New York Books

Bua's work is amazing. I truly enjoyed his work as well as his story. I highly recommend this book.

I put this book in the must have catagory. I have followed Justin bua's art the last few years and have found this book a great source of info on his methods and background info on his work. I have a book by ernie barns and I put this one right up with his. This book is a must have for any Bua fan or fan of black or urban art.

Justin Bua is not just a talented artist but he is prolific as well. His stylistic caricatures and illustrations with there amplified perspectives and edgy stylings bring the urban street scene to life in a poignant and entertaining way. He presents a diary of his life on the streets. He shows a cast of characters that resonate with energy and rhythm created by his skills at applying line, color and texture. Awesome! Justin Bua is a poet with a paint brush!

If you like Justin Bua...you'll love this book.The artwork is beautiful and he provides a detailed outline of his life,his inspiration, and his direction for each of his pieces... The layout is beautiful, the design is lovely, and the art is brilliantly Bua. It's a great book to share with others too.

I bought this book as part of research for a 15 min adaptation of a play Marisol (Jose Rivera) for my drama class. Bua's artwork is stunningly beautiful, with a great portrayal of a city that brings so much awe, culture and mystery...NYC (where marisol is staged).
his telling a story through art is an amazing feat, the colors are great and a few really nice quotes about progression in any artform is in need of skills, as the book states:

As one of my teachers Glenn Vilppu put it: "if you think of all the possible visual elements that you must learn as keys on a piano, the more keys you have, the wider the range of possibilities you can enjoy. Of course, you can make music with just a few keys, but that should be based on choice, not limitations."

Eloquent in his words and thoughts (and his teachers words for that matter), and passionate about his artform, i found the book a great story into the heart of new york.

I was surprise that a non-black person could actually have the courage and the sensibility to write an unbiased history of folks of African descent. My spirit was touched by the plight of my ancestors and their ordeal after slavery. The government promised them their 40 acres and a mule. However, very few of them receive anything to start their free life.

Without land and the tools to work it, they would be at the mercy of the former ruling elite, slave owners, and other whites that had the inkling to exploit them.

Image being freed from centuries of brutal toil, physical, emotional, and sexual exploitation with no resources to start your life in a society that despised you and those in your image? The author does an excellent job. I must commend him.

What made me laugh is the response of the whites to the changes in the blacks when they learned they were free and the union army was in the neighborhood. They dropped their masks and showed them their true face. Don't they know their survival was dependent of keeping their mask in place? I am reminded of one of favorite poems.

We Wear the Mask by Laurence Dunbar

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,--
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

Why should the world be overwise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.

We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
We wear the mask!

Preach brotha preach? This poem always tries to bring down the spirits on me. I have to fight it. If I am in a public place, I don't want the Holy Ghost get on me. Smiling. This is one of those books that touched my spirit. It stayed with me for a long time. This is the mark of good writer. Though it is a history book, it is not a bore, with dry facts. It is written like a novel.

I give this book a five star, and highly recommend it.

This book is gives an excellent synthesis as to how freedom was experienced in various regions of the South after 1863. One of the finest books within the historiography of American slavery and freedom. Litwack goes to great lengths explaining the freedom experience, the failures of the Freedmen's Bureau and the hesitations ex-slaves felt after 1863. A must read and must have for anyone interested in slavery, its aftermath and Reconstruction.

Few populations in history have gone through the dramatic changes that African Americans underwent at the end of the Civil War. People who had suffered slavery for generations suddenly found themselves free, a welcome yet uncertain status that required considerable exploration and adjustment. Leon Litwack's book examines this transition, concentrating on how freed African Americans perceived freedom and how they shaped the conditions of their freedom in the aftermath of the Civil War.

For many African Americans, change began with the Civil War. Slaves in areas occupied by Union soldiers would be liberated from bondage, while many African Americans took up arms as the war went on. The end of the war and the ratification of the Thirteenth Amendment meant freedom for African Americans, freedom to live their lives as they wanted. For most, the first step was finding their scattered families and coming to terms with their time as slaves. Freedom also meant discovering a new identity, especially with regards to their former masters, as African Americans now had to deal with whites in new ways both socially and in the workplace. Finally, African Americans faced the challenge of creating a new society free of the restrictions of slave life, which led to the establishment of modes of religion, politics, and the press to serve their particular interests.

Litwack's book is an indispensable study of African Americans in the aftermath of emancipation. Based on a wealth of primary sources (including the invaluable collection of oral interviews conducted by the Federal Writers' Project during the 1930s), he argues that no set experience defined how African Americans dealt with freedom. What emancipation demonstrated was the interdependence that existed between African Americans and whites, an interdependence that did not end with freedom but was shaped by attitudes and tensions that remained from the experience of slavery. The result is a book that is essential reading for any student of the era, as well as for those seeking insight into race relations in America today.

During the Civil War and the years of reconstruction which immediately followed, blacks experienced an interlude of optimism and hope from the harshness and repression of slavery. It was a time of great social upheaval and former masters and slaves were forced to adjust to a new order. In, "Been in the Storm So Long: The Aftermath of Slavery, "Litwack writes of slavery's aftermath with a slave's point of view from contemporary accounts, diaries, and interviews conducted under the Federal Writer's Project. We learn how blacks perceived and experienced freedom.

Freedmen articulated their independence in many and varied ways, but fundamental to being free, was having one's own land. Former slaves soon found that land was not easily acquired despite their newfound freedom. Powerful forces conspired against them. Their fate became tied to plantations, working in the fields, just as before but now as contract laborers.

The new relationship as planters and laborers kept blacks from exercising the full range of privileges which should have belonged to them as citizens. Land ownership should have meant independence and self-sufficiency to former slaves. In slavery, they had worked the land and harvested its bounty but they were not the beneficiaries of their labor. With emancipation the idea of owning land "remained the most exciting prospect of all." (399) It epitomized the meaning of freedom.

The expectation of land redistribution, "forty acres and a mule," was ill founded and unrealized. The success of "such experiments [that] took place at Davis Bend, Mississippi, where blacks secured leases on six extensive plantations...[and] repaid the government for the initial costs, managed their own affairs, raised and sold their own crops, and realized impressive profits"(376)was an aberation. Any lingering hope that the government would redistribute land were dashed when on May 29, 1865, President Andrew Johnson pardoned former Confederates and permitted them to reclaim confiscated or occupied lands. Thereafter the Freedman's Bureau and Federal troops enforced the restoration of lands to their former owners. Not only was redistribution denied to freedmen, but fundamental legal rights were limited as well.

What did freedom mean to an emancipated slave who had never experienced it? According to Litwack, "newly liberated slaves adopted different priorities and chose different ways in which to express themselves, ranging from dramatic breaks with the past, to subtle and barely perceptible changes in demeanor and behavior." (292) Initial uncertainty about what to do gave way to "the urge toward personal autonomy"(293), which meant leaving the plantation or farm. To move about is so fundamental to our society today that we take it for granted, but to an emancipated slave it must have been nirvana. In contrast, former slave owners emmitted "cries of ingratitude and betrayal [that] were repeated with even greater vigor and frequency than during the war, compounded this time by the feeling of helplessness." (301)

Movement was an act of freedom, but one which swelled the black populations of nearby towns and cities. Shifting racial etiquette and ostentatious behavior served to harden racial sentiment. Disputes over public space occurred on the sidewalks, streets, and on public transportation. "Almost every white man remained convinced that only rigid controls and compulsion would curtail the natural propensity of blacks toward idleness and vagrancy, induce them to labor for others, and correct their mistaken notions about freedom and working for themselves." (305)

The planter class wanted freed slaves to understand that they must either work for whites or starve. Crops had to be planted and harvested and they had to know there would be labor to do the work. Black Codes were written so whites could control freedmen for their economic need. Fortunately for freedmen, Black Codes were short lived. But never-the-less the sentiment which created them continued and enforcement persisted where the Freedmen's Bureau did not put a stop to them, or where blacks had no recourse for appeal.

Legal rights were further restricted when " Union commanders moved quickly to expel former plantation hands from the towns and cities, to comply with the request of planters to force their blacks to work" (375) and by passage of vagrancy laws which applied only to blacks. Once under control and returned to the plantations, restrictive "voluntary" contracts served to keep them there. Even where labor was scarce, the former slave could not effectively exercise his rights. What bargaining power he had to reject a contract was limited. If he held out too long, he could be evicted, and he still had to support himself
somehow. "Although the freedmen's Bureau recognized his right to contract elsewhere, it insisted that he contract with some employer; if not he could be arrested for vagrancy." (443) His options were very limited.

Having no land and without full legal rights, freedmen could not pull themselves up from the aftermath of slavery and achieve the promise of freedom. That freedmen in the South slipped back into a condition of semi-slavery after the civil war has effected race relations and politics ever since. The following paragraphs focus on other issues which returned freedmen to the land under conditions almost as bad as they had experienced before the Civil War.

One would think that with the establishment of the Freedman's Bureau, passage of the Civil Rights Act of 1866 and the13th, 14th and 15th Amendments to the Constitutional, black's independence would be assured. But these actions represented problems of reconstruction on a national level. The Freedman's Bureau was the first large scale Federal relief agency with a broad mandate to assist blacks in the aftermath of the Civil War.

The 13th Amendment abolished slavery but in response to the Black Codes, Congress passed the Civil Rights Act over a presidential veto. The 13th Amendment granted citizenship to persons born in the United States and was a result a long battle between President Johnson and Radical Republicans in Congress on the roll and the scope of federal power. The 14th Amendment affirmed the constitutionality of the Civil Rights Act and went further to protect the rights of citizens. The 15th Amendment forbade the states from denying voting rights to former slaves on the grounds of race and color."With some justification, white Southerners accused the north of hypocrisy in seeking to impose upon them the racial equality which most Northerners would have abhorred." (260)

From the freedman's perspective, emancipation was a time to be jubilant in spirit, with a hopeful outlook and upbeat mood. But if self-ownership meant freedom to a former slave, it represented an economic loss to their former masters. While there was no recompense given for the loss of value to white owners, there was no payment given to freedmen either for their work as slaves. If what it meant to be free had to be experienced to be learned by former slaves, being without slaves had to be experienced to be learned by whites. "What most whites found difficult to accept was not so much the freedom of the slaves as the determination of ex-slaves to act as though they were free." (338) In the end old compulsions led to a new dependency to get back the agricultural labor system they were used to.

It would seem self evident that to survive people would have to work together in the south. The planters owned the land and needed laborers to work it. Freedmen had no land and needed work to survive. How the problem resolved itself was not very satisfactory. Without any political power, blacks were at a disadvantage. Not owning land and with curtailed legal rights, blacks were vulnerable to exploitation. The old model of plantation operation was there to mimic under new circumstances. "To listen to the former slaveholder, emancipation had changed only the method of compensation, not the basic arrangement, not the mutual understanding that had underlain the old system." (337)

The problem was how to get the people back on the land? The movement of blacks on the road was unsettling to whites. All these people were moving about and not in the fields where they belonged! From a government standpoint the Union Army and the Freedman's Bureau had a stake in keeping order. If there was not enough work for everyone outside of farming and people were not on the farms, that meant a huge welfare problem. Thus to the controlling agencies maintaining order under reconstruction meant getting blacks back where they belonged, on the fields. The old dependency of the plantation system returned with blacks depending on whites and whites depending on blacks. The old system wasn't fair and the new system didn't turn out to be too much better. As one old former slave put it when speaking on Lincoln (and freedom) "'Lincoln done but little for the Negro race and from living standpoint nothing."' (449)

The only hope blacks had for effective emancipation was with the North through reconstruction. But, there were no clear cut ideas that emanated from Washington: no prescient leadership and no determination to see the issue through to its end. The two federal entities that were most evident throughout the south were the Union Army occupation forces and the Freedman's Bureau. Blacks looked to them for help, but, in general, the only conclusion that can be reached is that what help was received was inadequate.

The Freedman's Bureau objective of returning former slaves to the land, facilitated the move back to a plantation system. Blacks had little hope for justice. "The ways in which a local Bureau agent or provost marshal considered the grievance of a freedman differed markedly from the deference paid to a prominent planter." (384) While supposedly free, now the black remained a second class citizen.

As reconstruction came to an end, the New Orleans Tribune used an appropriate term to refer to blacks under restrictive regulations as "mock freedmen" (377) effectively summarizing reconstruction's lasting effect. What came next was a system of debt peonage which kept blacks tied to the land with little chance of improving their condition. Sharecropping satisfied black laborer's desire for at least the feeling of having his own land. The planter provided the land and implements in exchange for half of the crops. But somehow the books didn't balance at the end of the season and the sharecropper or tenant remained in perpetual debt to the landowner.

Reconstruction came to an end because it was contrary to too many people's interests and blacks did not have enough political power to keep it going, at least to insure the achievement of true freedom. Without land and full legal rights, black political struggle was postponed for generations.

Anyone with a serious interest in the Civil War should read Been in the Storm So Long. Litwacks's work is more than just black history; it explores the principle cause and consequence of the war. Unlike many general histories that preceded it, "Been in the Storm" relies heavily on primary sources. War-era diaries and letters of whites, Union Army records, Freedman's bureau reports, and Depression-era interviews of former slaves and their children, provide most of the material. The outrage of southern whites who watched trusted slaves pick up and leave when freedom came, echoes throughout the book. So too does the uncertainty of the era. Some blacks may have dreamed big, but most just wanted freedom, security, and opportunity. Though some lasting gains were made, the struggle for full freedom would be much longer.
Certainly, "Been in the Storm" is the place to start for Emancipation reading. Though the coverage of early black politics was not as strong as in Eric Foner' Reconstruction, I know of no equal for the early social consequences of Emancipation.

This beautifully written reminiscence of growing up in Brooklyn captures neighborhood life in the 20s in Brooklyn and goes beyond, containing all the elements of childhood dormant in our minds and inherent in our experiences growing up in cities around America. Life was simpler --Bernice Carton brings the beauty of that life vividly to the page and helps us reenter a world that is well worth recapturing.

Bernice Carton's Beyond The Brooklyn Bridge gives today's reader a slice-of-life look at growing up in another, more simple era. From the street games kids played to the medicinal remedies we no longer use to parental guidance of a kind we no longer experience, Bridge takes the reader on a journey back in time. Written in a thoughtful, evocative style, Carton's book is a delight to any reader - no matter where they grew up. I recommend it highly to the young and not-so-young alike. Carton's fictionalized account of growing up on a specific block, on a specific street in a much-loved part of America is a treat for the imagination. It's a book that makes you comfortable - like cookies and warm milk.

I am a Californian who has lived in Brooklyn Heights since 1991. Beyond the Brooklyn Bridge is a delightful story about a Brooklyn that was here long before I arrived. The characters in the book are the kind of kids with whom I would love to have played. The Mothers are to sort of lovely people one would like to have gotten to know. I recommend the book for those who are new to New York and to people all of the country who would like a view of Brooklyn past.

Reading her book made me feel I knew her. Certainly, she took me by the hand and led me down Memory Lane and it was fun all the way. I haven't heard anyone say "Holy Cow" for long time. I loved the part about the empty lot because a house burnt down. The kids on my block in New Kensington Pennsylvania had an empty lot, too. There, we had roast "mickies", too. We didn't call them that, but we loved eating them. Cindery black though they were, and usually raw in the middle. Open streetcars. Penny Candy. I had to laugh out loud when I read about ice cream plopping out on the sidewalk to "Good-bye, Charlie!" It's been a long time since I heard that, and "Hot diggety dog!" I was surprised to learn that Brooklyn kids used the same expressions that we did in New Kensington, Pennsylvania, where I grew up in the 1920's. I guess I didn't expect the use of language to be the same everywhere. This book gave me so much pleasure!

Entranced by this wonderful compendium of nostalgic reminiscences - written in a lively, irresistible style - I have given the book as a gift on every occasion that calls for one. Without fail, recipients tell me that not only did they thoroughly enjoy the trip down memory lane, but, in turn, "lent" the book to friends and relatives, who, in turn, have "lent" it to others... In each case I receive lengthy letters, e-mails or telephone calls of thanks from people wishing to add their own personal memories to Bernice Carton's remarkable store of nostalgia...This includes readers in locations as disparate as Florida, Georgia, Pennsylvania, Virginia, Rhode Island, Connecticut, Massachusetts, California, Canada, Australia, England and France. Not just Brooklyn! (I have recently learned through the grapevine that this book now even numbers among the possessions of exiled Prince Michael of Rumania himself, a gentleman whose presence graces the pages of this work)!...What a wonderful springboard for hours of delightful conversation! It has proven itself to be the gift of the century... Everyone tells me they are eagerly awaiting the sequel - tales of Ms. Carton's adolescence in Brooklyn...

When I look back at the multitude of menial jobs I've worked in my life, I see that I could easily write a book about them, but Ms. Shear has beaten me to the punch! If I didn't know better, I would think I had written this book!She, like me, has worked a variety of jobs that run the gamut. If you've just up and quit your job, read this book. If you're shlepping away at a menial ball-and-chain, read this book. If you're floating from one occupation to another in the hope of finding the perfect career, read this book. If you've been working at the same company for 20 years and have no intention of ever leaving, read this book. If you're a CEO pulling in a six-digit salary, read this book. If you're independently wealthy and don't have to work, read this book.Regardless of which of the above statements applies to you, you will come away a more enriched person for having read BSTL.

Claudia takes us on her journey... and in doing so makes a name for herself. This is a well written and thoughtful book. A one woman show! A standup and take notice comedy!

I had imagined that every working adult would like a copy of this book. I've so-far owned two copies, both of which were lent out and never returned. I imagine that somebody out there (well, two actually) must have liked it as much as I do and I'm not mad at them, as the third time I went for a copy I found the book on tape, read by the author.

I realise that it is now hard to find with no new printing in sight, but if you ever do spot a copy somewhere, you need it. If you went to university and ended up flipping burgers, buy it. If you've ever found yourself in a strange place after having lied your way into employment and about to do something you're having second thoughts about, buy it. If you're just entering the work force for the first or sixty fourth time, buy it!

Blown Sideways Through chronicles Claudia Shear's search for the true job, and the 64 jobs she had to enjoy/endure so far) before she she found the job (or career) that was right for her. Brunch chef at Fire Island, nude model,proofreader, receptionist at an brothel; Shear always spins a good story, and amuses us with life's wierdness. This is also a truthful look at the life many of us live. We have jobs, not careers, working where we can to make the money we need to live our lives. Shear makes no apology for the meandering work path she has chosen. There is dignity and humor in her retelling of seemingly menial jobs (some of them were pretty horrid). I think her rant of the observed rudeness of a donut store patron, and the pevelent attitude of "looking down" on service industry people is a must read for every person. Funny, insightful and honest, this is a book that deserves a reprint.

As Ms. Shear says, "Everyone has a story that would stop... your... heart." I caught her show late late one evening on NPR as I was getting ready to do another speech to hopefully inspire some young people to leave Job Corps and do good with their life - I was burnt out and uninspired myself and just listening to what she had to say - nevermind watching her magnificent presence on the small screen - brought me back up. It took me years to find this book in a library; and I'm glad to be able to buy another copy - maybe another 10 copies to give to people I know need it. Anyone who has ever felt beat down by their work and their lives melded into an amazing wash of effort to keep one nostril above the waves; anyone who has ever felt walked on by the world will be inspired by this wonderful woman's story.

Celia Cooney, most celebrated as the "Bobbed-Haired Bandit" of the Twenties, comes vividly to life in this scholarly yet entertaining exploration of her brief life of crime and celebrity, with emphasis on the celebrity. Both Celia's own recognition of her fame and the multifaceted interpretations of it by police, press, and the public make for fascinating reading. Her duel persona as the aspiring flapper and expectant mother who joins her husband on holdups to make ends meet makes for one of the more compelling crime stories of the Jazz Age. Her later life, concealing her criminal past while raising her sons who knew nothing of it, presents a striking contrast to the young lady bandit who publicly gloried in her exploits. The photos are equally intriguing and belie the image of the dangerous gunwoman, especially when tiny, harmless-looking Celia is standing alongside husband Ed. And there are plenty of absolutely classic old crime cartoons from New York newspapers. Alternately funny, shocking, touching, and harrowing, this is one of the best historical crime books I've read in a while.

The Bobbed-Haired Bandit is about a pair of poor newlyweds, Celia and Ed Cooney, who turned to armed robbery to better their lot, sriking terror in the hearts of Brooklyn grocers in 1924. The competitive New York City tabloid press turned the girl desperado into a media darling, an anti-heroine for the age - Jesse James, in a flapper dress.

The authors - both of whom are historians and "scholars of the media" - stumbled across the story by accident:

"Digging through yellowed clippings in a scrapbook at the New York State Library in Albany, we came across a criminal with an intriguing moniker: the Bobbed Haired Bandit. With so much type set on her behalf, she was hard to miss. There were hundreds of articles about her, none of them all true."

But these two fellows knew a good story when they saw one, and like me they have a fine appreciation for the rich vernacular of old journalism. They don't write headlines like these any more.

NEW GIRL BANDIT, A BLONDE,

HELPS KIDNAP TRUCKLOAD OF

SUGAR: TWITS CHAUFFEUR

***

BEWARE THE BOBS

***

DEPREDATIONS BY GIRL ROBBER

AND MAN COMPANION ROUSE

POLICE OFFICIALS TO ACTION

***

FORGET SEX - SHOOT !

Now tell me the last time you saw a word like "depredation" in a headline. Or "twit" as a verb. I love it!

Now back to the story. So this young lady and her man go on a tear, robbing store after store, making the police "look like brass monkeys almost every time the sun went down," in the lady's own words. The journalists of New York gave her the front page day after day, while the crimes of other, more ordinary folk were "passed over unnoticed" (Brooklyn Eagle). The lady robber became a blank canvas, and journalists threw lots of ink on her.

The authors did something interesting with all these old clippings, using newspaper articles from elsewhere in the same papers to explore other themes in the life of the city at the time, from the impact of Prohibition, the changing roles of women, on down to the weather reports to flesh out the full story of the "naughty scamp," to try to explain why she became the media phenomenon she was.

Then, like the Younger Brothers before them, the Cooneys attempted a poorly planned daylight robbery, and it was their downfall. Though they tried to flee, they were caught and returned to New York for a triumphant homecoming.

It turns out the journalists liked her story a lot more before she had a name. Before she had a poor childhood. Before the truth of what she was negated a lot of the coverage of her crime spree. In an extraordinary editorial, the influential newspaperman Water Lippmann had this to say about Cecilia Cooney:

"For some months now we have been vastly entertained by the bobbed-haired bandit. Knowing nothing about her, we created a perfect story standardized according to the rules laid down by the movies and the short story magazines. The story had, as the press agents say, everything. It had a flapper and a bandit who baffled the police; it had sex and money, crime and mystery. And then yesterday we read in the probation officer's report the story of Cecilia Cooney's life. It was not the least bit entertaining...."



Even after she was caught, and, along with her husband, sentenced to prison, Mrs. Cooney continued to be a blank slate on which various parties wrote rants. But these biographers don't let the story spin off into a sidebar. The last couple of chapters tell the rest of the tale of the bandit and companion, and by that point, she's visible as a flesh and blood person through the headlines, a heart and mind in addition to a journalism phenomenon. As the authors remark --

"Reading these stories... not only tells us how certain individuals and specific events were understood at the time but also reveals how the past is remembered and reminds us how history is made... "the record" of the past is documented mostly by the commercial mass media, which subject the events to a filtering of fact and fancy based on standards of popularity and profitability. For what mattered most to the newspapers of New York City in the Twenties is the same thing that ... [matters to] book publishers of today: telling, and selling, a good story."

And ain't that a final truth.

The Bobbed Haired Bandit by Stephen Duncombe and Andrew Mattson tells the story of Celia and Ed Cooney in 1920s New York. Newlyweds and newly pregnant, Ed and Celia decide to rob some convenience stores to try and make a better life for themselves. Because Celia has bobbed hair, flapper style, the story of their robberies quickly grab the attention of the newspapers and soon the police. The Cooneys find that the stolen money doesn't last long and after a succession of several small hold-ups, flee to Florida only to be captured shortly after the death of their newborn daughter. The authors spend a great deal of time in the beginning of the book discussing the sociological implications of Celia's celebrity, but they can't seem to decide on what exactly the public's obsession with her meant. Much ink is also given to the personal histories of the cops chasing them, but they detract from the real story of Celia. Perhaps one of the most captivating details is that Celia's sons didn't find out about their mother until she had passed away. Celia Cooney was a woman of mystery to the papers in the 1920s and remained one in her life, even to her family. Now there's a story.

The 1920s was a decade when few major metropolitan newspapers didn't have National Enquirer style headlines every day. Renegade women were a fixture in these potboiler stories: Katherine Malm, a.k.a. the "Tiger Woman" and lethal flapper Wanda Stopa titillated Chicagoans, and in New York, a tough little laundress named Celia Cooney was determined to burst through the economic barrier between the Haves and the Have-Nots.

Stephen Duncombe and Andrew Mattson have written the type of book I love: an intelligent re-examination of a now-forgotten media sensation. Celia Cooney and her husband, Ed, embarked on a brazen robbery spree after money worries galvanized them out of anxiety and into action. That's the simplified version. Seen from a broader perspective, the Cooneys' crimes provided an impetus for politicians and the public to argue their views on touchy political and social issues, such as consumerism, attitudes toward the poor, and women's liberation. While telling the story of Ed and Celia Cooney, Duncombe and Mattson also expose the ambivalent feelings that the New York public of the 1920s had toward social progress and change.

The authors did an especially good job of capturing Celia's spunky personality, and showing how it kept her spirits up from her degraded childhood right into her feisty old age. Well done.

This book is a historically accurate, compassionate and insightful look at a fascinating couple who committed robberies in 1923-24. She was pregnant and fashionable and he was the mastermind. Together, they set both the Police Department and the population of NYC on their ears. They were fast, gutsy and a little desperate.

The real story to me is one of triumph over adversity. Not only did "the Bandit" overcome a tragic childhood to become a strong, compassionate, fiercely loyal and independent woman, but she became a tax-paying, law-abiding citizen after her jail time. After her husband's death, she raised two boys on her own through the Depression and World War 2. She is a wonderful example of how it is possible to move past our negative histories and ethical blunders.

I should know - she was my grandmother.

What I remember about this book are its beginning and end. What it means to me is that, I suppose, whatever happens in the world, 'la-il Allah el il Allah', which is what one of the characters says in the beginning and the end. It means, 'there is no God but God'. (Allah is the Arabic name of God.) Profound acceptance.

I read the Turkish translation of The Book of Strangers twenty years ago. It was translated by the prominent poet Ýsmet Ozel and it was a great chance for the Turkish readers.It was an exciting experience for the westernised Turkish intelligentia to read this marvellous story of spritual as well as cultural oddysey written by a westerner. I think it would be as much interesting for all eastern and middle eastern readers living in the western countries or studying in American/British/German/French universities.

....as an antidote to material insanity....one of those "vade mecums" to have always in your backpack as you are traveling the world...I found this in a used bookstore in the original "quokka" edition, misplaced it and found it AGAIN in another store in the same out of print edition....have never seen it in any other store since...the author leaves you with the impression of true devotion, that as an "outsider" he has fully surrendered to and mastered the Sufi tradition; in fact it is one of the few fictional works I have read to give off the "perfume of devotion"...this, my friends, is the real McCoy.
For the spiritually aware, to be ordered without delay.

If you feel lonely and desperate among the 'madding crowd'of the 'modern world' you shouldn't miss that masterpiece. (By the way: May I make a transcriptional correction regarding Herman Greenstein's review: More appropriate transcription of the quotation can be 'La ilahe ill'Allah' which approximately means 'There is no deity but Allah'...)

I came across this book entirely by chance, and only picked it up because the back cover claimed that it was the "Sufi Siddhartha." Being already interested in Sufism, my curiosity was piqued. And once having read it, I felt compelled to read it again and again. This is no mere introduction to either Sufism or Islam in a purely intellectual sense, as is so common in Western books on the subject. Still less is it a "novel" intended to amuse. Rather, it is an allegory of one postmodern, Westernized individual's journey into the Islamic Tradition. As such, I found it to be just as powerful as some of the classic allegories and poems written by the great Sufi masters of the medieval period. The plot is very simple: the story is narrated by a young man who works in a University library at some point in the near future. He is appointed to head the library after the disappearance of its former keeper. In this time, libraries are no longer merely buildings which house books, but they have been reduced to processing stations in which computers select and digest materials for scholars and students in such a manner that nothing will distract them from their area of specialization. However, the narrator becomes curious, and begins trying to solve the mystery of the previous librarian's disappearance. He soon comes across the missing man's journal, which contains the story of his growing dissatisfaction with modern life and his interest in ancient mystical writings as a more genuine form of knowledge. Finally, not content to merely read about the mystics of old, the vanished librarian ends his journal by confessing that he is journeying to the "desert lands" in search of living mystics from whom he can learn. The narrator very soon decides to travel in his footsteps, and departs for an unnamed location (most likely North Africa) to see what he can find out. The rest of the story details his gradual journey, first into Islam, and then into Sufism (Islam's mystical heart), after which he changes irrevocably. The book is interesting not so much for its plot but, as in any good allegory, for the record of a man's thoughts as he undergoes an inner transformation.

While I have read many books on Islam and Sufism, I have not encountered another work quite like this one. Most books on Islam intended for Westerners pander to modern beliefs and prejudices, treating it either as a relic of the past requiring modernization or as a threatening political force. This book treats Islam not as an intellectual or historical abstraction, but rather details the thoughts of a man, initially utterly submerged in the lies and half-truths upon which modern Western society is based, as he abandons his prejudices and comes into contact with the genuine reality offered by spirituality.

A brief, biographical note on the author is warranted. Ian Dallas was a Scotsman who travelled to Morocco during the 1960s and became involved with the Shadhili Sufi Order of the highly respected Shaykh Al-'Arabi Ad-Darqawi. After reverting to Islam and studying with the Shaykh for several years (the same period during which he wrote "The Book of Strangers"), the Shaykh appointed Ian Dallas as his successor. To this day, Dallas continues to lead his Order as Shaykh Abdalqadir, and has written many books on the subject of Islam under this name (although he has written a few other works under his original name). Thus, Dallas was uniquely qualified to write this book as a record of how a Westerner can come to understand Islam from within, rather than as an outsider. As such, it is a unique bridge between the modern world of deceit and the timeless, Traditional world of the spirit. If you have any interest at all in Islam, Sufism or any spiritual Tradition as something to be experienced rather than as a mere intellectual abstraction, I highly recommend this book for you.

I thoroughly enjoyed this account of the dot.com world. The star of the book for me was the wondrous Sierra who is a former stripper hired into the firm for her obvious attributes. Endowed with more smarts than her resume might indicate, Sierra identifies the power behind the throne, Farouk Kharrazi, who has too much money and one wife too many. Sleeping your way to the top may not be the most ethical business practice, but Sierra uses what she knows best and does an end run around the manager Jonathan Scarver and his right hand man Brad Smith. Ultimately, "Boomtown" comes down to a question of values. No amount of money in the world brings peace of mind, although it can bring a nice luxury apartment in New York City. There is a bit of a high-tech comedy of manners as computer geek Steven Bluestein reads everybody's email and then creates a virus that sends their emails to everyone else. This spirals out of control as the virus spreads around the world, bringing in the FBI to investigate the origins of the hoax. Greg Williams does a wonderful job of painting this world and making us care about it. I kept picturing Marge Helgenberger from CSI playing Sierra in the movie version. Enjoy!

.... but I'm undoubtedly too late! Fully fleshed-out characters and compelling, overlapping themes - relationships, personal growth, and the dot-com bubble bursting in 2000. An exceptional read.

This book is simply fantastic. An awesome read. I would recommend it to anyone!

A highly enjoyable, engrossing read, "Boomtown" (not related to the excellent but short-lived NBC series of the same name) charmed and delighted me. Moving quickly through the New York dot.com landscape of the year of the bubble burst, Williams uses his own experience (including perhaps his undergraduate major) to write a story that kept me turning the pages from start to finish -- with great interest -- in one satisfying day.

The ensemble cast includes the functional (and, at times, dysfunctional) protagonist, Brad Smith, the PR vice president for a content-free start up. We never really learn or need to know what it is they are selling; this makes for a good parable about the entire dot.com mirage/mania. Smith provides the central point to the strange populace from his firm, including the duplicitous general manager, the former stripper turned PR assistant, the Middle Eastern investor, the oversexed personal assistant, and the nerdy tech guy. They are an interesting crew and Smith stumbles aimlessly, drunkenly for much of the novel before finding some light at the end of the dot.com tunnel, most of it from a fellow traveler who wants something quite different than what Smith seems to be seeking.

In a parallel world, Nicole Garrison, aspiring actress, leaves her unfaithful boyfriend, spurns a calculating but clueless Wall Street type, earns her big break, loses it, and...well, let's not give away the entire plot.

The crash of the greedy, paper-rich Internet employees of the end of the last century provides good fodder for a "Bright lights, big city" like romp through the bars, bedrooms and refurbished office space that makes New York such an interesting setting for the book, much better than any bone-dry Silicon Valley setting. The characters, perhaps based on Williams' own experiences in this era, may be a bit stereotypical, but they are fun to watch. Sort of like "Sex in the city," only with more realistic work schedules.

Williams provides some personal insight about the dot.com collapse, some philosophy about contemplation, and a beguiling, almost too quick close to the story. The story would make a great movie and the conclusion provides the lead-in to a possible sequel.

A great way to spend a hot summer day.

Boomtown is a great, fast-moving novel that takes place in New York City during the pre 9-11 dot-com bubble. New York City serves as a glittering backdrop for the very compelling characters, the delusional dot-com schemes ("it was another great week for Biz Dev"), and painfully fragile relationships. The characters are entirely believable, and I felt genuine sadness for many of them. They get swept up in something much larger than themselves, and soon find themselves and their beloved city caught up in a new cycle of "creative destructiveness", seeing relationships end, seeing dreams end, but still holding on. This book struck a deep chord with me, and I highly recommend it.

The people that Joseph Mitchell introduces the reader to in these character sketches are representative of a New York that no longer exists and their stories are nostalgic and sentimental. But there is more here than that. Mitchell writes with a respect for his subjects regardless of their circumstances that reveals a true observer of life at work. Without a hint of judgementalism he takes the time to understand and the reader is rewarded and enriched as a result.
This collection is particulary good and Up In The Old Hotel contains more of the same style. The latter book is more readily available although I found a copy of this at the Strand bookstore off Union Square.

When Joseph Mitchell died in 1996 at the age of 87, the obituary that appeared in the New York Times, May 25, 1996, called him the "chronicler of the unsung and the unconventional." Mitchell began his career as a writer for The New York Herald Tribune in 1929. His career spanned the 1930s to the 1960s. He joined The New Yorker in 1938, and the pieces he contributed to that magazine have continued to gather momentum, taking on a life of their own. The six essays offered in this collection, a revised edition of The Bottom of the Harbor, were first published between 1944 and 1959.

Mitchell came to New York from rural North Carolina, and quickly found a fascination with life in the city. His essays, a combination of oral history, natural history, and psychological observation, reflect his love for the people and the surroundings of New York, with a special emphasis on fishermen and others involved in life around the harbor.

The first essay in the collection, "Up in the Old Hotel," is a kind of mystery--from a restaurant on the ground floor of a building near the Fulton Fish Market, Mitchell leads the reader to wonder along with him what the abandoned floors above may hold. It is this idea of mystery, things hidden from view, which permeate his stories. Whether he is describing the rat infestations on board ships in the harbor or the wild flowers growing in graveyards, his eye for detail is captivating. The narrative in each essay unfolds slowly, following a kind of wandering trajectory like the paths Mitchell takes to visit the individuals whose stories he relates with charm.

The Bottom of the Harbor is a book to be enjoyed slowly. The characters and settings are vividly drawn. The historical detail will delight those readers with an interest in New York's past, and the oral histories will captivate those readers who have a penchant for dialogue and psychology.

Armchair Interviews says: First-class essays all will enjoy.

Joseph Mitchell--The New Yorker fact writer, whose birth, in North Carolina, 100 years ago is being celebrated by the reissue of this 1959 collection--was deeply versed in classical literature and in the fiction of James Joyce, and he loved the populist death art of Posada. He didn't let any of them get in the way of his journalism, though: they fueled his imagination, but he didn't require that they fuel ours, too. Anyone who reads for the first time the six New York waterfront and river stories in "The Bottom of the Harbor" is given everything needed to absorb what Mitchell has to say on every level in the prose, itself. And such beautiful prose it is--full of rhythmic texture and patience, of lists as melodious as scat singing, and of knowledge worn so lightly it can only be felt. Sometimes, Mitchell's writing is so seamless that it doesn't even seem human: it is both very modern and evocatively biblical in that way.
Mitchell was unquenchably curious about everything and everyone connected with the harbor, beginning with the hard-working fishermen and other workers, whom he presents with sympathy and matchless skill. And, yet, the human interest here is only one layer of his marvelous literary constructions. A strong recurring theme is the wasteful degradation of the environment in search of commercial gain. Another is the frailty of any individual life. Yet another is the poetry produced by the artless arrangement of names for fish or for wildflowers. And still another is the magic of stories, and of stories within stories, and of stories within stories within stories--the magic of suspended time. Although some of what Mitchell mourns has actually since improved, such as the ability of the Gowanus Canal to support underwater life, for the most part the New York harbor of 2008 has lost much of what he chronicled elegically 50 or 60 years ago. Even so, Mitchell's world--personal, individual, reflective, informed, invested with considerations of mortality shot through with graveyard wit--remains vital and real and so accessible that it would be dangerous to let high school, much less college students get their hands on the book. It might prompt a tragic optimism in them that it's possible to make a living as journalists by trying to write this way, a possibility as long gone as the once-thriving oyster beds around the shores of Manhattan.
A note about years: the pieces in "The Bottom of the Harbor" are arranged according to their tones and subject matter to make the book a good reading experience, rather than according to the chronology of their first magazine publications. If you look at them from the earliest to the latest, though, you find that the early ones are written in the omniscent third person and then, as the years go on, the voice goes into the first person, increasingly confiding on the page. "Mr. Hunter's Grave," first published in The New Yorker in September 1956, and described on the jacket flap as "widely considered to be the finest single piece of nonfiction to have ever appeared in the pages of The new Yorker," also ends on the darkest note. However, the book concludes with the youngest of the pieces, "The Rivermen," from 1959, whose ending, an apology from one man to another (also, as it happens, named Joe), reads: "'As far as I'm concerned,' he said, 'the purpose of life is to stay alive and to keep on staying alive as long as you possibly can.'" As the essayist and historian Luc Sante writes in his estimable forward to this centennial edition of "The Bottom of the Harbor": "This book of ostensibly journalistic feature stories turns out to hold at its core some of the fundamental questions of existence."

He really does take you places. Places you may have been before, but in a time we'll never know again. As I'm reading, I'm careful to catch every word, afraid of missing out on the world he's revealing to me.

This is the first I've ever read of Mitchell, but he's already one of my favorite authors. Journalism at its finest.

There are so many good things I could say about The Bottom of the Harbor. Mitchell's writing style is clean easy to read without lacking in depth and texture. The stories themselves are fascinating and off beat.

But the best part of the book are the characters Mitchell writes about. They come alive through his portrayals and you will find yourself thinking about them, their thoughts, and their ways of life long after you stop reading.

The book contains six separate stories, each about 40 (short) pages long, so you can absorb them at your own pace without losing the thread. Personally, I had a hard time putting the book down.

An Aesthetic Pleasure.

For anyone who uses Central Park and appreciates its open naturalistic, not natural, landscape as Ms. Miller points out in her beautifully written highly informative text, this is a masterpiece about "The Masterpiece" that is Central Park.The Park as I didn't know way back when, is the result of a successful artistic collaboration between its two designers and nature. In fact it is completely man made. Ms. Miller who has been C.P's official historian and photographer for over twenty years has captured with love and a keen eye in her photographs the essence of what Central Park means to New Yorker of all ages, backgrounds, nationalities: Relief from the 'concreteness' of the city surrounding it.

In addition, to the aesthetic pleasure her exquisite photographs provide, the book answers questions many of us have while breathing deeply and getting lost in Central Park. This chance to get lost through careful design was one of many visionary choices the original designers made 150 years ago when Central Park certainly wasn't "central" to a city that only eventually caught up with it.

Ever since I discovered Ms. Miller's book I've given it many times as a present because there are so many of us who have criss-crossed the subject yet might want to know more about it.

Commemorating the 150th anniversary of Central Park, photographer and historian Sara Cedar Miller celebrates the aesthetic, cultural and historic significance of America's first public park with the book "Central Park, An American Masterpiece." This is the park's definitive illustrated history, and offers some of the most gorgeous photographs I have seen on the subject - a difficult task given the number of pictures that have been drawn, painted and photographed of the Manhattan landmark. The book includes over 200 color illustrations, original plans and drawings alongside modern photos, giving the viewer/reader an historical perspective.

Accompanying Ms. Miller's work, portraying the park throughout the seasons, is a well written text which highlights the conception and creation of the park and its art and architecture. This is a big, beautiful picture book that would make a wonderful addition to any home or library. It's a wonderful gift idea. I know as I have given it numerous times.

Ms. Miller is the parks official historian and photographer and has been since the mid-1980s.
JANA

Did you know that the elm lined mall leading to the Bethesda fountain and the view of the ramble are actually based on the layout of a church? Or that all of the lakes in Central Park are manmade. This and many other very interesting facts are interspersed with lovingly taken photographs of the park which were taken by the author of the book as well. Miller starts decribing how the park came to be and the leading ideas and ideals that lead to its creation by Olmsted and Vaux. She proceeds to describe systematically the various sections of the park providing historical information as well. She delves into the some of the controversies and compromises that Olmsted and Vaux encountered in the creation of one of the finest examples of 19th Century art but it is not a comprehensive history of the park. There is a 2 page map of the park at the of the book with a legend identifying each of the features discussed in the book. If you are first time visitor to the city wishing to explore the park in detail or a life long New Yorker this book will delight and surprise you.

Central Park is breath taking and this book does a fine job of giving the reader a feel for what makes this 850 acre masterpiece so special. The book is quite thorough and does an commendable job of disecting various sections of the park. The color photos are vivid and well thought out and the text is highly informative. The author has a real love for the park and it comes out in her writing. If you have never visited Central Park or have visited and fell in love with it like so many others, you will love this book. This oasis really is the heart of New York City and to understand New York you have to understand the parks history and its vast importantance to the city. Central Parks importance to New York and New Yorkers cannot be overstated, I can't imagine the city without it.

As an avid fan of Central Park who has been exploring it and studying the books on it for decades, I was amazed at what there was still to learn about it from Miller's book. For example, other historians allude to a connection between Central Park's design and the Hudson River School of landscape art: Miller provides actual sources of the designer's inspiration and shows the results explicitly in the photos. And all in a way that is not at all "bookish" but instead makes you want to go right in and see for yourself the scenes she shows so well in the book's illustrations. The beautiful photos and fascinating stories and the well chosen historical prints all work together in such a compelling and entertaining way that one might never realize one is being educated by a superb textbook in the field of art.
With her emphasis on the past of the park, and its present restored beauty, it is understandable that the author does not use very much of the book's valuable space on the remaining present-day problems, but she might at least have alluded to the incongruity of the city's insistence on using this artistic matepiece as a through route for motor traffic during the majority of daylight weekday hours. In effect, the city's Dept. of Traffic is providing a refuge from the chaos of the surrounding streets during rush hours - but for the cars, not for the people. If you want to appreciate the park shown in this book, go during the times when the traffic noise does not drown out the wind in the trees, the birdsong, and the happy voices of children!

This book has been one of my favorites in the Cheney Duvall books. I liked the way they stayed in Cheneys home town (New York) and how she help helped with the Cholera outbreak. It suprised me when she came down with it herself. But it had a good ending and is one of my favorites. I am excited to read the rest of the Cheney Duvall books.

I liked the book. I did not like how Cheney acted sometimes but in the end a near tragedy brings everyone closer than ever. It really is a heart felt book, I cried in it twice. I love the books and read each one in a day. Read about my page deicated to the series Cheney Duvall, http://www.angelfire.com/mo/blondgirl/cheney.html

I love this book! The Cheney Duvall, M.D. series has been a favorite of mine for quite some time now, and I have slowly but surely been building my own collection of the series and only have 2 books left out of the 11 in both series published. The third book in the first series sets the stage for Cheney and Shiloh's romance to start to re-build after the disaster in Arkansas. Filled with new characters as well as familiar ones, Lynn and Gilbert Morris bring the life of a young Christian woman to life in a way that allows the reader to connect and deepen their own faith. Enjoy!

I liked the book. I did not like how Cheney acted sometimes but in the end a near tragedy brings everyone closer than ever. It really is a heart felt book, I cried in it twice. I read your inquiry about the Cheney books on Amazon.com. I have read all but #5. I did not like #2 as much as the others. What do you think about Cheney and Shiloh's relationship? I love the books and read each one in a day. Read about my page deicated to the series Cheney Duvall, http://www.angelfire.com/mo/blondgirl/cheney.html

Cholera sweeps New York City and one of the most prestigeous doctors comes down with it. She gets through it and begins to search for a cure. A marvelous story about survival, love, and faith. Read it Now!!