New York Books

A cousin of mine lives in Italy and her women's book group is considering inviting the author, Janice Eidus, of War of the Rosens to participate in their fall event. So she asked me to read it. The author is new to me and she is a deceptively powerful writer. I don't know how she did it but eventhough this age group, location, the projects in the Bronx in 1965, were totally foreign to me, I was there! It taught me that you don't have to identify with characters or their circumstances inorder to appreciate fine writing and poignancy.Do yourself a favor..read it, buy it!

I loved this book! I didn't think I would at first. Why would I be interested in a coming-of-age tale of a 10 year old girl? But Janice Eidus is such a talented writer. Before long, the reader discovers that this is more than the little girl's story. Eidus has an amazing ability to explore the actions and inner feelings of all of the book's main characters. I feel as if I've come to know these characters as well as I have ever known any fictional family.
Also, while Eidus does a wonderful job of depicting the lives and times of Bronx in the 1960's, her story is universal. The issues faced by the Rosen family, crises of religious faith, love and fidelity between husbands and wives, sibling rivalries, adolescent love, tensions between parents and children, and questions of illness and mortality will resound with readers of any time and from any background.
The book made me laugh and cry and I recommend it highly.

A book about a 10-year old Jewish girl in the Bronx seemed to me an unlikely page-turner, but I found this a compelling read. The social milieu is well-defined, and the characters are alive. Eidus does not shy away from portraying the little black corners of the two sisters' hearts (nasty characters are always more interesting), but the ultimate result of this 'war' is not devastation, but creation. Her quirky sense of humor(great names, for example)keep things moving along. I look forward to a sequel.

I found myself so engrossed in the Rosen family, that I read this book in 3 days. The characters were unusual, complex, yet sympathetic despite their flaws. They continue to linger with me, and I'm looking forward to the next book. (I also recommend "The Celibacy Club"--a short story collection by the same author. The first story "Elvis, Axl, and Me" is hysterical!)

This is a novel about the relationships among and between a mother and father and two daughters. The narrator reveals her family; her father whose politics put him at odds with the rest of the neighbors, her mother who works hard to care for husband and daughters, and her sister with whom she has tremendous sibling rivalry.

In one incident, the ten-year-old narrator sneaks into a Catholic church and has a conversation with the Virgin Mary. She dips her hand into the holy water font and fears that she has baptized herself.

I have met the writer and plan to read her other books.

We Think The World Of You is basically a tale of "you don't
get what you want you get what you get". In the case of Frank
he wanted Johnny but ends up with a dog named Evie. An amusing
and sly look at some working class personalities and carry on.

Fantastic book !

John

First published in 1960, this book is a delicious souffle, which J. R. Ackerley has whipped to perfection. It tells the hilarious story of the love triangle involving Frank, a buttoned-down civil servant, Johnny, the working class guy he's in love with, and the beautiful, headstrong Evie. As the story opens, Johnny has been sentenced to a year in jail for breaking and entering, and Frank is worried that this will give Johnny's pregnant wife, Megan, the chance to freeze him out of Johnny's life altogether.

But in the end it's the beautiful Evie that precipitates the final crisis, forcing Frank to go through some painful self-discovery along the way. Ackerley's tone is pitch-perfect throughout. An offbeat book that is completely hilarious.



Did I mention that Evie is a German shepherd?

It would be hard to make the case that WE THINK THE WORLD OF YOU is by any means a major work, but why should that lessen your fun? Ackerley's novel is very much a surprise in its relegation of its homoeroticism (dealt with very honestly and matter-of-factly) to the background; the protagonist's homosexuality is treated as simply a matter of course rather than as the center of concern, and what gets greater attention is his complicated relationship with his lover's family and dog.

The narrator himself is a terrific creation: sneaky, pompous, arrogant, and yet also somewhat likeable despite it all. And so too are the lover's parents and the dog herself--it all has the ring of reality about it. This is a minor delight, but a delight nonetheless.

This fantastic piece of high art just gets funnier and funnier and more blackly though generously hilarious with each successive page. Brilliant.

It's practically impossible to imagine a book like this being published in today's publishing atmosphere, but thankfully, NYRB is around to buck that trend. I mean what editor today would manage a straight face upon opening a proposal about a middle-aged gay man taking care of the irrepressible dog of his working-class lover who's in jail? But as usual, with any work of art -- craft, talent, intelligence, compassion -- this remarkable work is so much more than that. Around its droll premise, Ackerley found a way to brilliantly expose the pettiness of people, regardless (or precisely because) of their social standing. The dog, which is just as vividly alive as each of this novel's (bipedal) characters, is really only it's lovable catalyst. But finally, what makes this work astounding is how it slyly and assuredly gets funnier and funnier and more blackly though generously hilarious with each successive page. A real snicker of a book.

Picking up two years after events depicted in "Closing Time" very little has changed for Terry Orr. He still misses his wife and young son and he still isn't writing. He is still doing some private investigator work in the hopes of learning the skills necessary to take down the madman responsible for the pain he and Bella feel.

When his housekeeper asks him to talk to a friend of hers in need, the least he can do is talk to her. The friend's name is Dorotea Salgado and she wants her daughter Sonia Salgado found. One wouldn't think it would be too hard to find her since Sonia only recently got out of prison after serving a thirty-year prison sentence for the murder of a diamond merchant in the course of a robbery. The murder was particularly brutal and Terry wonders from the beginning how a physically small high school student could have done it. He wonders that and a lot more when he finds Sonia dead days later. The case quickly becomes something he can't give up and before long this obsession, like his others, puts him crosswise with everyone around him.

This second novel of the series does not suffer the usual fatal flaws most second novels do. The writing remains top notch as the author continues to expand Orr's world and further nuance the cast of recurring characters. Bella continues to appear smarter than her years to the reader and yet, at other times, there is an endearing child like quality to her known by many parents of the young teenager set. Also realistic is Terry's continuing pain over the loss of his wife and young child as well as his first real tentative steps in returning to the world around him instead of just living day to day. Overriding everything is another complicated and well done mystery where almost everyone has a hidden agenda quite possible worth killing for.

Kevin R. Tipple © 2005

New to me, at least. This is the first book by him that I've read. I loved it.

Talk about atmosphere. This is a gritty NYPD kind of Manhattan book. Some of the police are just a tad better than the criminals and it's not clear who you can trust. The book is set in Manhattan just after 9-11, and the detective-protagonist lives not far from the site. From time to time, some memories of 9-11 are introduced. Everyone is still dealing emotionally with the impact of the attack.

Terry Orr, our detective (he's an independently wealthy but living modestly author turned private investigator), is also recovering from a devastating loss: his wife and infant son had been killed in a random act of violence in the subway, and he is left grieving and raising his daughter by himself. His housekeeper approaches him about a woman who is trying to locate her daughter, who has just been released from prison after serving 30 years for a violent murder. She says she needs to talk to her about her grandchild, the daughter's son she has raised.

Lo and behold, Orr learns that the daughter had no children, so he's left wondering what's going on. Before too long, he gets caught up in a murder investigation.

The writing, plotting, and character development in this book are very good, and it was compelling enough to keep me up long after my bedtime. I only hope his other mysteries are as good. I look forward to reading them.

For someone only on his second novel, Fusilli certainly has it nailed. Terry Orr, historian turned private detective, lost his wife and infant son four years ago when a madman (whom he thinks of as The Madman) pushed them in front of a subway train. Now he obsesses on revenge, to the detriment of his career, his friends, and (sometimes) his precocious daughter, Bella. The plot this time revolves around a thirty-year-old mugging that became a murder, and the death of the newly-released woman who went to prison for it. Everybody in the case has secrets, not least of all the Mango brothers, who are a good deal more scary than in Fusilli's first book. Terry works things out in a wholly believable manner, partly by research, partly by instinct. The subplot, about Terry's buddy, rock critic Dennis Diddio, and his hopes for an industry award, is funny and compassionate. So is his struggle to deal with the attentions of Julie, a very nice ADA who believes in him. But arching over everything else is New York City in the aftermath of September 11th, when Terry's personal loss is overshadowed. Fusilli's work has great specificity of place -- you could walk through the city, book in hand, and see every detail he talks about -- and that's what makes this a standout piece of writing.

If you want a mystery that does nothing but deliver suspense, this is not the book for you. This book opens with a quotation from Epictetus which speaks of the human soul and choice, and concludes: "For ruin and recovery alike are from within." A WELL-KNOWN SECRET offers both a literary mystery and a very engaging exploration of human ruin and recovery.

I see that this is the second in a series. I had not read the first, and found that the book stood on its own.

Terry Orr, our hero, is a writer turned amateur detective. He is engaged to solve mystery of Sonia Salgado, who has spent 30 years in prison for a murder she did not commit. What really happened? Why did she do it? Why was she murdered after being released from prison? Terry unravels this decades-old mystery in classic amateur PI fashion -- asking questions, getting less-than-straight answers, getting a bit battered in the process. That part of the novel is well executed, but not overwhelmingly new and different. What makes A WELL-KNOWN SECRET stand out -- and it does stand out -- is the other stories that Fusilli is telling.

A WELL-KNOWN SECRET is set in post 9-11 New York City. That story of ruin and recovery runs throughout the book. The more personal ruin that we unravel is that of Terry Orr himself. We read in a newspaper story at the beginning of the book that Terry's wife and infant son were killed four years ago. In the course of his solving the mystery, we find out more about what happened and why, and watch to see if and how Terry and his daughter will recover.

A WELL-KNOWN SECRET is a fine novel and an enjoyable mystery. Its somewhat leisurely pace will likely madden anyone after a strict suspense fix. However, if you are willing to slow down a bit, it is a very rewarding read. I found it a bit slow at first, but once hooked, I could not put it down. I read A WELL-KNOWN SECRET in one sitting. I will definitely pick up the next Terry Orr novel!

This book is a fantastic work of love. Love for New York, pre and post 9/11, love for music, food (especially Italian) and it's characters.
The central character, Terry Orr, is mourning his wife's death and acts as a sort of detective. His slow progress back to the world of the living parallels his attempts to unravel a mystery from the 70's. It's a great piece of writing, filled with poetry and hard, tough words.
There may be a few too many plot contrivances but the clear picture of modern NYC and the people who fill it more than make up for them. This is a great modern detective novel equal to anything by James Lee Burke, the other master of this type of novel.
I'm psyched for the next book.

Just had the pleasure of reading "West Side" by John Mackie. Unlike police novels by most authors, this one is right on target. Mackie has obviously been there and done that. His descriptive powers and attention to detail bring each charactor to life and draw the reader into each scene.
He has captured the flavor of a NYPD Homicide Squad as its members labor to solve their latest puzzle. His excellent knowledge of police procedure makes fascinating reading as you follow the men and women of this elite unit in their step by step trackdown of a vicious killer team.
Best book I have read in a very long time.

Author John Mackie keeps on surprising me. Just when I think I know the kind of book he'll write, he takes a new turn. In this novel he unravels a brilliant scheme of multiple murders for insurance. Unlike his other books, this one is not so much an action story because the detectives involved are never in jeopardy. That takes some of the "edge" off of the story. But this is equally as fascinating as Mackies other books because it shows, in exquisite detail, how really good detective work is done in the real world. Hard to put this book down. A caveat; if you don't want to read about the seamy side of homosexual life, this is not your bag. I'm hooked on John Mackie's style, though. If he writes it, I'll read it. The former NYPD detective KNOWS of what he writes.

This story involves the seamy gay world of s&m plus the added twist of murder to collect insurance money. Readers familiar with Mackie's past novels will welcome the return of his cast of characters from the N.Y.P.D. as well as his pet cat Ray. This is a quite realistic quick read. Keep it up John!

John Mackie, a former member of the NYPD is one of the best contemporary mystery/detective writers. His cop stories rank right up there with Joseph Wambaugh and Archer Mayor. He is one terrific read. He understands human nature and is able to convey it. He also is an expert on police procedure. New York City and his characters come out of the pages. You can visualize every street, smell the city and feel the beat. Detective Thorn Savage, his main character, is smart and sophisticted. Savage heads up a team of elite homicide dectectives. Mackie's stories grab you from the first page. Mackie has written four books: Manhattan South, Manhattan North, East Side,West Side. I hope it will not be too long until there is a fifth book

The wonderful thing about John Mackie as a writer is his ability to take a canned and generically labelled storyline down from the shelf and cook up something mesmerizingly readable and thoroughly entertaining with it.

In MANHATTAN SOUTH Mackie presented us with a tale of political blackmail ending in death; MANHATTAN NORTH was the story of a drug lord seeking to revenge himself on the cop that sent him up; and EAST SIDE concerned itself with a Church scandal and a cover-up.

WEST SIDE, his latest, is about an insurance fraud scam sometimes called the "Dead Man's Shuffle," where some poor passed-on unfortunate takes the identity of the still-quite-alive insured, who then collects on his own premium. In this case, the three beneficiaries are well-heeled but greedy denizens of New York's leather bar scene, who have killed a gay drifter as a substitute.

Although initially it looks like they are free, clear and in the money, alarm bells start ringing when the deceased is immediately cremated, the doctor who signed the death certificate begins to develop a sweaty lip, and two of the three conspirators suddenly vanish before sunup.

Detective Sergeant Thorn Savage begins a laborious and sometimes hilarious manhunt through New York's gay bars, sometimes finding clues but most often being propositioned by men wearing spiked gloves and nipple rings, but never finding true love.

Fortunately for Savage, the three caballeros leave a wake as big as the USS Theodore Roosevelt's behind them. Unfortunately, they seem to have gone everywhere from Brooklyn to Belfast to Amsterdam to Sardinia to South Florida, and Savage has to play continental hopscotch to close the case and bring the perpetrators to justice.

Once again, Mackie's sense of place, time and scene is flawless. He knows New York.

This plot, though essentially conventional, has some amazingly supple twists and turns. Mackie knows when to restrain himself, and this story never careens over the edge into excess despite the very strong temptations presented by the characters and settings.

WEST SIDE is the latest of Mackie's books; hopefully, MIDTOWN (my guess at a title) will be next.

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.

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.

It is nothing short of a tragedy that more readers aren't familiar with J.F. Powers. This book is truly brilliant. Powers is at heart more craftsman than contemporary novelist, which is doubtless why he only published two novels. Wheat That Springeth Green is unlike anything else I've ever read. It's that rare novel that achieves perfection.

Joe Hackett, for all his faults, is one of the most fully-realized and sympathetic characters in contemporary fiction. As he matures, so does the book: from his hilariously overblown pretensions at the seminary, to his ennui and malaise as a pastor, to his subtly glorious final redemption.

In the final analysis, the book is not so much satire as fable about goodness. Despite being about the life of priests, the book is more a moral fable than a simply Catholic one: it's about how to do good in a world where it all seems futile. Joe Hackett is a cynic, but he's also at heart an idealist and optimist. So is J.F. Powers.

I read it in the early fall, a perfect time of year for me to read this sort of book, as it reminded me of my early years as a student at a Catholic elementary school in the suburbs. The book follows the life of a Catholic priest named Joe Hackett who struggles with faith and politics and more than anything else the shattering mundanity of his suburban life. Tree-lined streets, shopping malls, station wagons, vinyl siding, and wall to wall carpeting are Hackett's foils in a book that manages to be charming, melancholy, and very funny at the same time. Reading the book turned out to be a great way to spend a few September weeks. If anyone out there happened to enjoy The Sportswriter and Independence Day by Richard Ford, then you will enjoy this book as well.

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.

Sam's insight to the era of the Bronx shows the underlying warmth and respect he has for his family. I could not put the book down; reading well into the night; hours passing quickly. We can all relate, Jewish or non- Jew. They were tough times, not necessarily blessed with opportunities; and especially so for a bright woman with what could have been an even brighter future had she been born in more contemporary times. Thank you for sharing your Mom's life with us. You did it in a beautiful and literary way.
I gained insight into Fannie's family; folks I have known, loved, respected and whose friendship I have cherished for almost 50 years.
Thank you, Sam. Great job.

This is a moving tribute. The author makes the effort to know and understand his mother after she has died, in part because he senses he has been unfair to her while she lived. Freedman writes with understanding and sympathy of a woman who according to her son reached the peak of her emotional life at seventeen in a love forbidden her by her mother. Freedman tells of how his mother had to sacrifice her own wellbeing and desire for an education in order to help support her very poor family. He blames his grandmother for some of the dissatisfaction in his mother's life. At the same time he praises his grandmother for being the strong and ethical member of the family who cared about what was happening to her relatives in Europe during the Holocaust.
Freedman blames himself for his behavior as college student and teacher in refusing to acknowledge his mother's presence in the class. He does however indicate that there were many times in their life when he tried to do his best for her. For instance he tells of a story where he bought his mother a special kind of plant , and how disheartened he was when after a few weeks it wilted. His mother comforted him in this.
It would be nice to think that she knows of his devotion to him and looking down from Heaven is filled with pride and happiness for her son's devotion to her in telling her story.

My mother grew up in the Bronx not all that far (in time and place) from Freedman's mother Eleanor, so I found this book both nostalgic and deeply touching. Even if I didn't know first-hand about shopping at Alexander's, going to Loew's Paradise, and commuting to City College, I would find this book engrossing.

By tracing his mother's teenage and early adult years and the shifting relationships with family and friends, he shows how her decisions and attitudes influenced who she became--and why she kept her earlier life a mystery from those closest to her. Insightful, with a powerful yet very personal ending. Highly recommended.

I found Freedman's account of his mother to be melacholy and moving. All our parents remain a mystery to us when they live, more so when they die. Freedman's rejection of his mother in life and embrace is death is deeply touching.

I could not put this book down....it's fantastic! The author, whose mother died when he was a college student, pieces together her pre-motherhood life to create a wonderful story of a complex young woman...a woman who, to paraphrase his words, peaked at a young age and spent the rest of her life trying to capture that success. I appreciate the emotional and literary efforts Mr Freedman put into this book...it was a joy to read and gave me lots of food for thought. Highly recommend!

I am a fan of the "Golden Age" of American Comics which ran from the late 1930's through the 1940's. "The World on Sunday" is a compilation of some of the best graphic art that appeared in Joseph Pulitzer's "The World" from 1898 to 1911. Most fans of American comic book history know about the history of the early American comic strips of this period. The creators of the Golden Age undoubtedly were influenced by these early comic strips. However, they always were profoundly influed by the rich visual art work that came out in the newspapers of the era. "The World on Sunday" is beautifully produced and is a must purchase for all those interested in American popular culture. Finally, I would also recommend Cordula Lebeck's "Kiosk". In this volume, Lebeck follows the development of popular journalism into the age of photography in the 1930's.

Joseph Pulitzer's New York WORLD flourished at the turn of the 20th century and grew from a modern daily paper to a sensationalist publication packed with striking colorful art, from photos to cartoons and drawings. THE WORLD ON SUNDAY gathers over a hundred of the best from WORLD and places them in an oversized presentation to display their color on single and double-page spreads. A chronological arrangement lends to a fine sequence of reproductions tracing editorial and news highlights of the times, while colorful commentary accompanies the pieces and provides the necessary background for appreciation by all audiences. THE WORLD ON SUNDAY: GRAPHIC ART IN JOSEPH PULITZER'S NEWSPAPER (1898-1911) is a top pick not just for art or newspaper library holdings, but for general-interest collections as well: it captures the art, craft and style of a bygone era and is a lush example of newspaper history at its finest.

Diane C. Donovan
California Bookwatch

A treasure of a lost time and a lost art. Aside from the short-life expectancy and lack of modern conveniences like, uh, cars, ATMs, antibiotics, radio, microwave ovens, television, computers, etc., this book makes you wish you lived back then- when science, technology, and journalism were in their infancy and every day held some new, authentic wonder- not just a smaller cell phone. It's also quite amazing to see how advertisements, typefaces, layouts, and prose have radically changed in a century, and not necessarily for the better- unless you're one of those "Form Follows Function" kooks. A must for all you Luddites out there.

As a librarian, I am horrified, but unfortunately not too surprised to learn that few libraries have kept back issues of the newspaper put out by one of the great figures in USA publishing. And that's before I saw how beautiful it is! The idea that not only all this information but all this art was nearly lost is appalling. (I'm glad Duke University took it, but I hope the gift requires them to return it if they decide to throw it out.) I've been on the losing end of these fights, and no, one can't always assume that someone else kept the material.

Meanwhile, enjoy a glorious and gorgeous piece of historic publishing. I had no idea that color printing was so widely used ad so good at such an early time. The pictures often show great artistic skill and witty humor. There are also some fascinating bits of newpaper history.

A fantastic gift to the nation and the world. I can only show my appreciation by buying my own copy.

This book celebrates one of the high points in American popular culture. In the late 1800's, Joseph Pulitzer, publisher of the New York World, purchased the first great high quality color printer for newspapers. He then used it to publish beautiful color graphics every Sunday. This is both great art and great entertainment. But the story of how the author Nicholson Baker and his wife, Margaret Brentano, tracked down the last surviving complete collection of this work just before it was to be lost forever is just as thrilling. This is an exquisite book that is the product of great work by great people. Get ready to enjoy a true treasure.

I had this book for the past 7 years, and find it to be an invaluable resource. What makes this text so unique is that is has both a translation of Patanjali's Yoga Sutras, and a translation and commentary on Vyasa's commentary of Patanjali. Vyasa is perhaps the most famous commentary on Patanjali. The Sanskrit into English translation is excellent. I have verified this and studied the text with a world-renowned Sanskrit scholar. This particular book is also good because it provides extensive commentary and recommended practices for Yoga. Before beginning some of these practices it is best to practice them under an enlightened Guru, if you are a beginner to Yoga. Studying the Sutras with a Scholar is another recommendation of mine if you want to get a clear understanding and come to profound realizations.

Again, this is an excellent text, and a text you will come back to again and again if you have a genuine interest in Yoga. I highly recommend this text if you are interested in going deeper in your understanding of Yoga philosophy and the Sânkhya-Yoga philosophy.

Nârâyana (Anthony Biduck), Co-Creator of Urban Yogis [...]

If you are really interested in Yoga-as a practitioner and not merely out of intellectual curiosity-this is one of the best books you will ever own. It is a thorough commentary on the Yoga Sutras from the viewpoint of a true Master practitioner, containing countless jewels of profound insight into Yoga practice. It gives hints, and even many outright disclosures, of the real techniques of Yoga. I have read a number of translations of the Yoga Sutras, and this is not merely the best, it is in my opinion the only real one.

If my house were on fire, and I had just a moment to grab a few things on my way out, this book would be one of them. Buy it and put it on the top shelf of your bookcase, where it belongs.

Having read the works of Georg Feuerstein and Swami Satchidananda, this is my third foray into the Yoga Sutras of Patanjali, and I would have to rate this as the best of the lot. This is not to denegrate the fine works of Feuerstein and Satchidananda; I simply prefer the work by Swami Hariharananda and I highly recommend it. For someone new to the subject, Hariharananda is quite informative, with lots of background information.

For both theoretical and practical study of Yoga Sutras and Samkhya philosophy this is the book to buy, read and keep reading. I don't know of any book on Patanjali's Yoga and Samkhya that comes even near the quality of Hariharananda's book!
It has the original texts of Patanjali's Yoga Sutras and Vyasa's commentary in both Sanskrit and English and Swami Hariharananda's own Commentary translated into English from the original Bengali in which he wrote.
Although the introduction says that some of the esoteric exercises are not included in the English translation it does go deep into both practice and theory.
The book can be recommended to both beginners and other students alike as the translation of the Sutras to English is so clearly done that it makes some of the difficult text easier to understand.

If you are really interested in Yoga-as a practitioner and not merely out of intellectual curiosity-this is one of the best books you will ever own. It is a thorough commentary on the Yoga Sutras from the viewpoint of a true Master practitioner, containing countless jewels of profound insight into Yoga practice. It gives hints, and even many outright disclosures, of the real techniques of Yoga. I have read a number of translations of the Yoga Sutras, and this is not merely the best, it is in my opinion the only real one.

If my house were on fire, and I had just a moment to grab a few things on my way out, this book would be one of them. Buy it and put it on the top shelf of your bookcase, where it belongs.

This is a great book. It is extremely accessible. I am using it with great success for an Introduction to Ethnomusicology course that I am teaching at a Liberal Arts College. The students like the book very much. It stimulates a good deal of in-class discussion. I would highly recommend this work for anyone interested in music, dance, ethnomusicology, urban studies, popular culture, popular music, American studies, and more... It is the kind of book that affords multiple points of entry. Bravo Kai Fikentscher

If you're looking for a book that's an excellent reference for Underground Dance Music in New York City, then "You Better Work!" by Kai Fikentscher is great reading!

Kai Fikentscher's evolutionary study and rounded presentation of New York's underground dance music and culture is a lonely triumph for a subject matter that desperately requires equal exploration of peer contributing U.S. cities such as Chicago, Detroit and Washington D.C.

"You Better Work!" is a straight edge to which much of what has been said about underground dance music culture should be realligned.

It's evident through well-crafted and intricately expressed text that the author has really done his homework. His book shines, especially when compared to similar historical efforts that clearly lack the consistent impact found in "You Better Work!".

Not only should those familiar with underground dance music absorb this essential reading, but the effort should be required academically, with particular regard to music, culture and art.

In addition to explaining fundamental concepts and techniques, Fikentscher details an often ill-reported but critical importance of UDM - the DNA of African, African American, Latino, Gay and a dejected segment of American society which defines the fabric of underground dance music culture.

Kai's work is a rarity in ethnomusicology; it's accessible, entertaining, and enjoyable to read. His inclusion of 12 inch singles, top UDM charts, DJ and equipment photographs, in addition to his on personal exposes in relationship to the house scene in NYC make this study a rarity within a discipline full of bickerings over authenticity, theoretical concepts and musical hierarchies. "You Better Work!" is a rallying cry for aspiring musicologists and music fans alike. If you danced during this period, it'll bring back those sweet memories of Mr. Fingers, Frankie Knuckles, Ru Paul, Acid and the like.

This text is the unrivaled standard for anyone truly seeking insights into the rich culture of Underground Dance Music. No long is house music an urban legend, but this book invites debate, theory, and growth based on a solid foundation of research, interaction, and presentation. From the halls of academia to the dark places where the underground lurks; each and every reader benefits from Kai's research.

If your a fan of techno... read this book.

Classics? Read.

Soulful... get to know this text.

... then Work!

-Byron

I saw this book on Amazon and purchased this book as a gift for a friend who is a fire fighter. He couldn't put it down. He said it is an excellent, well-written book and a must read for every fire fighter out there! While the average person, who is not a fire fighter, would not probably identify with the characters and stories in this book, the person who is a fire fighter will identify with them, because of their experiences on the job. This book is out of print and hard to find, but highly recommended

I too read this book some 25 years ago while in high school. My dad was in the fire department, read it and passed it along to me, saying if I wanted to read what his work was really like, this book said it all perfectly.

If you can find this book, buy it and pass along to anyone who wants to know what being a firefighter is really all about. Descriptive, accurate and pulls no punches in the job-warts and all.

Highly recommend it, even if only to read true adventure which novelists can't match.

This is the book to find. Like one of the other reviewers, I had this book many years ago, and read it until it literally fell apart. I found it again at a public library about two years ago, and I long to once again have it in my collection.

I read this book, when I was in college. This is a very well written testament about the careers and experiences on New York City Fire Fighters. Ten years later, I am still trying to locate copies of this book, to give to my friends, who now work for the FDNY.

Many years ago, I lost my copy of 20,000 ALARMS, and now find it is out of print! This makes finding a copy tricky. What a blow! Fortunately I've read it so many times that most of has stayed with me over the years. I recently found a copy in another cities public libary and read it overnight. I think that this should sum up my review. If YOU have a spare copy, I'd love to hear from you! E-mail: p.jay@pei.sympatico.ca