels, the Empire State Building. It is full of intrigue, history, great anecdotes and one-of-a-kind photographs. If you're a visitor to Manhattan or a local resident, you owe it to yourself to read this book.

This is a nice book an the subject. Nice large plates, a must for any good art book. That's it--if you like paintings from this genre buy it.

I saw the collection that the Met had last year of this artwork and it was just amazing. It was provocative and raw, and just incredible. I can't wait for the paperback to come out of this so that I can afford it.

Finally an excellent review of what the first World War did to German culture and psyche. This book lays it all out. Hitler was a logical consequence. Unfortunately the Western world did not pay enough attention to these portentious signs. The book has beautiful color reproductions, great detailed commentary on each artist featured and enaough historical commentary to make it all plausible.

This is the catalogue for a beautiful exhibition held at the Met last year. The paintings reproduced here are among the best examples of the New Objectivity, a movement that was able to depict the atmosphere, the soul, the world of the Weimar Republic, that brief time span when pre-war Germany enjoyed freedom in the arts and in the minds. These gripping paintings show how ultimately doomed that world was and how the artists were the first to sense the tragic developments that were to succeed it. The front cover, a detail of one of Christian Schad's best known paintings, is a perfect illustration of a society that seems to have enjoyed life knowing that death would come too soon, with the end of that joyful and poetic decadence that was the Berlin of the 1920's.

Twice viewed the exhibition at the Metropolitan Museum here in New York. German art in the 20s is raw, obscene and decadent. A raucus reflection on hard times there. They had just suffered WW1, in the midst of fascism, insane inflation, etc.
Highlight: Otto Dix is a wild artist, forever a favorite now. Also a DaDa artist.
I am a frequent art museum visitor. Therefore, in my opinion, this catalogue did the show great justice which is not aways the case.

Family members have been treasuring this book for almost 20 years, and I have given many copies as gifts. A great collection of beautiful melodies, good musical arrangements, and gorgeous visually. Old favorites, easy to sing, the ones everyone knows and enjoys - the whole family will sing along.

This item is out of print, and I was thrilled to find one in good shape. Many thanks.

This book features 61 traditional songs, primarily English and American folk and nursery songs. The illustrations, however, are much more diverse--from Japanese scrolls to a picture of a jeweled box shaped like a frog.

Each song has a brief introduction describing its origins or other important facts, and each image also has a description, often including historical tidbits.

The bountiful images (at least one per page, often more) make it a good book for young children to look at while singing or playing at the piano.

This looks like a book for children, and it is. But even more important, it is a book for babies! My two year old baby boy already knew some of the songs going into the book. Let me tell you that at two and two months he now requests "Bringing in the Sheaves." and "Down by the Riverside."
Every night we take that book to bed and we sing and sing until we fall asleep. This is of course after reading several other board books first. I reccommend this book as a keepsake for life!

This is a lovely book of full-color spreads & clear, easytoread music to accompany anyone singing these lively, familiarsongs. 61 classic childhood songs are decorated with some of the magnificent treasures from The Metropolitan Museum of Art. Songs for work, play, nursery, nonsense rhymes, ballads & lullabies matched to paintings, photographs, bedspreads, sculptures & collages spanning 3000 years from around the world...

Swearington has written an excellent and inspiring book about Mickey Mantle. I especially appreciated the way the book is organized, which makes it easy and enjoyable to follow the development of Mickey's long and eventful career.

My only complaint is the title. The book is not about Mickey as a teammate. It is about Mickey. In the Preface the author tells us that Mickey "always wanted to be remembered as a great teammate" (pg. xi). I was dissappointed that Mickey's impact as a teammate is almost absent from this otherwise excellent book.

I highly recommend you buy and read this book. But if you are looking for insights into Mickey as a teammate, you may be dissappointed. I am still waiting for somebody to write that book.

I've got several Mickey Mantle books, but I really think this one is the best. Very detailed and accurate. Well done!

This book was a birthday gift for my brother, a "rabid" Mickey Mantle fan!!! He's just about finished it and said it was jut "GREAT" - lots of "unknown facts" and wonderful insights by "The Mick's" team mates !

Very impressed with book - my son is big fan and loves it.

My kids grew up wanting to BE LIKE MIKE. Like many of my generation, I always wanted to be like Mick. THE MICK.

Mickey Mantle was, for us, the consummate baseball player. He hit the ball hard and ran the bases fast. His arm was strong and his glove golden.

But that's only part of why he was our hero. Randall Swearingen's book, A Great Teammate, covers the rest. Mickey was one of the greatest team players the game has ever known. He found a way to win. One day he'd hit a home run. The next he'd bunt and steal--or literally outrun a fly ball. It added up. Between 1951 and 1964, Mickey's Yankees made twelve trips to the World Series. Twelve!

When his teammates batted, Mickey cheered. When they slumped, he took them to dinner. When Roger wilted in the Babe's mighty shadow, Mickey took him under his wing and into his home--even as The Mick took his own shot at THE RECORD.

Mickey played hurt nearly every game of his major league career because, as a rookie, he deferred to a teammate named Joe DiMaggio. Mickey never complained or made excuses. He just came to the park early, took his treatments, hid the pain, and played hard. As good as he was, he could have been even better with two legs rather than one.

When asked why he didn't take himself out of the lineup to rest the legs, Mickey replied that some child might come to the ball park to watch him play, and he didn't want to let that child down. Mickey didn't know it, but I was that child. My family drove from North Carolina to New York City in 1961. It was the only chance I ever had, as a kid, to watch a major league game. Mickey didn't disappoint: he hit a line drive into the right field bleachers for a home run. From then on, Mickey was my hero. And, like so many southerners in those days, I became, of all things, a Yankee.

Then came the 70s, 80s, and 90s. Sportswriters forgot who Mickey Mantle was and why he had been our hero. They publicized his alcoholism. His business failures. His divorce. If only he had fallen in his prime, they implied, like Gehrig with ALS or Ruth with cancer. But somehow he dodged the Hodgkin's curse. And even though alcoholism is every bit as much a disease as ALS, or cancer, or Hodgkin's, America stopped loving Mickey the way he had loved us. We forgot. And, I must admit, as I almost forgot.

Then I read A Great Teammate, and the memories came pouring back. Mickey winning games for his team. Mickey bringing out the best in his teammates. Mickey loving and respecting the game. Playing hard. Playing hurt. Always humble. Ever helpful. Never making excuses. And, in bottom of the 9th, whipping his toughest foe, alcoholism, and helping others do the same.

No doubt, Old Timers told these stories time and again at ball games, fantasy camps, reunions, and funerals. But, no one ever bothered to write them down for us, the fans. Until now. Mickey, Randall: thank you.

THE GREATEST BALLPARK EVER is a paean and a song of love to Ebbets Field, home of the "original America's team," the Brooklyn Dodgers, from 1913 to 1957. Author Bob McGee writes a detailed and crisp history of the team and the place, but far beyond the FACTS surrounding the history of the physical structure of the park, and the men who played there, he manages to capture---amazingly enough, and very well---the SYMBOLOGICAL importance of the Brooklyn Dodgers and their home in the American, and particularly Brooklynite, psyche.

Of particular joy is the fact that McGee refuses to fall for the revisionist dreck presently being touted by the O'Malleys and their supporters, that "The Big Oom" had no choice but to hijack the Dodgers from Brooklyn in 1958. He relegates their arguments quite properly to the floor of the horse stall where they (and Walter) belong.

If McGee's symbologizing of Ebbets Field sounds awfully highfalutin', it isn't. McGee loves the IDEA of Ebbets Field, and in communicating that love, recreates the ballpark in words, an almost impossible task, considering that, like much of his reading audience, he never experienced the reality. That he could succeed at all is a measure of how fine this book is. THE GREATEST BALLPARK EVER comes VERY HIGHLY RECOMMENDED.

---Order me dogs and beer. Here comes the Duke of Flatbush to the plate---

This book is a must for Dodger fans, and the best of its kind.

But by 1957, Ebbets Field was no longer a suitable ballpark for a major league team. The park and its neighborhood were deteriorating, there was no public transportation, and attendance had been steadily falling even in their pennant-winning years (the previous review notes that the powerhouse Dodgers were drawing around 10,000 fans per home game). Renovation was not an option because there would be insufficient additional revenue projected to cover the cost. The Dodgers simply could not stay there. But Walter O'Malley did not want to leave Brooklyn.

In reality, he wanted to stay in Brooklyn and build a brand new ballpark at the corner of Atlantic and Flatbush, near public transportation. Walter O'Malley was not the villain of the piece; rather, it was Robert Moses, then the most powerful man in New York City, who refused to let him do so, insisting that he build instead in Flushing Meadows (where Shea Stadium stands today). They would no longer have been in Brooklyn, and O'Malley naturally refused. He left reluctantly, narrowly choosing Los Angeles over Minneapolis. In doing so, he brough Major League Baseball west of the Mississippi, and forever changed the game. He deserves to be in the Hall of Fame (plenty of even tougher businessmen are), but East Coast writers like Roger Kahn and misinformed fans like the one who posted that he "hates O'Malley" to this day have blocked his entry. Shame on them.

I liked this book ... it's one of the better street-insight books from the Brooklyn-as-the-center-of-the-baseball-universe genre, and I got a better feel from this book than from any other of what it would have been like to see a game at Ebbets Field. But as usual with the Brooklyn revisionists, the book ignores the fact the Brooklyn Dodgers were a doomed franchise from the time Walter O'Malley was thwarted in his effort to obtain land for a new ballpark.

Few, if any, owners in the major leagues then or now would have remained in a rotting ballpark with no parking in one of the worst neighborhoods in a dying borough. The Dodgers' attendance in 1955, their World Series title year, was just over 1 million, almost a 50 percent drop in only eight years, and if any other franchise had suffered a similar attendance drop, it would have taken wing also. The Dodgers also had to deal with the Milwaukee Braves phenomenon, which is mentioned hardly at all as a factor in the Dodgers' departure, even though it played a very important role.

McGee, and other self-styled Brooklyn historians, also glosses over the fact that Ebbets Field was a very dangerous place in its final years, with many beatings, assaults and robberies - many of them racially motivated, the Jackie Robinson experience notwithstanding - inside and near the ballpark.

Brooklynites of that era claim that the Dodgers leaving killed Brooklyn ... it's my belief that Brooklyn would have killed the Dodgers if they'd stayed at Ebbets Field much longer.

At any rate, this is a well-written book, but I'd like to see someone write a Brooklyn Dodgers/Ebbets Field book that isn't an exercise in Pollyannish literature. If you're sick of hearing about Brooklyn as the fulcrum of society as we know it, don't bother with this book.

Even though I grew up a Senators fan, having lived in Washington, DC., my parents, both of whom are from Brooklyn, instilled in me a love and respect for that grand old city/borough. I was born on October 16, 1956, 8 days after Don Larsen's World Series perfect game, but this book brought me in a time machine, allowing me to sit with Charley Ebbets as he planned to build this park, talked strategy with Uncle Robbie, laughed as the three Dodgers ended up on third, cried as those close chances in the World Series of the 1940s, cheered for Pee Wee, the Duke, Gil, Oisk, Campy and Jackie, booed Walter O'Malley and cried as the wrecking ball wiped out a landmark. Read this book today, immerse yourself in an era that was simpler, more neighborly, more alive. Take those memories and share them with all people, your kids, grandkids and their kids. Keep the memory of Ebbets Field and the Brooklyn Dodgers alive forever.

What differentiated this book from the countless others witten about the Brooklyn Dodgers was the author's attention to small detail. Now being from Brooklyn myself I appreciated this. The references to Steeplechase and the clown with paddles, Jim McElroy bring the Torre brothers to games at Ebbets field, the old Washington Park, Jack Kaiser, etc. For the average baseball fan outside of Brooklyn this is a great way to experience what once was. Even though I was only 6 when the Dodgers left and never saw a game at Ebbets Field the only logo's I display on anything I wear are Brooklyn Dodgers hats or shirts. You can't believe how many compliments I get. McGee in his writing really connects the Dodgers into the everyday life of every Brooklynite. I could only imagine what it must have been like (neither of my parents were sports fans nor did I have brothers or sisters). Growing up on the streets of Brooklyn you never had to worry how much junk food you ate because you would constantly burn it off playing stickball or basketball in the schoolyards. I find it interesting the players lived right in the neighborhoods, todays players live in castles and mansions, how could they ever connect to today's fan. I read this book very slow in order to digest every detail, there are plenty to digest. I highly recoomend this book to anyone baseball fan or not to get a glimpse into what was the "greatest place in the world" to grow up in. I only regret the Dodgers were not there when I could have appreciated them. I had the pleasure of meeting the author at a book signing and if he is ever in your area make it your business to meet him. The only thing better than the book is actually meeting Bob McGee.