New York Books

As a black female living in Orange County I was very touched and inspired by this true masterpiece.I would have rated it TEN STARS if I could. I urge all Americans,Black,White,Hispanic,Asain etc to buy and read how great things are accomplished when the races work together.The heroes are the black runaway slaves and their white friends who helped them at risk to themselves. God Bless Roger King who wrote what could have been lost to history.Those of us who live in Orange County know Mr.King and are lucky to attend his lectures.Keep up the good work Rog. Stacey McKeon.

this piece of history is cleary written , with factual items as well as tales handed down from generations. it is an entertaining read with an important theme

After reading this book, I will start to refer to author Stephen King as the "other King." Roger King's historical cronicle surprised me and I considered myself a "hisory junkie."

As a resident of Orange County I was lucky to attend one of Prof.Kings lectures. I was awstruck by this great mans wit and powerful intellect.This thoughtful and informative book is a MUST read for the young people because it tells the story of of Orange Counties past,Americas past and the struggle of the African Americans in the 1850 era.If you get your child one book this year,make this one it.Where can I attend another Roger King lecture?

I loved it! I couldn't put it down! I read it in one afternoon without stopping, something I never do. I never realized the plight of the slaves in the North. It made me proud to be an American.

Without fictional artifice, the author reveals the hearts and souls of her characters who are so like my mother and her five sisters who sprang from Russia and Brooklyn. Merrill Joan Gerber has again produced an insightful, human story that makes you keep reading and thinking.

Book Review in National Jewish Post and Opionion April 16, 2008
By Morton I. Teicher


The Victory Gardens of Brooklyn by Merrill Joan Gerber. Syracuse, NY:
Syracuse University Press, 2007. 360 Pages. $24.95


Prolific author of short stories, novels, and books of non-fiction, Merrill Joan Gerber teaches fiction writing at the California Institute of Technology. She is a one-woman refutation of the canard that those who cannot do, teach. Her well-warranted popularity is reflected in her many fans and the prizes she has won, including the Ribalow Award for her outstanding novel, The Kingdom of Brooklyn.
Gerber's prowess in prose is fully demonstrated in her new novel, The Victory Gardens of Brooklyn. She vividly recounts the afflictions and adversities of three generations of Jewish women in New York. The story is divided into two parts: "The East Side, 1906-1925" and "Brooklyn, 1925-1945." Two sisters, Rachel and Rose, have immigrated to America and settled on the Lower East Side of New York where Rachel is married to a ne'er do well, Nathan, and Rose is married to Hymie who is disliked by Ava, Rachel's daughter. The hostility Ava feels for her uncle is intensified when she is forced to live with Rose and Hymie after Rachel catches her husband with another woman. Nathan leaves and Rachel has to make a living by working as a midwife. She is unable to look after Ava or her son, Shmuel, who is sent to an orphanage. This melodramatic opening is followed by a series of emotional events.
One of Rachel's patients dies in childbirth; she marries the widower, Isaac, telling him that her first husband, Nathan, is dead. Rachel and Isaac have two daughters, Musetta and Gilda, who have a complicated relationship with each other and with their half-sister, Ava. The three girls represent the next generation and their ordeals with their parents and with men are filled with complexity and difficulty. World War I provides the backdrop for their arduous adventures.
As the saga unfolds, all sorts of problems emerge � making a living, Jewish-Gentile relationships, family rivalries, intermarriage, dubious romances, shady activities, tragic losses, difficult illnesses, and many more. The situations in which these issues arise are intensively described. Throughout, emphasis is placed on the vantage point of the women.
The second half of the book, opening in 1925, during the era of American prosperity, begins with the families moving to Brooklyn. Ava gives birth to a second son while Musetta and Gilda undergo many difficulties. Eventually, Musetta reluctantly marries and has two daughters, Issa and Iris. This brings us to the third generation with continuing complications, especially involving male-female relationships. The Great Depression contributes its share of complexities as it gives way to World War II and its accompanying tragedies. At the end, Rachel and Rose, still alive, look back on their ordeals and Rose sums them up by saying, "We're here, we have a life, we suffer, we love."
This powerful and perceptive presentation describes the adaptation of Jewish immigrants to America and the experiences of the next generations, all poignantly set forth as encountered by the women. In this book, Merrill Joan Gerber continues to display her remarkable talent.


Dr. Morton I. Teicher is the Founding Dean, Wurzweiler School of Social Work, Yeshiva University and Dean Emeritus, School of Social Work, University of North Carolina at Chapel Hill.

Merrill Joan Gerber opens the door of a tenement household over a hundred years ago and invites us into the sounds, smells, lives, and drama of a Jewish immigrant family struggling to survive on New York's Lower East Side. In this family, Ava is abruptly separated from her beloved, handsome, philandering father; then from Rachel, her Mama, and her brother as Mama works as a midwife to pay for a divorce.

Ava finds herself an unwelcome guest in Mama's sister's home until Mama marries a cold, tyrannical tailor so that her family can be together once again. Ava finds refuge in school and tries to be invisible as she is excluded again and again when her half-sisters are born. She finds meaningful work, then marries the brother of her friend Tessie. Here the saga begins to include her younger stepsisters, Musetta and Gilda. Although Gerber's three generations of women dominate this rich stew of mothers and daughters, aunts and uncles, a couple of sons and a couple of husbands during the two World Wars have a deep psychological influence upon how the women respond to life's joys and difficulties.

The Victory Gardens allows us to witness the passions, both positive and negative, and personal growth of four Jewish women. Gerber is skilled at inviting the reader into the story with her strong, realistic prose. This drama of the not-so-distant past captured my interest from beginning to end.

by Judith Helburn
for Story Circle Book Reviews
reviewing books by, for, and about women

The Victory Gardens of Brooklyn (Library of Modern Jewish Literature)

Merrill Joan Gerber is a writer who never disappoints me. I have read her books over the years and am one of those people who can't wait for the next one to come out.

I read this great story in one sitting because I couldn't put it down. I loved it. Felt like I was there all the time. I am so happy this one was published so that I could share in her world.

Thank you.

I have been reading her books since I first discovered them in the '60s. I await each new publication with eagerness. This book is Merrill Joan Gerber at her best. What could be better than a multi-generational family saga rich with character development and stories about an immigrant family just living their lives and trying to fulfill their dreams. This is "faction"--fiction based on fact. The book cover is an introduction to the family saga inside of the book.

This beautiful, well-written book even gives middle-schoolers a taste of literary criticsm. The text is adequate and sometimes even moving, working well with the decadent illustrations. My favorite thing about it is its depiction of Whitman's feelings about Lincoln, since many kids will only know Lincoln from the penny.

I am doing my Masters Project on the life of Walt Whitman during the Civil War. Though this book does not add anything new to my project, I am including it in my Bibliography because it is a book I think everyone should read. Yes, it is a children's book, but it accurately portrays the life of Whitman from the time he was a child to the time of his death. I particularly like the section about the Civil War and I know that the author has all the facts correct. What makes this book such a great reading experience is the accompanying art work on each page. The art is exceptional and adds to the reading experience. Whether you are a child or an adult with a passing interest in Whitman, this book should be on the top of your reading list.

My favorite page is the one directly after the Civil War spread. It contains the portraits of Civil War soldiers. What makes this special is that each picture is based on an actual photo of real people, and the one portrait in color is really Whitman's brother George (I am using the same picture in my Masters Project). Each painting of the portrait really captures the expression of the soldiers. My other favorite painting is the close up of Whitman's face as an old man at the end of the book. The sparkle in his eye captures the sparkle in the man's entire life.

This is a fantastic book that I highly recommend. You should look at it as an experience - it is not a complete biography of America's famous poet, but an interactive experience between the important events in his life and the paintings that convey meaning and significance. I am very happy I came across this book, and I think everyone who buys and reads this book will also be impressed.

This is the life story of the famous poet Walt Whitman. We learn about his life growing up on into adulthood. We learn that he had a real passion for America and it;'s people. This is where the inispration for his poems came from.



The book was written in picture book/ storty book form. Although it was a non-fiction book it was fun and easy to read.


We would recommed this book to others who are interested in knowing more about Walt Whitman. This would be helpful to students who might be researching his life for school projects.

The Barbara Kerly/Brian Selznick combination becomes more powerful each time it occurs. First of all, if you haven't gone out and viewed their "Dinosaurs of Waterhouse Hawkins" then you should do so immediately. Do not halt for man, angel, or beast. Just get out there, grab yourself a copy, and thank the high heavens that you did so before reaching the end of your brief span upon this globe. After having read that book (and you will be glad you did) you'll be ready to fully appreciate this author/illustrator duo's latest exploration into another fabulous human being's life. Our dear gay American poet Walt Whitman is their most recent subject and he is rendered here in full glorious life. Spotted with his poetry, his beliefs, and his incredible life, "Walt Whitman: Words For America" offers an answer to any kid who wonders why the heck they should study some old dead white guy from more than 100 years ago. A stirring answer at that.

Aside from the circular picture of Walt standing with a cocky fist on his hip, your first image in this book of the man displays him at the tender age of 12. Working carefully as a typesetter for a newspaper (comparisons to Ben Franklin seem obvious at this point), Walt began his career as a poet with a job that put him into direct messy contact with all kinds of letters and words. In addition to creating his own newspaper at 19, Walt read fantastical stories for his own amusement. You see him as a young man rushing through the streets of Manhattan fully clothed and along the beaches of Long Island buck naked (tastefully, of course). As Walt grew, his concern for fellow human beings, including the slaves of the South, did as well. He published "Leaves of Grass", traveled the country, then became involved with the war between the states. It's the Civil War that takes up most of Walt's life in this book. Whether he was tending to those wounded in battle, debating his own feelings towards President Lincoln, or collapsing from the exhaustion of working too darn hard, the book follows Whitman hither and thither. By the end Whitman truly became the poet of the people, giving the world poems that have remained deeply embedded in the human psyche, whether we know it or not.

As with their previous collaboration, Kerly and Selznick follow up their book with a long and extended section of additional facts about Mr. Whitman. They talk about how they become interested in the project, where their research took them, and how they feel about the man. They offer addition info on his life (preferring not to mention the whole homosexual aspect, I guess), Lincoln's life, and what Walt's life was like after the war. They also include eight poems, some complete and some just important snippets. It makes for a truly comprehensive picture book, I can tell you.

The book itself, however, is a visual delight. There are some truly gutsy moves being made within its pages. At one point you see only a bright blue sky containing a yellow sun and fast moving clouds containing the words, "Whoever you are now I place my hand upon you that you be my poem". At another point Selznick takes the photographs of the wounded holding slates and puts a word from a Whitman poem on each and every one. I was pleased to note that the authentic daguerreotypes that Selznick has reproduced here include black as well as white soldiers (something not every illustrator would think to include). Finally, in a truly cute move, Selznick just barely includes the two oranges and paper crane he found at Whitman's grave in the picture of the same.

As picture biographies go, this one is wordy but worth it. Kerley knows how to write an exciting tale and Whitman makes for a remarkably exciting personality. He's one of those heroes you aren't ashamed to call as such. A wonderful addition for anyone whose juvenile Whitman section seems a bit lacking.

Walt Whitman lived a life of a "rough", or an everyman, and his poetry reflected his very special common uniqueness. Going against prescribed form of the time, Whitman fashioned himself a style of poetry unto itself, brash, fresh, untamed. Such words can be used to descirbe this stunning, and I mean absolutely stunning, children's book on the life of Walt Whitman, by Barbara Kerley, illustrated by Brian Selznick.

Never before have I seen a celebration of a poet's life done so wonderfully. It manages to capture the beautiful essence of the man, while explaining to children in an easy to understand manner. The life of Walt comes alive, from his childhood to the very last years of his life, and the text is peppered with awesome quotes from some of his most famous poems.

Particularly amazing his how Kerley describes Walt's selfless love of the Civl War soldiers whom he tended in Washington DC hospitals. His actions during this time show the depth of feeling he had for these poor boys, and children will respond with their innate sense of empathy towards Walt.

The text is amazing, and the pictures equal it. Selznick has illustrated Walt in all stages of his life, from child to the wizened old man we've all come to associate with him. Selznick's pictures are honest and endearing, again, those that relate to Walt's caring of the soldiers. Even using type similiar to that Walt would have used in his earlier typesetting days, the pictures support and extend the text timelessly.

It's been amazing that within the last few years, a spate of books celebrating our nation's most beloved poets are coming to fruition. It's about time. Our youth need to hear the voices of these people... Langston Hughes... Emily Dickinson... and now Walt Whitman, not only to instill a sense of pride with the country that they live, but also, within the sense of pride within themselves. This book will serve as a benchmark for these books in years to come.

This is a coming of age story of a girl and her brother living in a dysfunctional home. There were definitely times when I wanted to shout, "enough!". Still, the novel rings true, emotionally, and the protagonist is exceptionally well drawn, slowly maturing before your eyes. Thankfully, Eisenberg has a great sense of humor and there are some wonderfully lyrical passages. When the characters are briefly happy, so most definitely is the reader.

This is a brillant book, tracing a young kid's passage through family violece, addiction, pain, and love. The narrator blends the child's immediacy with the adult's wisdom, both touching you and teaching you. It's a real story that engages, reaches into your heart, and reminds you of your own pain and strugges. I love this book. Lucy is a winner, defying all odds--like David Copperfield, but from the Bronx! I can't remember when I read book I liked this much and that stayed with me this long.

Nora Eisenberg has written a book about growing up that is both achingly moving and hilarious--quite a feat to pull off! The small vignettes about her childhood gave me entrance into her family and neighborhood, and more than that, into life in New York in the 40's and 50's. I loved the honesty and compassion, the beauty and humor on every page of the book. A delicious read!

The "War At Home" is a beautifully written menoir-novel of a child, Lucy, struggling to grow up in a chaotic home where her parents are not up to the job in which they find themselves. The author writes in the child's voice with sensitivity and humor, the challenges growing up in a disfunctional family. The bond between Lucy and her brother Nicky is particuarly poignant, as they each find different ways to cope with their family's plight. The author, also, is adept at presenting a balanced picture of her parents, their strengths and weaknesses that gives depth to the story. I loved this book, and reccomend it highly. It stays with you long after you are finished with it.

This is an amazing book. It is the story of children who have to parent their parents. It made me cry but it also made me laugh over and over again. Once you start it, you can't put it down because you're rooting for the kids so hard. It is beautifully written and emotionally so true and satisfying. If you've experienced family violence, alcholism, drug addiction, or madness, you'll connect immemdiately; and if you haven't, you will feel like you have! If you liked This Boy's Life or Angela's Ashes, you'll love The War at Home.

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.

What a fun little book! I went to see the William Steig exhibition at the Jewish Museum in NY and was fascinated by his art. There aren't too many books on William Steig available (at least not on Amazon), so I bought this one and the Jewish Museum book on William Steig. I loved this little book, it's great quality and nice pictures. Highly recommended!

As a teacher of primary grades, I find this book to be very enjoyable and informative as a tool for motivating young children to learn about the past.

This is a autobiography of popular children's William Steig. He tells us of the year when he was 8 years old. Things were much different in the world then. There was no tv, fire engines were pulled by horses and everybody wore a hat! Mr. Steig tells us about his parents and family life as well. We learn that his parents were immigrants and spoke 4 languages!


The book was easy to read. There were very few words per page. This makes it great for all ages.


I would recommend this book to others. It's fun to learn about life long ago.

"In 1916, when I was eight years old, there were almost no electric lights, cars or telephones-and definitely no TV. Even fire engines were pulled by horses. Kids went to LIBRARIES for books. There were lots of immigrants..." William Steig takes the reader back to the simpler times of his childhood when mother bought her meat at the butchers, boys didn't play with girls, a nickel could buy you a hot dog, a pound of fruit, or a day at the movies, you didn't go to the doctor's office, the doctor came to your house, everyone wanted to have his picture taken on a horse, and everybody wore a hat. "There was no such thing as a hatless human being." Written as if by an eight year old, Mr Steig's remembrances are sometimes poignant and always heartwarming and complemented by his marvelous, expressive childlike illustrations. Adults will revel in all the nostagia, and kids will be intrigued by how different life was at the beginning of the last century. When Everybody Wore A Hat is a charming slice of history, best read together and shared, that will whet the appetite, open interesting discussions, and send youngsters out looking for more.

When Everybody Wore A Hat, written and illustrated by William Steig, is an affectionate and touching tribute to the author's childhood in the Bronx. William Steig is in his nineties. He begins his reflections by writing, "This is the story of when I was a boy, almost 100 years ago, when fire engines were pulled by horses, boys did not play with girls, kids went to libraries for books, there was no TV, you could see a movie for a nickel, and everybody wore a hat." It dawned on me after reading this story that the children of today wouldn't have the slightest inkling of the world William Steig grew up in. Having had a 104 year old great grand father to tell me stories of what the world was once like I simply took the idea for granted. When Everybody Wore A Hat is a grand way to introduce children to what the world once was like. The illustrations are childlike and convey a sense of longing and nostalgia. William Steig has created out of his own memories a profoundly moving and beautiful tribute to his childhood and the world of once was.

Preston McClear, malibubooks.com