New York Books

If you're like me and enjoy all those detective stories from the forties and fifties, you'll love Swann's Last Song. Salzberg has created an unapologetic true mystery with all the frills and chilly phrases. Every section lands you in another part of the world and the mystery but always with the sharp wit of the narrator, Mr. Swann. Try it. It's fun.

so much fun! so twisty and turny - and that's just the characters! Swann's self-effacing good nature is the perfect contrast and antidote to the surprising circumstances he must overcome. I loved it.

SWANN'S LAST SONG is a joy ride with a twist - Henry Swann starts out trying to identify a killer and instead finds himself trying to identify a victim whose identity keeps changing. Swann's the kind of guy you immediately like and want to hang out with, a guy who describes himself as "an American, from the tip of my wallet to the bottom of my bank account" and readily admits "I like to read other people's mail. I like to listen to their private conversations. Let's face it, I'm a born sneak." Along with snappy Robert Parker-like dialogue and a swell sauce recipe used by Aztecs who ate their human sacrifices, this book is a fun read filled with surprises. Highly recommended.

Swann's Last Song is an excellent read with a plot that made it hard for me to put the book down. I needed to see where we were going and was continually surprised to see where we ended up. Swann's an interesting character. I look forward to the sequel.

Manhattan based private investigator Henry Swann earns a living as a repo man. So he is more than shocked when femme fatale Sally Janus wants to hire him to find her missing husband, Harry. Besides the wealth that denotes she can afford a downtown pro, he is puzzled that she cane run down neighborhood. Still the upfront money is too good to pass even if he has never done a missing person case.

However, almost immediately after she hires him, Harry's murdered body is found in a hotel dive sleazier than the repo man's office. Sally rehires Swann to find her husband's killer; once again he accepts though he never did a homicide investigation before as the money is too good to pass. He begins to follow clues that take him to rock and roll in Vegas, Mexico and Germany in search of the Peking Man fossils.

SWANN'S LAST SONG is an exciting but odd hard boiled noir. The story line starts out fast-paced as Henry feels he is in a movie when the femme fatale hires him to first find her husband and when the corpse is located find who killed him. Although the plot spins totally out of control especially after trips to Vegas, Mexico and Europe, fans who like the action piled on without regard to accepting food stamps or passport stamps will relish Swann's search for the Peking Man.

Harriet Klausner

Woodstock was a part of our lives but we were not there. Instead we were home raising our small children. It was interesting to read Elliot Tiber's tale of what went on. Needless to say the news reports had no idea of the "behind the scenes" events at the local motel. When the movie comes out next summer, we'll all be there. A great part of it was filmed in our area and we know a number of the people who are in the movie, including our son who had a few of his older cars in it.
This is a definite read for those who remember the summer of Woodstock. You need to have an open mind though, and realize that it was the beginning of a different way of life.........what is now an open and accepable way of life. Entertaining and amusing!!!

Entertaining, fast moving story about being gay in the 60's, a background on how Woodstock came to be, and an excellent snapshot of the era. Based on a true story, this book shows indeed, that truth is stranger than fiction. The scenes range from bizarre to wildly hilarious. The author touches on the many issues and nuances of the time without getting weighed down by them. I found it a thoughtful rendition of Woodstock experience, from an entirely different perspective. An easy read, I read it in a day.

This book just takes me back to the Woodstock Days....I was 19 and never went as I had a 3 month old baby at the time..lived in Brooklyn..reading Elliot Tibbers book about the White Lake area brings back such funny memories as my parents used to take my brother and I to the bungalow colonies in Monicello NY and Woodridge area each summer.
I was just cracking up at his accurate discriptions of the area and reading this book reminded me so much of my own Jewish parents and paternal grandmother from Minsk, Russia.
Wonderful book!

Born Eliyahu Teichberg, poor Elli struggles to break what he calls the "Teichberg Curse" and changes his name to Elliot Tiber--hoping that would break the curse. Always on the brink of financial ruin and trying to hide his deepest secret, he dreams of the miracle that would change his life.

In 1969, he got that miracle. Manager of his Jewish parents' failing resort hotel El Monaco in White Lake, New York on the weekends, Elliot runs during the week to Greenwich Village where he can live the life he chooses as an interior designer and meeting the likes of Truman Capote, Tennessee Williams and Robert Mapplethorpe--all the while keeping his gay life a secret from his family. That is, until June 28, 1969, when he finds himself at the Stonewall Inn and the famous "Stonewall Riot" that would revolutionize the gay culture breaks out. With a newfound boldness, he finds out in July that the town of Wallkill has revoked the permit for the Woodstock festival. So he contacts Mike Lang, the concert's promoter, to offer his 15 acres for the concert. While Elliot hopes this is the miracle he has been waiting for, Mike Lang and his entourage arrive by helicopter but they end up feeling that the swampland of his resort hotel won't work for the concert. Tiber assures Lang and company that, since he has been the president of the Bethel Chamber of Commerce and has held a concert and art show for the past few years, he can get the necessary concert permit. Quickly, he calls his good friend Max Yasgur--who supports everything Elli does and only lives four miles up the road--and asks him to hold the concert. Elli explains to Mike that Max has a dairy farm on a hundred acres--more than enough to hold a concert. Arrangements are made and, before he knows it, Elli is caught up in the magic that will change his life forever. He is introduced to the hippie scene where everyone is accepted no matter who or what you are and learns he can love himself.

Whoa! Totally awesome and even far out and groovy! This book is absolutely amazing! This reviewer couldn't put it down--in fact, read it twice before writing this review. If you've ever dreamed of being at Woodstock or even if you were there, the author Elliot Tiber will take you back. The Sixties will come alive and you won't want the trip to end! But that is only part of the story, as Elliot takes you through the time of his troubled past and describes in perfect word pictures the struggles of his secret life, his childhood, the insanity of running the hotel resort, and dealing with bigoted locals who persecute him because of his Jewish heritage. In the end, you'll feel you know everyone and that you were there, too.

See Woodstock through the eyes of someone who lived it, who helped bring it to life - you'll never look at this period of history the same again. Don't pass this one by, as this autobiography guarantees to be one of the best reads of 2007 and is to be released just in time for the media's annual August remembrance of that great music festival. Also an awesome unique feature that this reviewer really likes is the reversible dust jacket--one side conservative, the other psychedelic. This feature, according to Square One's publisher Rudy Shur in Publishers Weekly, represents "The notion of duality [that] has been a central theme throughout Elliot's life, and we wanted the book to represent that notion of difference in a very direct and colorful way." So whichever trip you decide to take, this is one you'll never forget.

Cheri Clay
Reviewer's Bookwatch

The above would be an appropriate subtitle for this heartfelt but energetic and witty coming-of-age autobiography/memoir by Elliot Tiber, whose main claim to fame is that he fought the petty politics and narrow-mindedness of his small town of Bethel, NY, in order to make possible the Woodstock Festival in 1969.

The author (born Eliyahu Teichberg) grew up in the richly ethnic neighborhood of Bensonhurst, Brooklyn in an emotionally-starved but hardworking family with his Russian-Jewish immigrant parents. His father worked as a roofer, while his mother ran a housewares store in which they all helped out. Elliot finished college and began a moderately successful career in art design, primarily starting out dressing store windows and painting murals for rich Manhattanites. A trip to the Catskills resulted in the family buying a run-down motel right off Highway 17B at White Lake, in the town of Bethel NY, and Elliot found himself splitting his time, working weekdays in NYC and spending weekends doing whatever had to be done to keep the motel operational and barely financially afloat.

At the same time, Elliot came to the realization that he was gay, and - for whatever reason - favored the underground S&M flavored scene that existed in NYC in the mid 1960's. He met and partied with Robert Mapplethorpe, Truman Capote, Tennessee Williams, and even encountered Rock Hudson at one point. Of course, coming out to his conservative parents wasn't an option for him at the time, but his "secret life" during the week somewhat served to make bearable the weekends at the motel, scrubbing toilets and dealing with customer complaints (The Teichbergs cut a few corners in customer service. For example, they had phones in each room, but they weren't connected to anything. The TV was an empty box, as was the air conditioner sleeve below the window. Need soap and a towel? It'll cost ya extra, but you're lucky you made it in today, since Dad has hosed off your sheets - the only cleaning they ever got - just yesterday.)

In early 1969, Elliot read with interest the news accounts that the promoters of the planned Woodstock Music and Art Festival had been denied a permit by the town of Walkill, their planned location. As president (nobody else wanted the job) of Bethel's Chamber of Commerce, he had the authority to issue festival permits, and contacted the promoters about the possibility of moving the festival to Bethel, and offered the meadow of a friend, dairy farmer Max Yasgur, as the perfect venue. Much of the book details the whirlwind events that followed, as the festival took on a life of its own, eventually attracting around 500,000 people to the small town, resulting in threats by locals, payoffs to those who opposed it, nudity, drugs, gangsters, people bathing in the lake, shortages of food and water, but - despite it all - the most historic event in music and counterculture history, after which nothing would ever be the same again for Elliot and his family.

The author has a gift in telling a story, even one as obviously self-centered as this one is, for the most part. Witty and engaging, sure to bring back memories of that era. Loved the reversible (regular/psychodelic) dust jacket! 5 stars out of 5.

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

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

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

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

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

No need to summarize the plot; others have already done so. This is another terrific novel by the author of "Morte D'Urban" and fans of that sadly-neglected work will find this one equally enjoyable.

Powers has a talent, rare in American literature, for subtlety. His portrayal of Joe Hackett, a somewhat aloof, well-meaning but complacent Catholic priest, is a masterpiece of nuance, as realistic a character study as any I've encountered. One wouldn't think a book about the everyday goings-on of a suburban clergyman (everything from fund-raising to attending retreats to petty diocesan politicking) would hold much interest for the lay-reader, but don't let the subject matter scare you: this is a book about faith, redemption, and the wins and losses faced by all of us as we grow older (and, purportedly, wiser).

J.F. Powers's characters are built incrementally, as much through what they say and do as by what they leave unsaid and undone. The dialog here is snappy, the plotting is swift, the humor is wonderfully dry (the first chapter alone is a quiet riot), the observations of human nature are acute. The writing is razor-sharp; not a wasted word or imprecise thought to be found. And this without the stylistic bells and whistles so many writers feel the need to employ in order to "prove" their literary merit. It's not often I say that I hated to see a book come to an end, but in this case, it was true. In many ways, the novel ends just as Hackett's life is beginning.

Keep Powers in print. Read this book.

This final entry--1988 marks its long-delayed arrival--in a lengthy career (starting in the mid-1940s) of scant fiction marks the end of the postwar, triumphalist, yet marginalized, Midwestern Catholic parish--and notably here, rectory--intrigues that Powers excelled at conveying. His scale, being so focused, gains accuracy and depth by its concentration upon detail. Like a model railroad set, the 1:150 (or whatever!) ratio means painstaking attention to fidelity. Such realism to the untutored eye appears grotesque or caricatured, but to an aware observer reveals a nearly exact fit of form with content.

I give it four rather than five stars as I have re-read (and reviewed here, "Morte" and the thirty stories in their original three volumes as well as the collected reissue) all of Powers recently, and I believe that his many strengths as a writer are at times clouded slightly by his tendency towards oversubtlety. A forgivable fault in an era of so many authors straining for the obvious or what critics call "overdetermining" their subject, but Powers tends in all his work towards lengthy passages where not much goes on at all, but in which an editor could have polished the presentation and refined the craft even further. Powers appears to have been his own worse enemy and his own most scrupulous critic, on the other hand. Be it as it may, Powers makes nearly all of his peers look hasty, scattered, and undisciplined by comparison.

Action over the course of a priest's youth, coming of age, and gradual rise from curate to administrative assistant (when that word did not connote a secretary or receptionist) and then pastor comprises the narrative. Less verve here than the worldlier, more urbane Fr Urban had, but perhaps in his principled if compromised (the whole crux of the tension) fidelity to the needs of separating "Church from Dreck" Powers reveals that the need for reform Fr Urban realized while Vatican II was still in session (so to speak) by the end of the decade became all the more apparent as the slow slide downhill accelerated. Set by its conclusion around 1968, if offhandedly, the Catholic Worker roots of Powers and his conservative radicalism stand his fictional main character in good stead as priests wander off, parishioners ignore crusty priests' reprimands, malls open on Sundays, the hillbilly's war machine thunders on in the small town press, and guitars with cant supplant chant.

This novel, like his earlier (sharing with it a clumsy if rarified referential title) "Morte d'Urban," (1962), suffers from arid stretches, where the humor is so deadpan, the pace so true that the inert nature of our own shared experience with the clerical protagonists appears too neatly aligned. Dullness enters. A VD quarantine warning takes up one and a half pages verbatim. A few sample sermons from Father Felix (who helps out saying weekend Masses) summarize the stultifying, yet sincere, homiletics of a certain, less soundbitten, age. So with Powers, who in this novel had been criticized as a man out of time, with figures he identified with whose era had passed them by. Joe is only in his mid-forties. He seems much older. This may be a sign of now-diminished respect, when the maturity demanded of authority figures gave an earned dignity and a bit of unearned noblesse oblige to the clergy in smaller towns where the collar still mattered. Joe Hackett manages to get through the routine, and out of the limelight that had once courted his counterpart Fr. Urban, this parish priest does his best balancing God with Mammon, as the demands of a new accounting system make fundraising all the more essential, even as this pulls at the Gospel admonition that it's better to give alms in secret. How to square this with the need to make accountable freeloading parishioners when the Archbishop's needs come payable on demand? Out of such quandaries, Powers raises his own quiet art.

The need in fiction for a jolt, a spark, a spin off from the quotidian to the profound nestles, certainly, in Powers. This, however, moves along leisurely, and often nothing seems to happen for chapters at a time. Then, you understand that this accurately limns the trajectory of a recognizably human life like our own. You can see Powers' study of Joyce in his preparation of the slow ascent to epiphanies, such as Fr. Joe Hackett's finessed blessing of a scruffy draft resister who steps to tie his shoelaces while the padre finagles praying over his head and out of eyesight or earshot as the young man prepares to flee to Canada, on the pastor's unspoken advice but according to his moral example.

Re-reading this nearly two decades after it appeared, I admire Powers' critique of not only the institutional Church and its compromises with the world, but of his own admission that holy Joes only go so far in their own zeal in battling for their losing side. They must do so, vowed to do so and called by their Maker, but Powers recognizes in his own mellowing how annoying piety and phariseeism can be for the rest of us. Not for nothing is an early battle Joe engages in at the seminary, much to the disgust of some classmates and the suspicion of his rector, over the necessity of wearing a hairshirt.

Constructed in part from stories written over the past (two of which appeared in the last of his three thin story collections, 1975's "Look How the Fish Live," the novel does let its seams show. I wonder if parts of this novel were left too long on the shelf, or in hibernation. Yet, this is how Powers wrote. Very slowly, spending days pondering if a character would use the term "pal" or "chum" in referring to a confrere. Such was his state of mind, and more power to him. Probably a patron saint of scrupulous writers, if he is canonized as he deserves! His friend and colleague Jon Hassler eulogized him as "a saint with a bad temper." Hassler notes how Powers could strain so long over a detail that a reader, even an informed one such as himself, might miss the very nuanced finesse.

The extended battle of the story that was "Bill" for Joe to learn his new curate's name appears tedious and unbelievable, a shaggy-dog tale after a few pages of the many devoted to this embarrassing and rather cryptic episode. The story earlier published as "Priestly Fellowship" enters the novel mostly unchanged, but again the dive into the post-Vatican II uproar appears muted, if perhaps less dated for its lack of topicality to specific changes so much as the persistent lack of clerical fidelity. Yet, as the novel lengthens, the episodes do build upon possibilities tucked into these two stories, and while they unfold in off-handed and perhaps overly-controlled fashion, they are truer to the texture of everyday life for being so controlled. Holiness comes, if at all, minutely slow. The lack of histrionics or forced symbolism remains despite the uneven pacing in his longer works Powers' greatest talent. Powers knew when and how indirect first-person voice carried his stories; his shift in and out of his protagonist's minds is at its best in the imagined reverie Joe lets himself into as he pitches in the yard with Bill to let off steam. As with Urban's similarly prosy--both exaggerated and ordinary-- temptation at Belleisle in "Morte," the priestly heroes let their deepest selves emerge when they pretend they are just like the rest of us. Powers, and we, know better.

A final word, quoted from one of his students in Commonweal on his death in 1999. In the novel, out of his collar on a much-needed vacation, Joe passes himself off at the hotel bar as working for a "big concern," in "life insurance." The firm? "Eternal." Sort of a multinational, he admits, although he works out of a local "branch office." Powers explained when asked in class why he wrote so much about the clergy, and if he was anticlerical. "I'm not anticlerical. I simply look for a story that elucidates truth. If a human being buys an insurance policy, that's not much of a story. But when a priest buys an insurance policy, there's something going on that needs to be said and I want to say it." It took him nearly fifty years to write it.

This book was nominated for the national book award in 1988 for fiction. It is the story about Father Joe Hackett who as a young man was an athlete and a bit of a partier, and then he became a priest out of saintly ambition but becomes overly fond of the drink. Joe is a strange hero for a novel. Powers' daughter Kathrine in her introduction to the current edition states: "Written over an increasingly dark time, Wheat That Springeth Green was shaped by my father's growing conviction of the progressive and irredeemable absurdity of things. He was a connoisseur of the dull, the mediocre and the second-rate, and of the disingenuous and fraudulent, but now it seemed that their dominion has truly come." This book captures much of that sentiment - Joe in his own life and in his interactions with most of the other clergy in this book. Though Powers is more famous for his earlier work Morte D'Urban, I personally find this book much more enjoyable and Joe, though he has more visible faults, a person you can relate to more easily. I have known priests in my life that were mirrors of both Joe and Urban and yet I end up seeing a lot of myself in Joe.

Joe desired to live a holy life; he wanted to be pious and devote. He desired to be a man of prayer, serving the world. In chapter 6 Out in the World (previously published as The Warm Sand) Joe, in his last year in seminary, became known as a holy roller and was avoided his last year in school. His first assignment is with a priest who is a truly pious man, and when he criticizes him in front of some other clergy he experiences great remorse. Through this event he tries to change his ways.

Personally I can really relate to Joe; there is much in his small successes and more frequent failures or setbacks. This book is excellent. It was a labour of over 25 years of writing and rewriting. And having read some of the earlier versions of some chapters published as short stories, it was worth the wait. Powers, being the wordsmith he is, crafted and recrafted the stories together into a fabulous novel.

Anyone who has not read J.F. Powers is missing a major American voice in letters. This review will not be adequate to even speak of his skill.

Complete lives are sketched with the faintest of references, such as a family who the hero, Father Joe Hackett, brings from the city to remind his comfy parishioners of the trials of the poor (shades of the "holy poverty in the city" mantra so common from my youth). He tells their entire story with three unconnected lines sprinkled as a leitmotif throughout the narrative.

The hero's interior monologue is both revealing, and surprising. Throughout the novel faint points of challenges and grace (and simple, just-sufficient grace) carry the reader along with Father Joe's eventual conversion (rededication?). This is the story of a bumbling soul who eventually inhales the breath of the Divine.

Every person I've ever given a J.F. Powers book to has thanked me (Catholics and non-Catholics alike). Highly recommended, for this is monumentally great literature.

The best of the series of books published by The New York Review of Books are all the works of J.F. Powers, who died in 1989. Powers' novels and stories are almost entirely concerned with Catholic clerical life in the midwest. I hadn't read his last novel, Wheat That Springeth Green, and I was happy to find that the new edition contained an introduction by the author's daughter, Katherine Powers. Wheat That Springeth Green is every bit as fine as Morte D'Urban, his first and only other novel written some 25 years earlier, and a National Book Award winner as well. In its treatment of character and plot the latter novel is theologically perhaps even more complex.

Joe's character is cast from the first pages: as a toddler he gets attention from his parents' friends merely for declaiming at a party "I go to church!" We also learn of his parents' antipathy towards the parish priest's intoning on the subject of the "Dollar-a-Sunday Club," an attitude that Joe will inherit, and which becomes a theme that will be played out in a number of surprising ways. We also sense something of his aloofness in these first chapters as well. He doesn't keep up with many friends, but he does seem to know the value in keeping up appearances: "Joe just smiled at Frances and everybody, so they couldn't tell how he really felt about being in the sack race..." Joe is a good athlete, even in grade school, and the race he really wants, but doesn't get, is the sprint.

Much of the story revolves around Joe's relation to money, so that even an early adventure (described in nearly pornographic detail) involving his first adult relations with women is later understood to be subsumed by his larger pecuniary obsessions. His sexual sins, or at least the memory of them, turn out to be something of a red herring: at the seminary he asks his instructor, "Father, how can we make sanctity as attractive as sex to the common man?" a question that (rightly) earns him nothing but mirth from his fellow seminarians. We are given hints that as Joe grows older he succeeds in overcoming his youthful scrupulosity. After a stint at Archdiocesan Charities he is assigned to the parish of St. Frances - a name shared by his childhood infatuation and a co-traveler in that youthful adventure. So as far as sex is concerned, there is in his maturity there a sense that all is right with Joe, if not the world. That this is the case is dramatically reinforced by the nearly hopeless entanglements of an ex-seminarian, some of which leads to misplaced retribution that Joe patiently, even faithfully endures. These episodes are magnificently structured, displaying in Joe's life a kind of fate that is worked out through choices made less in freedom than with a concern for propriety and in service to principles that are neither his own, nor of the church in which, as he says in other circumstances, he does so much hard time.

Other obstacles to holiness, as perhaps they always must, remain. Although his basic attitude is good, the reader realizes that the young Father Hackett has refused one halo in favor of another when he refuses to toady up to either the priest in his parish or to the archbishop in his archdiocese. Money matters are everywhere in evidence: the rectory built by Joe; bribes offered by parishoners; purses collected on behalf of retiring priests; inheritence; a collection drive that is farmed out to a private firm - in which Joe will take no part. All this points to beyond the contradiction in one man's character to a paradox that is funamental to our very being. How do we care for an abundance which is most fully ours when we least consider it our own?

Joe's misappropriation of his own nature, and indeed human nature, leads to a truly heinous transgression in one of the final chapters. That this transgression is committed and then resolved in secret, without comment from Joe or even the narrator, points toward a God who is as truly all merciful as he is unnoticed even by lesser beings working on his behalf. I would guess that the true thorn in Joe's side is also Powers', and while reading I several times wondered whether the crux of the story wasn't inspired by his frustration at watching baskets and plates passed through the pews, week in and week out, for a lifetime.

Very highly recommended.

Waht's to say? Restaurants come and go so frequently in New York that even natives are lost without one of these.

I love the Zagat guides for the dining recommendations, helpful information and the varied opinions of "the people". Helpful in making an educated decision as to where to dine.

We live outside of NYC in Stamford, CT and we head into the city about every other weekend. We love go out to eat and so we're ALWAYS carrying around this book (its small enough to fit in a medium sized purse) and reffering to the book to get an idea of price, atmosphere, location, etc. I refer to the book at least once a week to find out more information about a place....its the only place I look for reviews and it has basically become the only place I look for ideas on places to go! If its not in Zagat, usually I'm not interested in going!! Most of the times its for dinners, but I've looked it up a few times for lunch/bars too. Great sections - separated by location if you're looking for a particualr area of the city, or type of cusine, or atmopshere (even stuff like, does it have a fireplace?). Great gift....I've given it out several times to newcomers to the city, and they dont go anywhere w/o it either. Would buy again when my book gets old!!! And, I will buy it again for someone as a gift..!

Everyone who wants to eat well in NYC needs a Zagat guide. It lists almost every kind of cuisine, price level and restaurant location in the city. The reviewers are people just like you and me, they like to eat and they are willing to share their experiences. If you are visiting NYC for the first time, or for the 20th time, you need this book.

If you are planning to take a trip to New York City, be certain that you have the latest copy of Zagat's with you. It will totally enhance your dining experience. don't leave home without it.

The Age of Innocence by Edith Wharton

This is an interesting and a compelling read. The novel is very well written.

Imagine living in a world where life is governed by intricate rituals; a world "balanced so precariously that its harmony [can] be shattered by a whisper" (Wharton); a world ruled by self-declared experts on form, propriety and family history - read: scandal -; where everything is labeled and yet, people are not; where in order not to disturb society's smooth surface nothing is ever expressed or even thought of directly, and where communication occurs almost exclusively by way of symbols, which are unknown to the outsider and, like any secret code, by their very encryption guarantee his or her permanent exclusion.

Such, in faithful imitation of Victorian England, was the society of late 19th century upper class New York. Into this society returns, after having grown up and lived all her adult life in Europe, American-born Countess Ellen Olenska, after leaving a cruel and uncaring husband. She already causes scandal by the mere manner of her return; but not knowing the secret rituals of the society she has entered, she quickly brings herself further into disrepute by receiving an unmarried man, by being seen in the company of a man only tolerated by virtue of his financial success and his marriage to the daughter of one of this society's most respected families, by arriving late to a dinner in which she has expressly been included to rectify a prior general snub, by leaving a drawing room conversation to instead join a gentleman sitting by himself - and worst of all, by openly contemplating divorce, which will most certainly open up a whole Pandora's box of "oddities" and "unpleasantness:" the strongest terms ever used to express moral disapproval in this particular social context. Soon Ellen, who hasn't seen such façades even in her husband's household, finds herself isolated and, wondering whether noone is ever interested in the truth, complains bitterly that "[t]he real loneliness here is living among all these kind people who only ask you to pretend."

Ellen finds a kindred soul in attorney Newland Archer, her cousin May Welland's fiancé, who secretly toys with a more liberal stance, while outwardly endorsing the value system of the society he lives in. Newland and Ellen fall in love - although not before he has advised her, on his employer's and May and Ellen's family's mandate, not to pursue her plans of divorce. As a result, Ellen becomes unreachable to him, and he flees into accelerating his wedding plans with May, who before he met Ellen in his eyes stood for everything that was good and noble about their society, whereas now he begins to see her as a shell whose interior he is reluctant to explore for fear of finding merely a kind of serene emptiness there; a woman whose seemingly dull, passive innocence grinds down every bit of roughness he wants to maintain about himself and who, as he realizes even before marrying her, will likely bury him alive under his own future. Then his passion for Ellen is rekindled by a meeting a year and a half after his wedding, and an emotional conflict they could hardly bear when he was not yet married escalates even further. And only when it is too late for all three of them he finds out that his wife had far more insight (and almost ruthless cleverness) than he had ever credited her with.

Winner of the 1921 Pulitzer Prize and the first work of fiction written by a woman to be awarded that distinction, "The Age of Innocence" is one of Edith Wharton's most enduringly popular novels; the crown jewel among her subtly satirical descriptions of New York upper class society. By far not as overtly condemning and cynical as the earlier "House of Mirth" (for which Wharton reportedly even saw this later work as a sort of apology), "The Age of Innocence" is a masterpiece of characterization and social study alike: an intricate canvas painted by a master storyteller who knew the society which she described inside out, and who, even though she had moved to France (where she would continue living for the rest of her life) almost a decade earlier, was able to delineate late 19th century New York society's every nuance in pitch-perfect detail, while at the same time - seemingly without any effort at all - also blending together all these minute details into an impeccably composed ensemble that will stay with the reader long after he has turned the last page.

Also recommended:
Wharton: Four Novels (Library of America College Editions)
Edith Wharton: Vol 1. Collected Stories:1891-1910 (Library of America)
Edith Wharton: Vol.2 Collected Stories 1911-1937 (Library of America)
Henry James : Novels 1881-1886: Washington Square, The Portrait of a Lady, The Bostonians (Library of America)
Henry James: Novels 1901-1902: The Sacred Fount / The Wings of the Dove (Library of America)
Ethan Frome
The House of Mirth
Washington Square
The Portrait of a Lady
The Wings of the Dove

The book begins with wit and irony, as Edith Wharton describes the small élite of New York society in the early 1870s. They lived within a whole series of well-understood conventions and assumptions which included nice and minute distinctions within the social hierarchy, a censorious and gossipy attitude towards any member of the set who strayed from what was expected of them in the manners, appropriate cultural interests, dress and furniture, and relations between the sexes. Those who were felt not to conform, such as the American-born Countess Olenska who had returned from Europe, leaving her husband and intending to divorce him, imperilled the reputation of their entire families. In that society, young unmarried women, in particular, were brought up in ignorance of the ways of the world, into which they were initiated only after their marriage. Until then, theirs was the age of innocence of the title.

That is the state in which May Welland was when she was engaged to Newland Archer. May Welland belonged to the same family as the Countess. They were cousins and the granddaughters of the powerful and wealthy matriarch, Mrs Mingott, a pivotal and superbly drawn character, both as to her personality and to her vast appearance. Newland was in a dilemma: he had really shared all the assumptions of his class; but now, to protect his fiancée, he felt he had both to defend the Countess and to dissuade her from going ahead with the divorce. The Countess is `unconventional' in other ways: she consorts with artists, who never mix with the social élite of New York, and she claims the right as a woman to live her own life. She is also very attractive, and Newland, in taking her side, not only finds himself unaccustomedly critical of the conventions in which he has been brought up, but falls in love with her, as she does with him. Then of course he wants her to divorce her husband so that they can marry, though he is engaged to May. The Countess thinks this impossible - perhaps out of loyalty to her cousin May (though this is not made explicit at the time); and Newland then does in fact feel bound to marry May, though he already feels the dread that he would be sucked into the conventional life which he was beginning to find stifling.

May's interests and attitudes indeed turned out to be much the same as those of the society into which she had been born (though she was no fool, understood more than her innocent air suggested, and knew how to use the coded language which said so much more than its surface would suggest). After a year and a half of marriage, Newland was just getting used again to the world in which he had after all also spent most of his earlier life, when the Countess Olenska reappeared in his life. Their love for each other has never died down, but they are no nearer to being able to make a life with each other: his code forbids divorce, and hers forbids the role of a mistress and the betrayal of other members of her family. And of the two, the enigmatic Countess is always the stronger and the saner one.

The strength of the tribe is irresistible, and it is brought out especially in the superlative description, both sardonic and touching, of the farewell dinner given, at May's insistence, in honour of the Countess' return to Europe.

A quarter of a century elapses between then and the last chapter of the book. This, too, is quite outstanding, describing not only how Newland`s family and public life had developed respectably in that time, but also what changes had come over New York society in the interval. Newland's son Dallas is so much less inhibited than his father had been; the stuffy mores of his father's generation have long passed away. In the brief portrayal of Dallas and of the relationship between him and his father Edith Wharton again shows herself as both a brilliant social historian as well as a sophisticated novelist.

This literary drama is a far cry from Noh Drama's long haired monster dwelling in a cave in a mountain top. Yet the mangitude of restrained subtlety of expressions veiling wide gamut of human passion from each drama is the same. Set in Jim Crow and Chinese Exclusion Act days, Edith Wharton offers unique insight of the subject matter and extraordinary foresight in what she knows best, her own social milieu. The uneasy relationship that Wharton describes so honestly and tenderly is provocative simply because Archer considers Ellen his "team" notwithstanding.

For general readers Wharton has constructed a book that is everything the other reviewers here claim for it regarding their enjoyment of it.

For a writer, as in my case, I needed more than entertainment.

I read Age of Innocence as a source of information on the era Wharton knew so well - Old New York and Newport in the Gilded Age. For that purpose I found it outstanding indeed. But Wharton's selection of characters and the plot suggested a lot more reading would be valuable. I started with her latest biography by Herminone Lee, a striking work in itself. (Knopf, 2007.) I recommend it to anyone interested in Wharton. This aroused curiosity as to the extent Wharton's life may have contributed to her selection of material and her dark brown treatment of it. She always seems to be trying to get even with someone, as Louis Auchincloss has observed as well. He is must reading on Wharton. Curious on that point, I ended up reading at least two dozen books that I would not normally read, such as Henry James, parts of Balzac, another reading of Madame Bovary, even Pride and Prejudice by Jane Austen, which I thought was more soundly written than Age of Innocence. It certainly was a lot happier book.

I was disturbed by Age of Innocence, especially it's conclusion. Other professional writers have told me of a similar reaction. One, a lady friend of my wife's, who is a highly successful writer of mysteries, said, "When I got to the end I simply screamed!" Figuratively, so did I.

Tastes in books are obviously subjective. I tend to history and biography. Neither I, nor anyone else, is qualified to criticize Wharton simply based on individual taste. But there is a fair basis of more objectively considering her work: her own book about how to write novels and short stories. After reading Age, I was surprised to find that, as a writer, I agree with almost everything Wharton wrote about the subject. She doesn't follow her own views in any of her writing that I have read and I have read a lot of it recently.

Wharton and I agree on the first principle of all good writing: "Write only about what you know about." Next in importance, and of equal weight are: (1) know your characters thoroughly (2) keep characters in character (3) after that turn them loose and let them write the plot in interaction with each other and don't meddle. This was Mailer's approach, but there are striking contrasts in approach that produced sterling writing, such as Steinbeck (his Winter of Our Discontent is a masterpiece of plotting). (4) avoid contrived situations which always involve unsound motivation (an annoying offense that almost every reader will catch, since people are basically logical). There are many more good rules to follow, such as avoiding Acts of God (the Deus ex Machina of Greek drama.) Instead let the characters get into their own scrapes due to their own limitations and out by their own ingenuity. If she had not ignored her own rules and allowed her two main characters to step out of character, Age would have demanded a different ending.

Therefore, judged by herself, I think Age of Innocence and many other of her works flunk the course.

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

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

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

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

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

Our family has loved this songbook very much. There are ninety songs in the book. Written by Pete Seeger's sister, American Folk Songs for children has songs each of them suggests an activity. There are songs for going places, songs for knocking on doors and windows, songs for eating, songs for dancing, and many others. I would like to buy a copy as a gift, and I hope there is a reprint date soon.

This is the bible for children's folksongs, with artwork by Barbara Cooney the icing on the cake!

This is the book with the favorite songs from my long ago childhood. So I bought it for my daughter so she could sing these to my grandchildren.

It has the good songs. Songs with lots and lots of verses. Fun songs for older kids and songs to sing babies to sleep.

This book is a treasure! The introduction gives a wonderful background on these authentic folk songs and how they can be used with children. This is an essential book for music teachers, but also great for parents. Be careful, though, because once the children know the songs you'll hear them over and over again... :)

I own a copy of the original print of this book. It posseses some of the most whimsical little songs I have yet to hear. Its just...fabulous...and I don't even know how to play any instruments....lol

Many players played for the Pied Piper(Holcombe Rucker).No one was has great as him though.He was a great man and founder of the Rucker Tournament.Most people who ended up playing in the Rucker Tournamet was better then most players in the NBA.They first started playing just in Harlem,New York then went to playing more teams in New York then more and more teams.They played as far as Mississippi.

this book talks about problems the players and coaches had with racism.Most players got started in the Rucker Park Tournament.After the park tournament they went on to college ball even some went to the NBA!
Asphalt Gods by Vincet M. Mallozziwas a great book about players before professional ball games.This book is a excellent book to pick up and read.

An excellent book. Well worth the read. Great read on the history of the fabled blacktop and the man who dedicated himself to making a difference in people lives. Great read on some of the characters to grace the early days of the tournament. you won't be dissapointed getting this book

Asphalt Gods is the best book on the planet.If you love basketball you should read this book.It is a true story which took place at Rucker Park.Rucker Park is named after the brother named Holcombe Rucker.Who was born in Harlem on March 2,1926.He was raised by his grandmother.It is interesting because Mr.Rucker brought some of the best players ever to play there.

I've read Heaven is a Playground, City Game, and seen On Hallowed Ground, for anyone that is a "real" basketball fan this is by far the "BEST" story of the best streetball.

Great subject, great storytelling. By the way, I played with Rucker legend Billy Rieser (aka White Jesus) and he was hands down the most incredible basketball talent and the most compelling personality I have ever been around. His story is worthy of a volume in itself.

You don't have to have knowledge of the Adirondacks to love this book. I have never been there and don't know anything about them, but still found this book a wonderful read. What I found most incredible is the amount of research and intervieweing that went into it. Each story held so much useful and clear detail that I felt I got a true sense of the atmosphere and events as they unfolded. I highly recommend this book to anyone who enjoys adventure reads, especially true ones.

I cut my outdoor teeth in the high peaks region back in the late 70s & early 80s. The beauty and unpredictability of the weather in this region are unmatched.
My spine tingled as I read the harrowing stories of people caught in the clutches of bad situations, and fighting to make the best of it.
I've been a Search & Rescue team member in Kern County Ca and Monterey county Ca, and been in some truely frightening situations, but none as scary as a severe thunder & lightning storm on the top of Giant Mountain. This book brought back the rememberance of my primal fear...feeling my hair stand up from the static building before the lightning strikes, the screaming of both me and my trailmates, as the thunder boomed, reminding us of how frail life really is.
What a great book!

I was born and raised in the Adirondacks, and I must admit that learning the details of some of these triumphs and tragedies was just riveting. Mr. Bronski has done an incredible job of bringing these stories to life and making you feel that you actually know the people involved and you are actually in the midst of all the drama, storms etc. I never looked at the Adirondacks as "dangerous", but the title says it all, "At the Mercy of the Mountains".

Could not put it down and did not want it to end. Gave me a greater appreciation for the Daks. Really inspired me to get out there and hike!

Peter Bronski's collection of survival stories is riveting. Beginning with an introduction discussing the unique history and characteristics that are the Adirondacks, Bronski sets the tone for some amazing and harrowing true stories.

The infamous 1995 `blowdown' (derecho) is witnessed by several campers, where tornado-like microburst combined with thousands of lightning strikes terrifies the region. The storm leaves campers stranded in a mix of tangled trees piled like matchsticks. Four young men on a winter hiking trip suddenly experience a fast regional thaw and watch as several feet of snow turn to slush, suddenly flooding their lean-to and leaving them to hike over treacherous lakes and rivers that can't hold their weight. An experienced pilot and his wife crash their small plane into a mountainside, barely surviving, only to find themselves miles from nowhere.

These are just some of the stories that the author brings to life, some old and some recent. The most striking aspect this collection is the emphasis on search and rescue (SAR) in conjunction with the survivors ordeals. There are numerous missing persons mentioned over the years, some found and some lost forever. Instead of dwelling on morbid or gory descriptions, Bronksi focuses on the survivors and those that risk their lives to save others. Sometimes remnants of a lost hiker are found years later. Sometimes the family never gives up the search. This book is an instant classic and a must read for any outdoor enthusiast, especially if they travel in the Adirondacks.