Illinois Books

An excellent book. Insightful. Instructive. Nostalgic. Atmospheric. It should be on required reading lists in college literature courses. Being an Italian-American made it especially enjoyable reading. It was not easy to find, but well worth the effort. It may not have that mass appeal that results in celebrity and riches for the author but that's part of the tantalizing charm of the book and what makes it so far superior to what's promoted on TV and bestseller's lists.

This book is a pleasant surprise. Skillfully done and consistently on target.

Holy Cards alone is justification for buying this book. That short story has been reprinted in Don't Tell Mama the Penguin collection of Italian American writing. Anyone who buys this book based on reading the reprint won't be disappointed.

A engaging and enthralling collection of stories. Mr. Ardizzone is a very gifted writer who combines all elements of life, be it realistic or magical, contemporary or traditional, and it is done in an enjoyable and immediate manner. He joins the ranks and stands proud with the gifted writers and poets who hail from and write of Chicago. My hat is off to this writer and this work.

What a delight to find this amazing classic back in print, in a reprint
edition with new comments by the authors. This will spare thousands
of food enthusiasts the perennial burden of scouring the used-book
market for copies of it. (I ordered several copies of the reprint at once
for gifts and to have on hand.) People who were following food
writing at the time will recall the stir created by the Hesses' book when
it first appeared in the late 1970s. The book is iconoclastic, even

subversive, in the same sense as Prometheus's gift of fire to mankind.

In this case the gift is not fire but perspective, or a sense of history.
Co-author John Hess was himself a senior and very experienced
food writer and editor, but he has a scholar's dislike of pretentious
misinformation being quoted around until it becomes conventional
wisdom. Karen Hess is a food historian noted elsewhere for her
work on the mysterious "Martha Washington" cookbook.
Their book addresses questions like: How did things like iceberg
lettuce and phony "gourmet" products displace centuries of fine
immigrant and indigenous cooking wisdom in the US? Who helped
to "sell" such changes, only to be celebrated later (Orwellian-style)
for contributions to US cooking? Moreover, it is remarkable to see
how many "innovations" in US cooking since about the time this book
was written consist actually of rediscovery of principles widely known
100 or 200 years ago, as the book documents in detail.

The casual reader should be forgiven for not having heard of all
of this in the general media. Journalism in the US about food (and not
only about food) is lately graced with legions of people blissfully
and confidently unconscious of anything that preceded their own words.
Such people will gush uncritically about food pundits like Craig
Claiborne (distinguished on the basis that the gushing writers
have heard of them) without any real research or perspective.

These writers would not do so if they read the Hesses' book.

From the Hesses', and other, evidence it seems that around the
1950s, "gourmet" became a convenience-food-industry euphemism for
"sucker" in the US. "That flabby midget called Cornish game hen was,
next to chocolate-covered ants, the gourmet racket's funniest joke on a
gullible public. It has no more taste of game than a wad of cotton," say
the Hesses. Such game hens are one of several gimmicks Craig
Claiborne is quoted pushing; canned beef gravy and instant whipped
potatoes are others. Claiborne receives especial attention here,
though James Beard, the Rombauers, Fannie Farmer, even JC Herself,
are not spared. Yet this criticism is constructive, at least for the reader,
with positive counterexamples.

It is an angry, or perhaps indignant, book but an informed one,
meticulous in its documentation of sources. The bibliography by itself is
valuable, sort of an annotated miniature of Katherine Bitting's epic 1939
"Gastronomic Bibliography" (also cited; that book is very expensive
on the used market; I know because I own one; even its 1980s reprint is
expensive and I am told, unlike the original, is printed on acid paper).

After reading this book for the first time in the early 1980s, it changed the way I thought about both choosing what to feast upon and how to prepare it. I always wondered why I hated vegetables as a child. Having read the book, I realized that my mother--loving though she may have been--had cooked vegetables to death by boiling everything until it was soft, tasteless and unappetizing. When I began learning to cook for myself, the beauty of this text came through for me. Now I appreciate vegetables because I prepare them simply and let the flavor come through. I recommend this book to anyone who is a "picky" eater (and even to those who are not). Once you know why you don't like a variety of foods, you may discover that it's not the food you learned detest, but the way Mama cooked it for you!

An impassioned, lively, fascinating look at the American table. The Hess' are knowledgeable, erudite and highly opinionated. Many disagree with their negative view of American eating habits, but it is hard to argue with them on the facts. Read it and think!

A genuine masterpiece! I have read all the greats out there: Charles Bukowski, James M. Cain, Chandler, Hammet, Hemingway, Orwell, Jim Thompson, Clarence Cooper, Jr., Iceberg Slim, John and Dan Fante, Donald Goines, Joseph Conrad, B. Traven, Jack London, Albert Camus, Knut Hamsun...and this guy, James Ross, with his one and only book is right up there at the very top of the heap with the best of the best. You won't find better writing anywhere...and it's not so much the story even, but what he does with it. Ross uses a deceptively easy-going, simple style that sort of sneaks up on your psyche and leaves a mark long after you have finished his tale. A remarkable work; a certified classic in my humble opinion. Highly recommend it to anyone who likes a solid read.

Raymond Chandler mentioned this novel (along with THIEVES LIKE US) in a letter in his collected letters, so I grabbed a copy, and I can only say that Chandler knew one when he saw one. This completely amoral tale of roadhouse denizens in the depression era South is wonderfully atmospheric and gets under your skin in an unforgettalbe way. Deadpan violence, stark atmoshpere, and characters worthy of a pulp Faulkner. Don't miss it if rural American noir is your genre.

"They Don't Dance Much" was rescued from obscurity by Southern Illinois University's Lost Fiction Series. Author James Ross' style is similar to James M. Cain; this book resonates like a film noir screenplay. Judging from the popularity of the recent film "L.A. Confidential" someone in Hollywood should take notice. But "They Don't Dance Much" is more than a cheap thrill. It's true literature. Those fans of excellent writing out there need to take a look at this book. They won't be disappointed.

I bought this book because I'm interested in learning more about the Las Vegas-mob connection. I've had my fill of books chronicling the New York mob scene. I must it's a heck of story and has much more to offer the reader than just what it reveals about the Las Vegas scene. Writer Cherie Rohn should be commended for her literary mastery in harnessing Slick's energy on the written page, and I highly recommend "Thief" for anyone thirsting for a good read. I look forward to more books by Cherie Rohn, a new literary talent on the true crime scene.
--Ron Chepesiuk, author, "Gangsters of Harlem" and "Drug Lords"

THIEF!, published by Barricade Books, is the gutsy true story of William `Slick' Hanner, an ex-con artist with mob ties, who grows up in "the toughest neighborhood in the world," 1940's Chicago , and makes his way into all kinds of trouble. From childhood pranks such as shoplifting for zoot suits, to getting entangled with the Lucchese Crime Family in Miami, where he almost becomes fish food. THIEF! takes you back to a bygone era where people could do things for kicks, rob casinos blind, and end up in the wrong places without becoming a "made guy." In fact, Slick was on the fringes of all the hottest scenes throughout the last half of the 20th century, whether it was working in Las Vegas as a Stardust dealer, serving as Jerry Lewis' bodyguard, driving a limo for the infamous Chicken Ranch in Nevada, or celebrating New Years in Havana the night Castro took over Cuba. You name it and Slick has lived it.

Cherie writes the book in a fast-paced tone, true to Slick's voice. If I didn't know her, she would be invisible; she writes that well. And we as writers know that is one of the toughest things to conquer when writing a biography; yet Cherie does this with ease. The book is a hard-hitting adrenaline rush with a lot of laughter. She can tell you a story in a sentence; she knows how to cut the fat. This is an epic with a lifetime of story and well worth the read.

Crime is a dark subject, but this is one colorful book about a thief you just gotta love. A Mafia insider with a good sense of humor and a bad attitude, Slick Hanner is now talking. His life is high-speed, often perilous and always entertaining. Much of the action is set in fascinating, Rat Pack era Las Vegas. Readers of true crime, organized crime, the Rat Pack days and biographies are sure to enjoy.

Rick Porrello
Author of Superthief - A Master Burglar, the Mafia and the Biggest Bank Heist in U.S. History
[...]

When I read John Schultz's "The Tongues of Men" nearly forty years ago I was deeply moved and impressed by the power,humor and originality of his writing. I can't think of a single collection of stories I've read that covers a more diverse range of characters and styles than I encountered in this unique book. This week I reread "The Tongues of Men" and today John's stories seem even more inventive, funny and disturbing than they did when I first read them. "Morgan" and "Daley Goes Home" are powerful, raw and brutally honest accounts of what it was like to be a soldier stationed in Korea in the 50's. Both are masterpieces. If Kafka had possessed John's sense of humor he might have written fiction as entertainng as "Custom", one of the funniest and wildest novellas in American literature. "The Offending Party" is as threatening and scary as anything Paul Bowles ever wrote. Once you read this book you will never forget it.

This is a great book, and it belongs on the bookshelves of every serious home library. The author was my Fiction Writing advisor at Columbia College Chicago, and guided me through the writing of my first novel, American Skin. After reading this collection, I was eager to work with John, hoping that his absolute mastery of language and story might rub off on me. To me, John's book represents all the best qualities of the best fiction. The stories within are at once subtle and wild, fun and profound, highly accessible yet infinitely complex. In short, it's a book to read, re-read and treasure.

John Shultz is one of the heavyweights of American letters. Though he has achieved acclaim in the fields of pedagogy, creative non-fiction, literary editing and critical theory he is first of all an important writer of serious fiction. "Morgan" should be included on all lists naming the greatest American short stories of the last century. And that's just one of the gems in this collection, which features a startling range of approaches--from wildly surreal to starkly realistic. John Shultz is a living Master of prose. Simply put, this book is a must read.

Kirle's assessment maps the theatre's change as America changed. The reader gains more insight into what they have seen and the way others have viewed the same play during different time periods. It is pretty well put together. Each chapter has something for a student of theatre and those that catch a show once a year. It will keep you thinking about the new shows you see. Don't be turned off that it is a text book used in universities. It was an entertaining read.

This is one of those rare books on musical theatre that really understands and appreciates the art form and that has new, fresh, interesting ideas to put forward. Anyone who loves musical theatre should check this one out. It's a smart, insightful book that is a real joy to read.

"Unfinished Show Business: Broadway Musicals as Works-in-Process" is a rare treat of a read for enthusiasts and students of the theater. It's a fun step ahead. Bruce Kirle travels beyond the familiar chronological litany of titles and gossip to investigate what makes musical theater trends live and die.

He argues that the style of musicals is ever changing because musicals are based on the foundation of the ever changing American mind. Public scuffles and feelings about race, gender, homosexuality, war, politics, economy and the struggle for human rights are shown as the intimate energy that not only fueled changes in the meanings within the plays but the physical and musical methods as well.

As a big fan of musicals who reads these things all the time, I jumped off my couch in delight as I shared Kirle's adult consideration of history and drama as it effected what took place on the musical stage. It is exciting to depart from the hero worship of the great masters for a moment in order to get a new grip on what led audiences to crown a hit a hit and a star a star in the past century and how the most clever individuals molded their great acts and scores within a fluctuating civil atmosphere.

And there are plenty of lovely facts and amusing anecdotes to be had as well, and so much of it is new to me. Kirle brings his own experience as a composer, director and conductor into play giving a fresh appreciation to the great Broadway artists and their work.

Just when I mourned there was nothing new to think about musical theater, I got a hold of this book and I am grateful. I LOVE this book.

"Urban Art Chicago: A Guide to Community Murals, Mosaics, and Sculptures," is both an excellent reference work and a beautiful art book. This volume, by Olivia Gude and Jeff Huebner, is a tribute to the neighborhood public art of the city of Chicago.

The book contains a short, but fascinating, history of the mural movement in Chicago. According to the authors, this artistic outpouring began in 1967, when 20 artists began work on the "Wall of Respect," a pictorial tribute to African-American culture.

The book is divided up by neighborhoods. Each section contains a street map, so you can actually use the book to find the murals that have been photographed. 125 murals are pictured in the book. These works of art span many themes and styles. Each photograph is accompanied by essential information about the mural. Also adding to the book's usefulness is a bibliography and a collection of capsule biographies of major artists in the mural movement.

It's hard to pick out just a few representative works from this magnificent collection. But my favorites include the following: William Walker's "Childhood Is Without Prejudice," with its interlocking faces of many races; Christopher Tavares Silva's "Soaring Toward Excellence," a symbolic, energetic celebration of books and education; Aurelio Diaz' "Latino Youth, Inc." mural, with its stunning pre-Columbian imagery; and Jeff Zimmerman's "Paid Programming," a visual satire in which the United States flag is morphed into a bar-code. But these are just a few of the eye-catching works in this book. Explore "Urban Art Chicago," and feel the rhythms of the people of a great city.

Urban Art Chicago covers community murals, mosaics and sculptures in Chicago and is a recommended pick for any collection which would include urban or regional American public pieces. Maps and background information accompanies color photos of the works and insights on their producers. An outstanding presentation.

Urban Art Chicago is a beautifully produced guide to many of Chicago's murals and would be an excellent gift for any school teacher. It begins with a history of the mural movement in Chicago and includes well detailed maps, guides to the artists and communities who have created murals in Chicago, and excellently reproduced photographs of the murals themselves. It also provides a great way to introduce Chicago cultural studies, geography, history, language, folk culture, multi-cultural studies, and art to students.

Vincent van Gogh is one of the truly influential painters of his day and painted art revealing complex spirituality and intense emotion that continue to impress art students, connoisseurs, and artists today. He was able to imbue his work with his own psychological presence as is especially evidenced in his many self-portraits. In Van Gogh, art historian and Post-Impressionist expert Belinda Thompson has assembled his paintings and works drawn from the archives and collections of the Art Institute Of Chicago including such famous works as an 1887 Self-Portrait, The Bedroom, and Madame Roulin Rocking the Cradle. Thirty of the images are reproduced in full color, together with another twenty-two duotone comparative illustrations. Van Gogh is further enhanced for the reader with an informative account tracing the great artist's development as a painter in Holland, England, and France in a career that was to last less than a decade. Van Gogh is a very highly recommended addition to any personal, academic, or community library Post-Impressionist art history reference collection in general, and to Vincent van Gogh enthusiasts in particular.

Beautiful and affordable. They make wonderful additions to letters for friends, and my young son likes to make his own stationery with them. We also contributed some art stickers by Matisse and Degas to his classroom for a celebration of spring.

These stickers are approx. 1 3/4" x 2 3/4" and include the title of the painting and artist name.They are clear, good quality despite being sticker size. There are many applications for these including stationary, envelopes, etc. or make great stocking stuffers.

Tracing the progression of images of women's bodies through nearly two centuries of literature, Fasick analyzes selected novels from Samuel Richardson to D. H. Lawrence to construct a historical overview of class and gender relations as reflected and refracted in the pages of the English novel. Though recent discussion and women's roles in literature and culture has centered on women's sexuality as the defining factor in the female character, Fasick focuses instead on ways that writers have depicted women as possessing nurturing qualities that distinguish them from men. Rigid adherence to this idealization of femininity constructs a standard difficult for women to achieve. Held to the ideal, Fasick asserts, women appear grossly culpable rather than simply human. Fasick begins with an analysis of Samuel Richardson's novels that examines three linked themes: sensibility, maternity, and anorexia. She continues with a discussion of Frances Burney's treatment of the expressive female body. She then analyzes novels by Charles Dickens, William Makepeace Thackeray, Elizabeth Gaskell, and Charlotte Bronte in light of Victorian attitudes toward women and food and toward female invalidism. In conclusion, she returns to Richardson, pairing his novel Pamela with Lawrence's Lady Chatterley's Lover for an examination of cross-class romance and the resulting implications for class and gender. Throughout, references to conduct books and periodical literature of the time provide contexts that illuminate the primary texts. Fasick's insights will interest students of the novel, eighteenth- and nineteenth-century fiction, women's studies and gender studies, and class relations in literature.

The author traces the progression of images of women's bodies through two centuries of English literature to construct a historical overview of class and gender relations as reflected in the English novel. She focuses on ways women have been depicted as possessing nurturing qualities that distinguish them from men in work by authors including Samuel Richardson, Frances Burney, Charles Dickens, Charlotte Bront and others. For students of the novel, 18th-19th century fiction, and women's studies.

Tracing images of women's bodies through nearly two centuries of literature, Fasick analyzes selected novels from Samuel Richardson to D. H. Lawrence to construct a historical overview of class and gender relations as reflected and refracted in the pages of the English novel.

Dr. Athen's work on the creation of violent criminals is groundbreaking in its scope and reach. I have read all of his books and the framework he proposes is one that offers many intersections for intervention before a violent person is created.
This is an intellectually challenging and exciting book. It should be read by anyone interested in creating a peaceful society and preventing inter-personal violence.

that criminals and fools are allowed to post reviews here. Joyce Carol Oates is not a good source for information about criminals. I work as a prison psychologist in one of the most progressive systems in the United States. Lonnie Athens has done groundbreaking work which I have confirmed and extended in my own clinical work. I reject more than 90% of what the professional research literature tells me because the research methods are inadequate, the statistical methods are incorrect, or the conclusions go beyond the data. Athens is one of the few academics whom I follow carefully (others are the late Neil Jacobson and John Gottman). I would recommend that you ignore the review that gave this book 0 stars and investigate for yourself. Anything in which Lonnie Athens is involved is automatically worthy of careful reading.

If you have any interest in violent criminal acts, criminal justice, chronic/acute criminal behavior from a treatment, control or academic perspective, this is a must read. I have spent 25 years researching, planning, and programming in this field and Dr. Athen's work has major implications across many domains. Whether or not you agree, after reading this book you will be left motivated and enlightened. I also recommend reading "Why They Kill" by Richard Rhodes either before or after reading this book.