New York Books

I loved this book. One of my favorite aspects is how emotionally human and vulnerable Sterry makes the beefcake sex symbol men, men who look so physically invulnerable. Prince Charming I find especially poignant. Even though I had wondered for a while whether Nick was gay, it still comes as a nice shock when the narrator and Johnny discover Nick's gay porn collection (nice touch that it's under tax returns). The romance with Johnny I find sweet and innocent, a nice contrast to the seedy surroundings. It brings to the surface an interesting fact--that beneath showbiz glamour everyone just wants to be safe and loved, and the Chippendales people were trying to mask that fact with sex, drugs, and big muscles. ROLLERSKATES makes clear how flimsy their mask really was while also describing that mask to the fullest vicarious extent. I find it fascinating that Nick de Noia established his company as a place for women to come and let loose, which is precisely what he would never let himself do. I see him as a sad, trapped person as well as a power-hungry tyrant. Sterry humanizes the Chippendales experience while simultaneously showing its faked, raunchy veneer. Each chapter of ROLLERSKATES had me flipping to the next one.
Sterry's unflinching honesty makes the reader trust his narrative perspective completely. I find the part where Johnny has the abortion and Sterry goes to the prostitute searing, sad, and brave to share. What a raw portrayal of how someone lashes out when they are in emotional agony. It seems like a concentration of one of the main themes of the book--that people run from pain they can't control and seek refuge in extreme pleasure. The book is glitzy yet deep. Highly recommended.

Just finished and I thought it was faaaaaaaaaabulous!

Favorite Line: But apparently he's too stupid to understand that, I, the Ugliest Man at Chippendales, am more important to the show than he, the second prettiest.

Favorite Character Description: Nick sees himself as equal parts Julius Caesar, P.T.Barnum, the Marquis de Sade,and Bob Fosse.

Favorite Object Description: An empty pizza box looks like a toothless empty mouth.

Favorite Chapter: The Saddest Girl in the World

Favorite Irony: Chippendales has been replaced by a Bed, Bath and Beyond.

I felt the characters were all well drafted from Nick de Noia to Fingernails with no please in her please. The story was completely engaging. I read the book in three days.

Inflation is a marvelous things. Human beings pumped to the max is a wonder to behold. In their glory days, the Chippendales jacked up the heat to unimaginable throbs. Nostrils bursting with cocaine, muscles ripped with flavor,the private parts elevated altars of glory. One day, we will run out of oil but we'll never run out of lust. Sterry's book is a catapult into the majesty of an era where lust was worshiped. It's a meteoric shower of brilliance. Baby, this book shines. Memoir at its best.

My favorite scene from this book involves a woman who asks one of the Chippendale dancers if she can snort a line of cocaine off his erection. In that one moment, Sterry perfectly sums up this era in the timeline of America. He had the ultimate front row seat in this fantasy world where women - at least for a few hours - were allowed to be as base as men. It's a true story that makes Sex and the City look like an episode of Barney.
---Kemble Scott, author of SOMA

"Master of Ceremonies" is the dizzying, tender, and true story of a fledgling actor whose first break results in a two-year stint as the emcee at Chippendales, in this work that is resplendent with seedy glamour, hilarious backstage madness, and unflinching honesty. Sterry chronicles his adventures as a struggling comic after he is hired as the host of the popular all-male strip show Chippendales in the early Eighties. He more than delivers on the promise of his title, and readers looking for sex, drugs, and New York-style debauchery will find it in spades. There is a tabloid-level sleaziness inherent in the material, which Sterry utilizes for maximum entertainment value. He avoids providing direct sociological commentary on the sexual power dynamics at play in Chippendales, preferring to let events speak for themselves. There are two underlying love stories, one between Sterry and a coworker, and one between Sterry and his craft; both enrich the narrative with genuine heart. Sterry possesses an engaging writing style, and fans of his earlier memoir, Chicken: Self-Portrait of a Young Man for Rent, will not be disappointed. Recommended for large public library collections and cultural and media studies collections.- Katherine Litwin, Chicago Library Journal (07/15/2008)

A terrific book for die-hard Mets fans that enjoy a quality read. Literate and smart, but also accessible and real. In writing about his own experience as a true fan of this team, the author touches on things that are universal to most of us fans. Highly recommended.

This amazin' collection of essays, was thoroughly enjoyable and easy to read. Dana Brand masterfully weaves his personal stories, season recaps, the highs, the lows, and plenty of sentimentality together in perfect form. This book truly sums up everything it is to be a Mets fan, or a sports fan in general.

I have read plenty of books covering the Mets: books that take the reader inside the locker room, books that give an A-Z statistical history of the ballclub, trivia books, and and all of the downright goofy ones. Mets Fan is similar to none of these. This book is really one of a kind. Dana Brand shares his personal memories of this team, and if you too are a fan, you will definitely see so much of yourself in them.

I was born in 1978 and I have been a fan of the Mets since 1985. It is fantastic to finally read about 1962-1984 from a pure fan's point of view. The point of this book is not to look up Jerry Koosman's ERA for the 1973 season, it is to see what a fan went through during the 1973 season. This makes for fantastic reading.

From now on, if anyone asks me why I care so much about this team, why I get upset when they lose, why I jump up and down when they win, why it is necessary for me the check the score, I will simply tell them to read this book. Mets Fan explains why were are fans in the first place. It expresses how we Mets Fans feel when we see orange and blue and why we feel that way, it goes deeper into the soul of fans than any book that I have ever read before.

This is one of these rare books that just gets better with every reading Vividly described as only Dana can, reading this book in it of itself makes you feel like your actually sitting in the ballpark surrounded with all the intangibles that come together with a trip to Shea Stadium. And now with the Stadium all but gone this book is the closest you can get to bringing back your favorite Shea Stadium memories.

I love this book! Dana Brand illustrates what it's like to be a Mets fan because he is one himself. I thought this was a nice piece of reflective Mets history. I plan on giving it as a gift to a few friends. This is aust read for any Mets fan! I also noticed a few people complaining about the price. I don't think it's over priced. I don't mind supporting independent artists who offer quality work. If you like this you'll like the Mets fan documentary. Very cool. Mathematically Alive: A Story of Fandom DVD

"Mets Fan" is the ideal book for people who can relate to the unconditional love you feel for a particular sports team. It goes beyond the diehard, irrational loyalty that allows one to persevere through the good times and bad; never giving up no matter how dismal things get.

The essays in "Mets Fan" illustrate how that unconditional love manages to permeate every aspect of life and shape us from the time we are children, and for the rest of our lives. The specific events Dana Brand writes about have such powerful emotional significance, that you sometimes forget he is writing about baseball. Regardless of what is omitted, what is included is relatable to fans (and non-fans)on so many levels. This is life with a side order of baseball, and we should be grateful for the opportunity to get a brief glimpse of how meaningful baseball can be, not just in the ballpark, but outside it as well.

The book I ordered was as advertised and arrived in perfect condition. I have made four book purchases through Amazon and have been pleased each time.

definitely worth the price tag. Book is packed with period medical photographs, which while grotesque are also very artistically framed. All of the pictures are together, a page per picture so you can flip though the images without text interrupting the artistic presentation. The back of the book is devoted to thorough captions for each photo. Some of the photos look staged but this too fits the period represented.

This collection of photographs and plates are some of the most concise findings on the medical world I have ever seen. It has opened my eyes to these people and has given me something new and interesting to learn about. I really enjoy seeing how far we have come in the field of medicine but also the advancement has diminished the frequency of medical oddities that are found in this book. I really recomend this to anyone who has an interest in the medical field and all of its mishaps.

Stanley Burns is a physician and a collector of medical history photographs. You may remember his previous book of mortuary photographs entitled "Sleeping Beauty" which is long out of print and fetches incredible sums among used book dealers. (Fortunately, a sequel - "Sleeping Beauty II" is more readily available.) "A Morning's Work" is a collection of 127 vintage medical photographs from 1843 to 1939 along with a helpful narrative explanation of the photographs and their cultural significance. Although some of the pictures are more historically significant than interesting, the bulk of the images are of medical curiosities - and some of them are absolutely head-scratchingly bizarre. Among the images featured are mortuary photographs, images of amputations, surgical procedures, disfigurement, and a wide assortment of congenital and acquired diseases. The title "A Morning's Work" is taken from an image of a pile of amputated limbs taken during the Civil War, when the horrific wounds inflicted by the large leadshots used at the time resulted in amputations for even the most minor of injuries. Many of the photographs take us back to the Dark Days of medicine, before antiseptic procedures were implemented, and when a small wound could result in a deadly infection in a matter of days.

The narrative explanations of the photographs add a special poignance to them. For example, a photograph of a dead man would not be nearly so interesting were it not for Burns' explanation that the man was Dr. James Howe who contracted Cholera while treating patients during the St. Louis epidemic of 1849 and was fatally afflicted. That one sombre portrait seems to symbolize the bravery and sacrifice of physicians the world over during times of pestilence, and if there's anything that you come away with after viewing this book, it's a newfound appreciation for modern medicine. All told, "A Morning's Work" is a fascinating book - and a must for enthusiasts of the bizarre and medical historians alike.

This book is very harsh, unpleasant, but impressive. Not at all for anybody because you need to have the guts to keep your glance at the pictures mirroring the abnormal, the illnesses, the horror of nature, the facts of the old times of surgery. As Bacon's paintings these pictures have a very sui-generis aesthetics, based upon the ugly and the deformity.

If you ever want to know how American cities and towns got their names, this is the place to go. My husband and I both have really enjoyed looking through this book and plan to take it on trips.

What a wonderful book! And such a pleasure to learn where the names of places come from. A great find.

I learned so much from this book. When I purchased it, I thought it might be like an annotated dictionary of sorts -- perhaps in alphabetical order, so that I could look up Topeka or New York. But it's not like that at all. The author starts with the blank canvas of the American landscape, before recorded history, and describes how a place becomes a name.

The book is arranged chronologically, so the reader moves from pre-history to native Americans to colonists; and from the edges of the country (like Florida, California and New Mexico) to the middle regions; and from colonial governmental debates on names to the Congressional debates on state names in the late nineteenth and early twentieth centuries.

The information about the place names comes at the reader not as a dry history lesson, but almost as an epic novel in which the main character is the landscape, and the minor characters are the natives, the immigrants, the politicians, the storytellers. The prose is spare and compelling. The depth of research is mind-boggling.

This is a book to be read, re-read and referred to for the rest of your life, especially if you are a traveller or a proud American.

It is always humbling to discover how limited my education is in key areas, especially geography. Names on a map that I have seen dozens of times, cities and towns I have visited but never given deep thought to, and the evolution of language are all present in this slim volume. I found myself surprised that I had read thirty or forty pages without realizing any passage of time. I lost myself in this book -- like exploring familiar territory for the very first time. An engaging, worthwhile, illuminating book.

So far I'm only about 1/3 of the way through "Names on the Land," but I'm enthralled. The sub-title, "A Historical Account of Place Naming..." is right on. The book approaches it subject from a historical perspective. The reader travels with the early explorers as they encounter landmarks on their journeys, so one learns about the namers and their times, as well as about the names they left behind them. Based on my reading so far, I can strongly recommend this book.

Nirvana was an iconic album of the alternative rock genre. "Classic Rock Albums: Nevermind Nirvana" is just short of the music CD itself in fully understanding the album that made the grunge movement of the early nineties so memorable. Taking a look at the early days of Nirvana's career complete with black and white photographs of the band's early days, information on recording sessions, and information on each track of the million selling album. "Classic Rock Albums: Nevermind Nirvana" is an absolute must have for any Nirvana fan who can't get enough of trivia for the group.

It tells alittle bit about the history of Nirvana but its mostly about the making of Nevermind and about the songs. Its pretty good.

This book gives an excellent account of what led to the great CD we now know as Nevermind. It briefly describes Nirvana's rise to stardom and gives a glimpse into the personalities of the members, but is at its best in describing how the actual production of the album went. Using numerous sources, the author lets us listen to Nevermind in a completely different way. The only downside is that it is a relatively short work, and I left wanting more

This is an excellent book on Nirvana, and it is too sad that it is out-of-print. It contains important interviews and write-ups from several pop culture mags of that era on the band--on performances--on their overall views...

Does this signal that Kurt was right: Grunge is dead?

Well, perhaps dead but not yet interred into the earth.

Yeah, yeah, it's really lame to buy a book about them and all, but this isn't just another stupid ripoff fan book- this is really good stuff. It's funny. It's sad. It gives Courtney a chance to look less evil- I changed my mind about her because of this book. And it's not just about Kurt like most Nirvana books are- there's a good amount of stuff on Krist and the various drummers as well. Serious Nirvana fans really need to read this.

This is a beautiful book. Perfect for anyone who loves new york city.

I'm fascinated by "then and now" picture compilations. That said, this book does have some really good examples of the genre, however they are surrounded by much less interesting and really unimportant locations throughout NYC. It's a mix. If you like to see how a great city changes, this will have some utility. As a former native New Yorker, I found enough to make me glad I'd bought it but not enough to delight me.

Fascinating book! Berenice Abbott's photographs from the 30's alongside present-day photos of the same locations shot by Douglas Levere. A great way to experience the layers of history in New York.

Then and now photobooks of American cities are steady bookshop sellers but it is not until you turn over the pages of 'New York Changing' that you'll realise that this is how it should be done. Douglas Levere, with help from Berenice Abbott, has created a brilliant photo record of the world's premier city.

To start with Abbott created the perfect architectural record with the 1935 to 1939 WPA sponsored project when she shot just over three hundred photos of the city (you can see two hundred of these in 'Berenice Abbott: Changing New York', ISBN 1565845560) and Levere has retaken over a hundred of these with eighty-one appearing in his book.

Unlike other inferior books of the genre Levere has taken the utmost care with his project. Not only using the same type of camera and lens as Abbott but waiting until the same season and time of day to freeze the moment six decades later. A fascinating page of technical details at the back of the book explains more. The eighty-one photos are divided into four chapters with the majority taken in Manhattan. On each spread Abbott's photo is on the left and Levere's opposite, Bonnie Yochelson writes a straightforward caption for all of the images.

With the help of 200dpi printing, quality paper and elegant design these photos (and the book) look just stunning. The perfect photobook!

***FOR AN INSIDE LOOK click 'customer images' under the cover.

In the middle of the depression Berenice Abbott began a five year, WPA funded project to document in photographs New York's transformation from the 19th century to the modern metropolis of skyscrapers. The result was published as 'Changing New York.'

Sixty years later Douglas Levere went back to the same sites of 100 of Abbotts photographs and took another picture with the same angle, the same view, and usually even the same time of day (to get the same sun angle) of the same scene.

The result is this book, 'New York Changing' which shows these pictures arranged next to each other. That way, the only differrence between the pictures is the changes that have come about in the basic structure of the city.

This is a beautiful coffee table book, except that seeing one set of pictures makes you want to turn to the next set, and you've soon gone through the whole book.

Highly recommended.

This is a collection of black and white photographs mostly taken during the Prohibition and Depression eras for the tabloid "The Daily News". Most of what could be said about this book is already here in the reviews listed, nevertheless, it is worth repeating that "New York Noir" is an important addition to any collection of books on photography, and essential for anyone with an interest in the history of photojournalism. It would also be useful for anyone with an interest in social history; particularly of big city life during the American 1930s, 40s & 50s.

Most of the photos here are of crime scenes, and a few suicides thrown in. Crime scenes are mysteries; we all sense there is a story there. But the real mystery in this book is who were the guys who took these photographs? Whoever they were, they had no idea they were setting down an arena for further developments in creativity - in film, in fiction and in graphic design. This was working class photography and these guys were simply on the job, trying to outdo each other in the quest for a better shot in time for the next issue, sparing little thought over notions of higher-order art. Except perhaps for Arthur Fellig (aka Weegee), who was apparently more astute when it came to ensuring acknowledgement for his work, most of the guys who worked for the newspapers were largely unheralded. They are now just names, long dead and forgotten. Many of the shots reproduced in this book are only credited with a surname, or are simply credited as "Daily News" photos - nobody can work out now who took the shot.

[...]The conditions under which these guys were working forged a new creative genre, now commonly known as `NOIR'. It was an oppressive era, politically and socially, equipment was still heavy and unwieldy, they had to contend with light (additional lighting was used where it was deemed necessary to illuminate, not for artistic effect) and weather variables and while access to crime scenes were not yet barred to newspaper folks, access was sometimes restricted for other reasons. Check "The Trigger's Squeezed" and "Empire State Suicide"; both demonstrate how restricted access forced the photographers to use unusual camera angles, resulting in distant shots with long lines and deep, extended shadows which, together with the subject matter concerned, creates a sense of oppressiveness, of callous unconcern, of cold doom, and of finality (this can be keenly sensed in "Killer's End"); these are what are now regarded as the essential ingredients of good, classic noir film and associated imagery.

What makes a photograph (and for that matter, any piece of good art) a `classic' is that it alludes to a story, or it at least contains something that will intrigue viewers through the ages. While much of the information for the shots in this book, including the names of the persons involved could be traced (the corresponding synopses are listed at the back), there remain unanswered questions. How was it that the two ladies could tolerate each other's presence at the grave of their man in "A Bigamist Mourned"? What was it that a pretty doll such as Anna Downey saw in John Collins, a hardened killer? ("Until Death Do Us Part"). Why did the gangsters have such flippant attitudes? Check the aspect of Louis Capone on his way to Sing Sing in "En Route To The Chair".

There are other questions for which answers could have been provided in the book somewhere, after some further research. It would have been helpful to know the process and exactly why some of the photos were "touched-up" to ensure they were fit for publication. And who were some of these photographers? And what was the system for acknowledgement and payment? Something could have been said about the cops; perhaps some reasoning for their attitudes and conduct with the public. [...]

Regardless of all of this, the book is very exciting. The images reflect the developments in technology, particularly with the flash; first the bar flash, then the bulb, and then finally the `flash gun'. The sharper and clearer shots, including those taken under brilliant light are perhaps the most striking, and what are most easily recognized as `noir' imagery. All together, these are shots of a period in history which will never return. The assemblage of ephemera of that age; the hats, the shoes and clothing styles, the hair styles, the cars, the buildings and everything else can never be reproduced. And there is something very sexy about it all.

For a further exploration in this photography genre, I strongly recommend "City of Shadows: Sydney Police Photographs 1912-1948"; with shots of folks who were colder, cheaper and meaner, and where things seem even more surreal. To see how such newspaper shots influenced photography in a creative sense, see if you can find "Retail Fictions: The Commercial Photography of Ralph Bartholomew Jr." - still around in some `seconds' bookshops.

I got this for my sister-in-law and was afraid it might be too graphic for her (she's a bit squeamish about blood). It's not nearly as explicit as I feared. Unfortunately, it's not as interesting as I'd hoped, either. Lots of pictures of rather anonymous people in very sharp clothing. I think she'll like it, but if you're already fairly used to postmortem or morgue photos, you won't be very impressed.

If you are a fan of photography, this book is definately for you. NEW YORK NOIR is chock full of amazing photographs that were the staple of the "New York Daily News." In this book, you get to see some of the poignant images that help define the term noir, and its connection to the silver screen industry, not to mention its effects on tabloid journalism. Many of these same black and white photogrpahs were often used as references to assist in making modern day motion pictures, helping to give a look into the past. From the days of "Three-Gun" Turner to the electrocution of Ruth Snyder, this book captures New York's horrid crime life in a candid, in-your-face style. There is nothing but unhidden truth in each and every photograph. NEW YORK NOIR is a well designed book loaded with powerful images and somewhat detailed descriptions. It is fascinating, riveting, and gives you a decent look at the roots of photojournalism. You can't help but be intrigued by the gritty, graphic photos that once graced the pages of a daily newspaper. It is one amazingly good book.

Warning: don't expect this book to be easy on the eyes, it is far from that. This is not for children, weak stomaches, or people with heart conditions. The shock is enough to make your heart race when viewing some of these photos. Yet you find yourself staring, sometimes maybe wondering what the photographer was thinking as he took these shots. The book is well done, but you have to be interested in true crime to, if you will, appreciate this collection of photos. It also helps if you appreciate life, then these photos will really have an effect on you, but it also shows you that society really did not change that much since these photos were taken. NOT a good coffee table book, though.

The "Daily News" debuted in New York City in 1919. It was to be a newspaper for the common man, which meant not especially literate and frequently immigrant. Its currency was images, the more sensational the better. Nothing sold like sex, murder, and mayhem, graphically illustrated. By 1925, the "Daily News" was the best-selling newspaper in the nation. By 1930, twenty-three per cent of its pages were devoted to crime.

"New York Noir" is a selection of about 125 images from the "Daily News" archives, taken from the 1920s through the 1950s. Some are sad, some comical, some grotesque. They're an interesting comment on American urban culture of the time. Many of these photos would spark outrage if any newspaper were to print them today. Their lurid content earned the "Daily News" pointed criticism from many a moralist at the time. But that never hurt business. The style of the photographs had an immistakable influence on cinema and popular culture which continues to this day. The technical limitations that produced starkly flashed foregrounds and pitch-black backgrounds are instantly recognizable in Hollywood films, just as the corruption displayed in the photographs was reflected in popular entertainment. The demeanor of gangsters and thugs -often posed for the photographers- became iconic. Tabloid photojournalists may have wanted only to get the shot that no one else could, but they produced some incredible -and incredibly influential- photographs that have only become more fascinating with time.

Luc Sante introduces "New York Noir" with an essay about the history of tabloid journalism. Editor William Hannigan follows with a history of the "Daily News" and its influence on Film Noir. Both of these essays are very readable and worthwhile. The photographs are mostly one-to-a-page and quite sharp. They are all captioned. There is a section of "Synopses" in the back of the book, which provides further information about the stories behind each photograph, when available. I really appreciate this section, which is conveniently organized by page number. Some of the photos really leave the reader hanging, wondering who those people are and how things turned out. You can find out by turning to the back of the book.

I recommend "New York Noir" to photography and film noir buffs. Some of these evocative photographs are not for the squeamish, but they have made , and continue to make, quite an impression.

I love NYC and this book is a pleasure to read and return to for more. Highly recommended.

doesn't mean that I can't recognize a great book when I see one. Christopher has the ability to bring buildings to "life." Andrea Stillman

I really enjoyed this book, the photos are so crisp and the text is quite informative. I am pleased that the vast majority of the buildings the author chose are still extant. After absorbing this book, you really appreciate the great architecture and workmanship of the past, the more current buildings in New York just don't measure up. The author does her research and it shows, I highly recommend this book to anyone with any interest in New York, it really is a must have.

As a New Yorker all I can say is this is the best book I've read about the city.

Some books on the older buildings of New York City will give you the nuts and bolts about the structures: who designed it, who constructed it, when it was built, etc. And some photo books of old New York don't tell you anything at all. New York Times writer, Christopher Gray, with the assistance of the untiring researcher, Suzanne Braley, actually breathe life into these buildings. Not only do we learn the who and the when of a building's birth, but also the why and the how. Why were white brick apartment buildings so prominent at one time? How did the Winter Garden evolve from a huge stable? It's the little and, sometimes, epic anecdotes surrounding the buildings that fascinate Mr. Gray which, in turn, fascinate us. This is an indispensible book for anyone who loves the city, and who has ever stopped in front of a building and asked, "How did that ever get there?"

Rocco Dormarunno, author of THE FIVE POINTS

The book is interesting in a sort of disjointed way. If you like abandoned industrial settings the pictures are great too look at. Reading the narrative is tiresome because you just want to jump and look at the stunning pictures. The book also reviews the various styles of substations. About 2/3 of the way through the book conveys into a rather simple photo-album-style pictorial with few details on the subject matter, some of which is too interesting to know so little about.

I had to read it several times to fully understand the different substation styles and technologies because some of those chapers are spread out over more than two pages. It is easy to lose your place when trying to identify the systems in the narrative to the diagrams, schematics, and photographs. Often I was trying to find details in pictures written about in the narrative, only to find I was in the wrong chapter.

Other than these minor issues if you wanted to know how they converted AC to DC and how the subway works, even today, this is an important book for even a casual subway fan.

An excellent high quality work at a very reasonable price.
Well written interesting text, superb high quality photographs and professional architectural drawings. A great buy for anyone interested in the subject.
Amazon's rapid response to my order was also impressive. This is the first time I've ordered from Amazon. The book was shipped from stock and arrived just a few days after I placed my order. Excellent service.

I'm not an architecture student, or an art fan. I just happen to have an obsession with infrastructure. This book was completely satisfying. It's filled with gorgeous pictures of off-limits places. That alone would have been just a tease, but the author's extensive research pays off for the reader. He fills the book with history and technical details. Worth every penny and then some.

Who would have thought that a collection of buildings containing basically the same thing would have produced such a fascinating book and who but Princeton would take a chance and publish it. It seems to fit right into their quirky line of Americana, which includes, for instance, a history of paint-by-numbers (ISBN 1568982828) a photo tour of the brothels of Nevada (ISBN 1568984189) or a collection of amateur QSL cards (156898281X).

Christopher Payne has done his best to record the contents of these buildings before they are gone forever. His efforts are perfect examples of what industrial archaeology photography should look like, well lit, straightforward and content rich images with fortunately no angled shots, no out-of-focus areas merging into darkness or meaningless close-ups. These photos really tell a story and being well printed (200dpi) on quality paper helps, too.

As well as the fifty-four main photos there are others taken by him and several historical ones in the essay describing the workings of the subway electrical supply (some of the technical drawings included in the essay could have been larger though) and like his photos Payne makes the world of rotary converters, transformers, bus boards and potheads come alive.

All in all a super little book and a good example of how a tiny part of industrial America can become fascinating with well-written words and elegant photography.

Many photo history books suffer from an imbalance between the strength of the prose and the strength of the photographs. Christopher Payne's New York's Forgotten Substations does not. The writing is crisp, bringing you into the subject matter and explaining the basics of subway power and the history of these substations. The photos capture the magnificence of the substations in they heyday, and the seeming pathos of their abandonment. This is black and white photography at its best. Forgotten Substations is a feast for subway buffs, engineering geeks, and appreciators of industrial aesthetic alike.

Started reading this on the book counter at the local B&N and couldn't put it down. Fascinating premise and wonderfully vivid excursion into turn-of-the century New York. Stylish, well-researched and entertaining.

Boorstin has a unique voice and take on the period and an interesting speculation on what I understand to be a missing period in the life of William James. This book gives a vivid and entertaining picture of life in New York a hundred years ago. Recommend.

"Newsboys'" boasts a page-turning plot as well as the wonderful ability to make you think about important life questions. I read the entire novel during one ten-hour stretch of business travel ... and it made what could have been a grueling day of planes and airports a day of pure joy. The plot kept me entertained, but the philosophical elements kept me both hooked on the book and repeatedly pondering my own life and choices. "Newsboys'" may not be in the same literary league as E.L. Doctorow's "Ragtime," but it's much better than the current crop of historical novels typified by "Carter Beats the Devil" -- a lot of research in search of a purpose. I finished the book feeling enriched, invigorated and determined to do better at all things. Any work of art that leaves you feeling like that is a great and rare gift.

The gifted philosopher and psychologist William James suffered a mental collapse at age thirty. This fact is well known by anyone familiar with James' works, but what remains unclear is what happened during his convalescence. "Twenty-one pages (as much as forty-two pages of writing)" were cut from James' diary that surely held some answers about his dark hour. Thankfully we have Jon Boorstin who writes so well from James' point of view that we need to be reminded these writings are actually not James' confessions but historical fiction. "The Newsboys' Lodging House" brilliantly extrapolates upon the missing pages to form a cohesive and believable account of what led James to become the renowned modern thinker and progenitor of Pragmatism and the Will to Believe.

The novel jumpstarts in 1908 Cambridge with a stranger imploring an attention-grabbing question, "Is you my father?" That teaser grabs the reader's unequivocal attention as James elegantly recalls how one chance encounter at McLean Asylum in 1872 with Horatio Alger, a writer of boys' stories, inspires him to leave the asylum and research "the question of evil" among the poor newsboys of New York City.

Boorstin has magically crept into James' psyche and delights us page after page despite many somber expositions that detail James' anguish over evil's place in the world. Reading in fact becomes compulsory as we eagerly await an answer to the stranger's aforementioned question. In the meantime, Boorstin expresses James' ideations in an entertaining manner and more succinctly than several philosophical tomes.

Bohdan Kot

As a lover and student of philosophy, I have a prediliction toward pragmatism. And as I have a prediliction toward pragmatism, I have a fondness for James. And as I have a fondness for James, I found this fictionalized account of a 'missing period' of James's life interesting (if not a bit strange and obviously fabricated).

In this novel, John Boorstin is envisioning James in his thirtieth year. This is when he experienced his mental breakdown leaving him an inch from suicide and in complete emotional paralysis. He had spent quite a few months, we know, in a mental institution, but here, the diary stops - the pages referring to this few-month period have been cut out of his diary, leaving the period a complete mystery.

Boorstin imagines a scenario that as far-fetched as it is (and the author acknowledges that) is interesting and at very least entertaining. James goes to New York with little money where, in fascination with Horatio Alger, volunteers to instruct children at a Lodging House for orphaned kids. It is there he meets a 9-year-old boy called Jemmie and becomes determined to save this child (who James is convinced is good at heart, but slipping into street-life) from the cold and hard world of the streets. Therein, James finds himself ensnared in quite a few 'plots' that gradually help him become his own person (as we know that when the 'missing period' was over, James was remarkably more directed and focused).

As I do not know how many people reading this will be as familiar with William James as us philosopher types, there is one part of the novel I think that may get lost on those not as familiar with James. Though one need not at all be a philosopher to like this novel, the story very much ties into the meaning of James' philosophy of pragmatism wherein 'truth' is said to be dictated sometimes by the 'facts' and sometimes by 'what we personally need to believe'. So as not to get too philosophical here, I will copy one paragraph from the novel that beautifully explains:

"Until this moment, I had thought true belief to be absolute and beyond one's control, the inevitable expression of one's fundamental knowledge of the workings of the world. Now I saw that we created our beliefs even as we cherished their eternal permanence. All of us are bound up in beliefs which express not only our deepest truths but our deepest needs."

This is very much a part of James (both as a psychologist and a philosopher, James being equally adept at both). Boorstin's goal, in this fantastic but quite engrossing tale, is in part to give us a 'real live shot' of what James' pragmatism looks like in practice through James' very own eyes. The result is a very good novel that will at once entrhall you and capture your philosophic imagination.