New York Books

This was a very touching book, hitting the most emotional parts of the heart. A must-read for all who enjoy reading about our history. A very inspiring story that says it all: God wasn't gone, He was with them on the planes.

I'm not sure how it happened, but somehow this book didn't find its way onto my reading list until recently. If, like me, you somehow missed this one, don't wait another day to read this book. AMERICA OUT OF THE ASHES by Jeff O'Leary is a book you don't want to miss.

The book begins by asking the question, "where was God on September 11, 2001" then it goes about the business of telling exactly where God was on the fateful day. Many of the miracles of that day are chronicled here. The subtitle tells us these are stories of heroism and courage, but it is far more than that.

Indeed, many individual acts of heroism are told here. These are acts performed by people never before heard of. They were everyday people who did not set out to be heroes, but they found themselves in circumstances which warranted drastic measures.

This book is, at times, very difficult to read. Not so because of any fault of the writers. The sentence structure is fine and the prose hold no difficulty. This is difficult to read because it is very hard to focus with tears welled up in your eyes. At times, this book will tug at your very soul.

Add this book to your shelf. Read it with your children, and often. Remind them that heroes are not sports figures or Hollywood actors, but that heroes are everyday people who had the courage and the discipline to make impossible decisions and ultimate sacrifices.

Monty Rainey
[...]

Originally I purchased this book, as my brother's firehouse is in the book "Company of Heroes" pgs 59-66. My brother's name is also mentioned in the book. John Santore, FDNY, he was one of the firefighters who died on Sept. 11, 2001.

After reading the book, I felt it was well written and very touching to he heart.

Thank you to the publisher for printing such inspirational stories.

Awesome book! Chock-full of great stories, prayers, and quotes. Has an excellent section of color photographs as well as a timeline of events. This is more than just a simple book on the tragic events of Sept. 11, 2001. It is a keepsake, a reminder to all Americans who own this book, of what happened and our hope for the future. America Out of the Ashes has already hit the New York Times Best-Seller list within one week of its release!

This the best book anyone can buy if you are interested in a total guide on the Amphibians & Reptiles in NY. It is extremely well done and easy to understand.

"What's so good about this book? Without being long-winded and pedantic, the text is incredibly thorough. Species descriptions are marvelously detailed, putting their field-guide forbears to shame. Every time I pick up this handsome volume, and I do often since it arrived in my office, I stand in awe of its clever, user-friendly organization. Each species is described in six sections: "Quick Identification," "Description" (a greatly expanded version of the preceding), "Habitat," "Natural History," "Status and Distribution" and "Other Intriguing Facts." There are chapters, too, on environmental threats, conservation and folklore... With the help of this extraordinary book and its color photographs, the reader, young or old, novice or veteran, will get to know [New York's amphibians and reptiles] intimately."

Edward Kanze, Adirondack Explorer Vol. 10(2) March/April 2008.

The Amphibians and Reptiles of New York State is a very well written, compact, and excellently illustrated account of the species found in the state. The 6 authors are highly respected herpetologists, which lends a greater credence to the book than is often present in books that summarize species' natural histories. I appreciate the citations throughout the text. The colors in the photos are realistic, the photos are sharp enough, and the captions are extremely informative. I appreciate that several photos are shown for most species, including juvenile or alternate color morphologies. The essays, figures, and tables are interesting and succint. This book could be your primary guide to herps of New England, with the caveat that range maps are shown solely for NY state.

This Book is long overdue for those of us who had to consult with the online herp atlas everytime we needed to find out if a species had been recorded in a certain county. This book is set up and flows very nicely with excellent pictures and species accounts, habitat descriptions, counties of occurance, and so on. I have been very impressed already with this book and how much easier it will make things when I need New York based data for site evaluations and habitat assessment. This book is very informative and well written and my hats off to the authors for compiling all of the data used and keeping it readible. This book is an invaluable resource and is cheap enough to keep it accessible to everyone. A must have for anyone in NY that is interested in herps, some of the information is also valid for surrounding states.

Wyatt has gotten below the slick surface of the politicized 9/11 to the human reality below. Well done!

9/11 is one of those days that we all remember, I was in my office about 35 miles from the World Trade Center. Our controllers husband was on the 106th floor of one of the buildings -- they found him about 11 days later. There were a lot of stories that I remember. But I never thought to write them down and then to compile them into a book.

David Wyatt did. He noted his thoughts, his observations of other people and discussions. He has combined these into an awesome tale. It is not a tale of the heroic. It is not a politically motivated diatribe dripping with hatred like Fahrenheit 9/11. Somewhat autobiographical, this book is also a reasoned yet emotional and reflective essay on the way our world changed on 9/11.

I have the feeling that this book is too emotional, too thoughtful to be the all time best seller on the incident. I also have the feeling that when many of the other books have faded away this one will remain.

The greatest compliment I can give a book is that the writing is honest, because only with honesty can truth be gleaned. David Wyatt's memoir based on the events in his life after 9-11 does an excellent--and honest--job of capturing the contradictory emotions felt by many. But what I found most interesting about his book was his notion that small collisions or accidents between people and their lives often have far-reaching implications. I am glad that I took time to read David Wyatt's memoir--a truly transforming book.

In a time when memoirs are lining the bookstore shelves like never before, Wyatt's _And The War Came_ emerges as one of those books that you'll read more than once, and then never forget. This is a writer who pays attention, a writer who knows the necessity for words as we navigate through the upheavals-and delights-of our lives. And so with the events of September 11th, Wyatt took to the page, chronicling "the days" that followed:

"The sound of this war feels as if it were reeling straight out of my mind and heart. ... To accept this, to come to savor it, is to agree that Hamlet was right when he said that the readiness is all. But there is no getting ready for what has happened and for what will go on happening to us, no way to manage the soul-bruising overload of feeling and fact or the sheer incommensurability of taking it all in while we continue to live our little lives."

But this "accidental memoir" should not for a second be regarded as merely a book about war; in fact, its understatedness refuses to smack its reader over the head with sentimentality or political agenda, as is so often the case. Wyatt, an accomplished university professor and restaurant owner, bravely gives us, by way of his diary, a candid entry into his "quotidian life," though he resists, quite remarkably, the tendency to be overly reflexive, often letting the words of those around him do the work. Written in the present tense, Wyatt's crisp and incisive prose imparts an energy that endures, just as the past, which he so effortlessly dips in and out of, endures. In reading, I was compelled by how this book, like any good book, is very much alive. In a sense, this memoir speaks to how we are all living in this "Great Good Time"-how we find our bearings, and sometimes our discomfort, in our relationships with others; how we age; how change changes us. But it speaks also to pleasure (food here, for example, carries a lip-licking sensuality) and love-not only romantic love or the love for family and friends, but love for a country, or for something as simple yet grand as "a particular turn in a road, where an entire mountain range swims into view."

This is truly a wondrous book, one that I would whole-heartedly recommend to anyone.

Green writes a good yarn ... he knows how to lay out a story, populate it with interesting characters and keep the twists and turns to a plausible level that maintains your interest.

Highly recommended -- as are his first and third novels.

An excellent writer who captures Brookyln and makes it a character in the story. I grew up in the area, have known similar street people, and Norman Green is right on the money. One quibble, a personal thing that always annoys the hell out of me from otherwise competent writers: revolvers DO NOT have safeties. Makes me wonder if Mr. Green took Tough Guy 101 before writing this story. Amatuerish mistake, usually committed by a rank beginner. That said, this book is fantastic.

Norman Green is a very good writer and reminds me of Richard Price. In The Angel of Montague Street Greens tells the story of Silvana Iurata, who returns to Brooklyn after many years to find out what happened to his missing brother. He is well aware of the danger of his return, as his mob-connected cousin, who has held a grudge against Silvana from when they were teenagers, is planning to find and kill him. Green is a real pro in developing very "real", three-dimensional characters and in capturing the language and nuances of those from the seedier side of Brooklyn in the 1970's. If you enjoy books that are driven more by character development that plot, this is definitely a book I think you'll enjoy. If plot development and action-oriented thrillers, however, are your thing, then maybe you would be better off with a different book. While the plot is interesting and holds your attention, it moves at a pretty slow pace. So be prepared if you decide to take on this book. Having read and enjoyed The Angel of Montague Street, Green's second book, I bought his two other books.

At the age of seventeen, Brooklyn born Silvano Iurata was forced to go on the run after completing a mission for his grandfather Dominic, a high ranking Mafia official. After he left his cousin Little Don believed he killed his father and had an affair with his sister who was sent to the convent in disgrace. Little Don vows to torture then kill Silvano when he next steps foot in New York City but that proves difficult to do because his cousin works for the government and has no permanent address.

Years later Silvano returns to Brooklyn to learn what happened to his kind-hearted, mentally impaired brother who disappeared without a trace. He finds out whom his brother worked for and hung around with. In the course of his inquiries he meets a woman that he falls for. However, Little Don knows that his cousin is in town and salivates to get his hands on the relative he hates with a passion.

This is a dark and grimy urban noir thriller that focuses on those who, like the protagonist, live on the outskirts of society. The year is 1972 and the power of the Mafia remains intact so that Silvano steps carefully around relatives in the "family" and works overtime not to touch off a mob war that could hurt the people he cares about. He is still recovering from his year in Vietnam and readers will credit him for trying to do the right thing and stepping away from the violent culture he was raised in. THE ANGEL OF MONTAGUE STREET is no angel but he is quite a man.

Harriet Klausner

I read this play a few weeks ago and I must say it's fantastic. Of course there are some parts that are disappointing, but Eugene O'Neill draws the characters in such a way that you cannot help but relate to them.

Anna is so strong, so independent, so conflicted, and so human! Even if some people don't like the ending, I think it makes sense the way it is.

Great read, short play, and I think I like it better than Long Day's Journey Into Night, although it's usually regarded as O'Neill's best work.

Amazing!!! The characters were wonderfully acted out and the relationship between father and daughter was such a gripping story.

With the 1921 production of "Anna Christie," O'Neill's skills as a dramatist finally reached maturity. Entirely revamped from an earlier play ("Chris Christophersen"), this four-act drama depicts a headstrong young woman, Anna, who renounces her life as a prostitute and tracks down the father who abandoned her as a child. Enamored of his new charge and unaware of her past, Christopherson (O'Neill changed the spelling for this version) tries to pamper and protect the daughter he had neglected during her formative years.

Yet Chistopherson has issues of his own: now a captain of a coastal coal barge, he, too, has lived a seafaring live of loose morals and social irresponsibility. Believing that the vigorous demands and easy temptations of a sailor's career have ruined his own life, he has abandoned the sea for good. Confronted with a daughter who initially enjoys life on the ocean, he swears to keep her both from its influence and from the men who make their living from it--with predictable results.

When Anna falls in love with Mat, a stoker for a steamer, she finds herself torn between her father's expectations and her lover's demands, and she discovers that both men, like the clients from her previous life, are buffoonish cads and patronizing bullies. The third act, which depicts the inevitable three-side confrontation between Anna and her two "protectors," is one of the most skillfully scripted clashes in American theater.

The final act, alas, succumbs to a conventional melodramatic mawkishness. Yet overall the play is saved by the faithful rendering of sailor's speech, the emotional depth of its characters, and the (for its time) forward-looking presentation of social ills.

"Anna Christie," the play by the great U.S. writer Eugene O'Neill, won the Pulitzer Prize for the 1921-22 theater season. All these decades later, the play still packs an emotional punch. "Anna Christie" focuses on three characters: Anna, who has had a traumatic life in the United States; her father Chris, a Swedish merchant seaman; and Mat Burke, an Irish stoker who takes an interest in Anna. The play takes place in New York City and on Chris's barge.

"Anna Christie" is a compelling study of gender roles and expectations, ethnic conflict in the U.S., family ties and disruptions, the call of the seafaring life, and fatalism versus the embrace of free will. Particularly interesting is O'Neill's representation of various types of vernacular speech. Overall, a classic American play that deserves an ongoing reading audience.

. . . for the street kids, and for everyone in search of hope. This is a gripping book about a few of the kids who came to Covenant House (a shelter for homeless children in New York City), as well as those who were encouraged to come, but didn't, and one girl who tried to come, but was prevented. Their stories will shock you, make you cry, and, ironically, inspire you. Their poetry will touch you, and as they find God, even in the darkness, you will wish you could love Him - need Him - as much as they do. With brutal economy, Sister Mary Rose McGeady has shared their message of heartbreak to hope in this little book that all those with a passion for neglected children will come to love. I highly reccomend.

As I said about other books by Sister Mary Rose Mcgeady,this one is just as good.I will always reccomend her books for anybody,and proably ages 11 and over.They are super good and lets you into the New York streets.God bless all the children who wonder if there is a God.There is!

In this book Sister Mary Rose shares some letter and insight she has learned from her calling to work with children at the Convant House. The plight of children in America abandoned and lost in a world so dark and terror filled that they have a hard time believing that even God is there for them. With Convant House there is a shinning light in this darkness that they can safely go too. This book shares some of their incredible stories, uncut and unedited. The good Sister even adds a section on her reflections on raising kids today that will be of help to all parents.

This is a good book for people experiencing milestones in their lives. The stories about the children may help one realize that there are others living in inner cities suffering worse than you. This is an excellent book to give to someone looking for God.

Could not put it down and did not want it to end. Gave me a greater appreciation for the Daks. Really inspired me to get out there and hike!

My mother is from this area, and I have gone up my whole life (mid 40s) and this is the BEST book I think I have ever read about this area of the Adirondacks. A wonderful book - cannot recommend enough!!

I was aware, at least in part,of most of these stories
but didn't know the details. The author made these historic
events come alive.
Great book.
DML 4/5/08

Definitely one of the best books I've read on the Adirondacks.

Having just completed climbing all the 46 Adirondack High Peaks in the past year I found this book thoroughly enjoyable. It is well researched, well written and the stories are retold in such a way that keep you on the edge of your seat.

I really had a difficult time putting this book down as I read about many mishaps in areas in the "Daks" that I had personally "discovered" having passed through just recently- these areas will be well-know to those who frequent this still somewhat rugged wilderness.

Not only was the book entertaining but educational. One can always learn from other's mistakes thus minimizing a repeat of such tragedies or risky situations. It certainly pushes home the idea that safety should never be compromised when venturing out into any mountains or wilderness.

This book will be a big hit amoung those not familar with the region as well as those who love the Adirondacks. Anyone who enjoys mountaineering and adventure tales involving tragedy or survival will enjoy & benefit.

I can see this book selling like "hotcakes" once word gets around about its availability.

I recently purchased 'Aunt Arie: A Foxfire Portrait,' along with two Foxfire guides, to assist me in establishing an Appalachian setting (and characters)for a story I am working on. I've only skimmed the guides at this point, but I haven't put "Aunt Arie" down! I've still got a couple of chapters left to read, but so far the story of this woman's life, as told by her to the folks at Foxfire, has proven indispensable to my research.

The editors of the book have attempted, most successfully (they offer an explanation of ways and means at the beginning of the book)I think, to reproduce/preserve Aunt Arie's dialect and colloquialisms, as transcribed from the hundreds of hours of taped interviews. In this book, HOW she says things is just as important as WHAT she's saying...and what does she say? Where do I begin? Besides offering a virtual treasure-trove of information on the subjects of gardening, healing, economy, and food storage and preparation, she also delves into stories of her friends and neighbors, living and dead, speaks often of her life with her beloved husband, and before that her childhood, and all her talk of the people she's known, whether she loved them or could have done without them, is tinged with her faith, her basic love of and respect for humanity, and her simply ideology: you get what you give.

If any of the above appeals to you, get this book. You won't regret it. I'm back here b/c I'm about to get one for my grandmother. Just thought I'd leave a more complete review than the ones I'd seen.

terrific read - inspirational - one tough and lovable character who will be missed for many years to come

From the cover:, " The students, none of whom had ever been to Aunt Arie's before, were awed, drawn inexorably into the little circle of activity that surrounded this 5' 6" dynamo who laughed and pecked on each of them and tapped their shoulders and grasped their knees and tried to remember their names and loved them, instantly, and without reservation-strangers all". This book is wonder full, and heart full, and shines a little light into a way of being that is fast becoming a just catchy phrase on a hall mark card.

WHAT A GREAT "AMERICANA" STYLE BOOK, FANTASTIC ADDITION TO A FOXFIRE COLLECTION OR GREAT ON ITS OWN. AUNT ARIE HERSELF, HER OWN STYLE FROM COOKING TO HARVESTING, THOGUHTS, RELIGION AND HER FEELINGS ABOUT LIVING ALONE! SHE WAS AN HONORABLE WOMAN!

As he did with his previous volume, "Gangster City", Pat Downey has gone off the beaten path of the Big Apple's Prohibition and Depression era histories in favor of reviving and recounting the antics of the bandits, bootleggers, and killers whom most authors overlook in favor of Meyer Lansky, Bugsy Siegel, and Murder Inc. "Bad Seeds" plunges into the shadows of time and casts a searching and compelling light over blackmail queen Vivian Gordon, jewel thief Richard Reese Whittemore, and the botched Tombs prison break of 1926, to name a few.

What's so ironic is that during the period that "Bad Seeds" encompasses, Downey's roguish subjects beat out the gangsters for the NYC newspaper headlines. I suspect that this is because the New York press didn't want to give the impression that gang rule was as deeply entrenched in their city as it was in Chicago. They concentrated instead on the gun-happy nuisances who ultimately faced justice, implying that crime conditions were under control on their turf.

"Bad Seeds in the Big Apple", like its predecessor "Gangster City", is a fast and fun ride through two of New York City's wildest decades. Reading it was a pleasure, and writing the forward for it was an honor.

Pat Downey has surpassed himself with this fascinating rogue's gallery of urban banditry in the 1920-40 period. It's a natural followup to his first book but with a far more varied, violent, and often kooky cast of gunmen, molls, thieves, and general nogoodniks than the early day mobsters who populated Gangster City. The deadly escapades of "Two-Gun" Crowley, Cecelia "The Bobbed-Haired Bandit" Cooney, Gerald Chapman, Reese Whittemore, "Cowboy" Tessler, sexy extortionist Vivian Gordon, the Arsenal Gang, "Mad Dog" Coll's deadly widow, losers like the other Diamond brothers and the Oberst Gang, and many more show that it wasn't only bootleg gangs who made the '20s roar, and makes for lively and entertaining reading besides. It's like the Wild West transplanted to the Big Apple. "Crime in the streets" today seems pale in comparison to the Golden Age of Gotham Gangdom, when drive-by shootings took a back seat to bank and armored car heists.

I thought that Patrick Downey had just about covered it all in "Gangster City." I'm pleased to say I was wrong. In this, his latest, effort, Mr. Downey provides us with a detailed, colorful history of "bandits, killers, and chaos in New York City, 1920 - 1940." I've always considered myself reasonably knowledgeable regarding the New York City underworld, especially during Prohibition, but I am frank to admit that there was much in these pages even I didn't know. For instance, many years ago, while perusing the New York City newspaper archives in researching a certain project, I came upon a second-rate hoodlum named Enrico Battaglia, whom then Police Commissioner Mulrooney described as "a known member of the old Ryan gang of Harlem." Okay, fine. But who was this Ryan? Thanks to this book, I learned that the Commissioner was referring to Edward "Snakes" Ryan, who in the late Twenties enjoyed his brief fifteen minutes of fame (or should I say infamy?) when he and a pal, James Nannery, escaped from Sing Sing and later became suspects in the cold-blooded assassination of a New York City policeman, shotgunned while guarding a prisoner at Fordham Hospital. The same holds true for the Flanagan brothers, scarcely touched upon in a book written by former New York City Police Captain Cornelius Willemse, but recorded in great detail here. Excellent chapters also on Leonard Scarnici, Roy Sloane, "Two Gun" Crowley, and many others. In my estimation, when it comes to knowing all there is to know about the New York underworld during the first half of the twentieth century, Patrick Downey takes a back seat to no one. The bottom line is, if you liked "Gangster City," you're sure to enjoy "Bad Seeds in the Big Apple."

Amazing book of New York's little known stick up men and bandits. There all here, from the famous Gerald Chapman and Two gun Crowley, to the little known Cooneys, a husband and wife stick up team who robbed at gunpoint to give their child to be a better life. Some may have had legit gripes for becoming criminals, but some were just plain bad. Mr. Downey's accumulated research has weeded out these criminal facts of years gone by. These were some big headlines back in the twenties, but quickly overshdowed by the gangster headlines of the 30's. Some would even have remained lost to history, if not for his due dilligence in saving and turning it into this fine book of NewYork criminal factoids and side stories. Loved the back end of the book with it's "Dishonorable Mention" section of equally interesting side notes of other criminal escapades. Neat photo section. Highly recommended reading. Get the book, sit on your balcony, crack open a cool one and enjoy some of New Yawk's little known and forgotten criminal past!

"What's in a name? History! The African American community has their community in Harlem; the Dominicans are beginning to carve out a space for their people...Spanish Harlem is the soul and heartbeat of the Puerto Rican people...groups survive by controlling space and maintaining a viable and visible presence..." (p. 73). This statement, made by an activist and poet during a debate on the use of the term "El Barrio" to reference East Harlem, touches on one of the main issues that Arlene Davila so brilliantly expresses in her book, Barrio Dreams: Puerto Ricans, Latinos, and the Neoliberal City. This rich ethnography focuses on the issue of space, particularly in the neighborhoods of El Barrio, or Spanish Harlem, located in the East Harlem district. She brings to light the cultural politics involved in the definition of space and its subsequent appropriation, as well as the commodification and marketability of ethnicity and race. Through extensive research, that includes interviews with local neighborhood residents, observations and participations at community meetings and organizations, and public hearings, Davila is able to put together a magnificent work that documents the complex effects of culture, space, commodification, representation and gentrification of space and the residents in El Barrio. In doing so, she is able to call "attention to the symbolic and representational processes that have tied race, ethnicity, and place in East Harlem within the public imagination...account[ing] for the value of these representations in the symbolic economy of contemporary cities" (p. 24).
El Barrio, a growing urban, Latino community is the foreground for Davila's examination of the politics of culture, urban space, gentrification of neighborhoods, and "the neoliberal policies that favor privatization and consumption" (p.2). Davila raises important questions in her work by focusing on the increasing attempts to create social change in urban communities through the introductions of new developments, businesses, museums, charter schools and tourist sites. In the chapters in her book, she devotes much time analyzing the complexities surrounding such gentrification issues, brining in to play the resistance of the local residents against developers. One particular impressive aspect of Davila's work, touches on the difficulties local residents face when they buy into the developer's ideas of programs that include home ownership and museums. Many residents agree that the image of Spanish Harlem as "poor, crime-ridden, and underdeveloped" sheds a negative light on their community (p.115). Developers, craftily pointing to the lack of value and marketability of Puerto Rican heritage or "Puerto Ricanness" reinforce the existing stereotyped image on El Barrio as unpopular (p.114).
Yet as Davila shows, the support of local residents of new projects can sometimes in fact lend a helping hand to the process of gentrification, resulting in residents jeopardizing their stake and claim in their own neighborhoods. In other words, "by supporting consumption and entertainment projects, such as museums and home-ownership programs, residents are furthering gentrification and increasing prices in East Harlem, thereby hindering their own future claims to the area" (p. 4). The Edison Project that Davila describes in her fourth chapter highlights the attempts of private organizations to claim stake in the urban communities of El Barrio, telling residents that "the project would educate residents about their own common heritage" while creating avenues "that would provide jobs and place the neighborhood on the map" (p. 129). But the price of these incentives was not free. Developers used culture as "the bait for a larger project for privatizing social services and further commodifying place in El Barrio" (p.129). Arlene Davila does an excellent job in bringing to light the complexities involved in the processes of gentrification and culture consumption and the desires of residents to reclaim their neighborhoods through highlighting their cultural values.
Another fascinating aspect of Davila's work touches on the issues of the relationships between the Puerto Rican residents of El Barrio and African Americans. Davila points out that both African Americans and Puerto Ricans share a common history, yet the introduction of a cultural space and the desire for "local control of resources" and "local electoral politics...has polarized the groups' relationship since the start of urban renewal projects and still mediates debates over space and development in the area" (p. 19). The advancement of African Americans in the political sphere is another point of tension between the two groups, as well as the dominant leadership roles of blacks in the urban development sectors. Additionally, Davila describes the tensions that exist between Puerto Ricans and Mexicans. The rapid growth of the Mexican population in El Barrio is causing the "rapid transformations in the area's demographics and landscapes" resulting in "tensions between Mexican and Puerto Rican populations, raced to their different histories, citizenship status, and/or self-conception as residents, racialized minorities, or temporary immigrants" (p. 21). While illuminating, the relationships and tensions that arise between the Puerto Ricans, African Americans and Mexicans alike can sometimes be messy. Their fight for control over space and their commonalities as minorities, whose culture is being commodified by developers and outside organizations, all tie in and relate to one another in a complex web of defining space and cultural values. As a results, the neighborhoods in which they all reside are slowly changing, reflecting the backdrops of multiculturalism, neoliberalism and globalization that form a common thread between the various issues and projects that Davila discusses in her work.
Barrio Dreams is an exceptional piece of work that illuminates the debates and issues surrounding the ever increasing urbanization and gentrification of one of New York's most well known neighborhoods. Arlene Davila is truly a genius at work!

Various historical points reveal where the redefinition of culture took place due to economically driven motives, which have proven pivotal for empowering as well as defining cultures. From the Pledge of Allegiance to the current war in Iraq, the lines drawn around the essence of one's culture have been exploited by money-driven entrepreneurs and politicians. Arlene Dávila exposes this phenomenon in East Harlem, and more specifically in el Barrio, in her new book Barrio Dreams: Puerto Ricans, Latinos, and the Neoliberal City. She is "concerned mostly with the specificity of current racial, ethnic, and spatial conflicts in the area" which, "become exacerbated by the cultural bases of many contemporary development initiatives at the very time that intraethnic and racial alliances among minorities are most impending and most needed." (5) Her book displays the reality of the struggle in El Barrio where "ethnic" groups have been battling for a place at the same time the "Latin" community as a whole has been fighting for a political position in order to gain control of the definition of their culture.
Culture, contrary to Dávila's belief that there was a time "when cultural demands commanded economic resources and political valence," (2) has almost always been advanced for economic reasons. Countries in the Arabian Gulf have attracted workers from all around the world to work in the oil and gas fields to an extent where now the citizen is a minority due to the influx of these workers-citizens of these countries have yet to object to the increasing number of workers. Surely when one's culture becomes the minority culture it will have a great impact on the shape it takes.
Dávila, author of Sponsored Identities: Culture, Politics in Puerto Rico and Latinos, Inc.: The Marketing and Making of a People, has done extensive study on the issue of politics in the marketing of the "Latin" identity. The use of "Latin" or "Latinidad" implies homogeneity-it is a remarkable how the author is sucked into this normative stereotypes constructed for categorization purposes. The author herself argues that the "Latin" community is not homogenous in any way, thus "these groups differ in mission and objective." (157) Hence we have El Barrio as an area where various groups are fighting for various ends-using the word "Latin" inevitably hinders our vision concerning the diversity of the "Latino" culture.
Nevertheless, it is not simply about homogeneity among the Puerto Ricans, Mexicans and Dominicans. It's about hierarchies within hierarchies; "the relations are mediated by existing racial and ethnic hierarchies that are shaped by racialist processes in the United States and in Latin America and also have particular manifestations that are historically and regionally situated" (171). Hence the "ethnic" groups are placed into hierarchies according to the basic social class and political participation in the United States, which finds El Barrio (in general) in the lower middle-class. But hierarchies exist within this hierarchy, which leads to the divide between the "Latino" groups. Their stance in this category revolves around several classifications such as devotion to work, crime rate, longevity in the community and other such ingredients. The "stereotypes of Mexicans as less educated or unsophisticated" (173) have been a catalyst for Mexicans to attempt to present themselves in a picture they believe suite their community most and thus they have considered themselves as "hard working, and ethical Mexicans" (173). But other than the competition between the "Latino" groups, in the one specific group there is a hierarchy. The example of Puerto Ricans "with a longer history in El Barrio, criticized Puerto Rican newcomers just as forcefully, despite their Puerto Rican nationality and pro-Puerto Rican leanings." (79) The complexity of these levels and allegiances causes conflict in the group, which ultimately leads to the dismantling of the "greater community"-the "Latin" one.
How does Dávila define culture? She states that culture is an "ethnic or racial identity" as well as an "object of entertainment." (10) Culture is almost always associated with tradition and history and it is ironic how modern means can reshape our concept of culture in addition to molding the minds of `outsiders' in regards to their perception of a community's culture. Culture is man-made and it is "imagined." It is interesting to note the use of Benedict Anderson's "imagined community" in Dávila's study of El Barrio. She throws it in on page 65 whilst talking about Puerto Ricans and their creation of their community. It is a shame that this notion of "imagined community" is not introduced earlier in her work. That is the foundational base of conflict in any society where various communities live and fight for elements of their own culture so as to proclaim its exclusivity to them.
But what is especially ironic is the fact that culture is not tangible and Dávila seems to miss a step between providing us with her definition of culture and the various problems that have taken shape in El Barrio due to gentrification, which ultimately means the exclusion of some communities-the exclusion from political representation in New York City is center to Dávila's study. She argues that the "Latin" communities are losing grip of the fate of El Barrio due to the lack or representation in organizations that decide the final outcome of El Barrio. Her argument is clear and impressive because of the depth of her research in the politics of representing a community; the author provides us with several examples of how tenants are defined by race and social class, and thus reshape the community.
Overall, the study is extremely interesting in seeing the impact of marketing and politics on culture and vice versa. El Barrio is not a unified force and culture-Dávila proclaims, "sure El Barrio continues to be "de todos." Which is obviously a partial todos." (96) The complexities that the author examines is impressive and brings to light the power of marketing and advertising that are politically motivated in a society. She is an anthropologist and it is a study that presents us with extensive examples and theories but leaves the door open, as anthropologists tend to observe and not interfere.

It is no secret that our society continues to thrive and grow out of the economic structure of capitalism. Globalization provides more opportunities for free trade, and in the process our economy becomes increasingly privatized. These concepts of neo-liberalism, which require less government intervention, have been expressed through policies that deregulate 'big business' and further the gap between the affluent and the impoverished. Although many are bearing the fruits of this growing interconnection of trade and exchange, it comes at the expense of those who remain indefinitely at the bottom of the economic pyramid. Through her book Barrio Dreams, Arlene Davila uncovers many repercussions concerning the growing competitive housing development market in El Barrio or East/Spanish Harlem. Davila discusses the process of gentrification that has resulted in a pauperized community within New York City. The book aims to characterize the cultural and political interactions between different groups of Latinos as well as between those within the greater community. Their attempts to shape the future of their barrio while understanding their own cultural capital are also constantly revealed. Davila portrays the politics of marketing ethnicity as culture, and how it is treated as industry to further the process of gentrification. This book highlights the increasingly significant role of Latinos in American society and their struggles to gain power and authority in their communities.
In areas such as New York City, where property value only has the ability to grow with time, impoverished neighborhoods such as East Harlem are susceptible to development from outside private companies. Government policies have further contributed to the gentrification in the Empowerment Zone in NYC and have opened the door for private development. Davila states, "Since the 1980's, similar policies involving tax incentives to the private sector, as in today's EZs, have consistently replaced publicly financed community-based development strategies as the dominant urban development strategy (pg 9)." In compliance with the philosophies of neo-liberalism, governmental organizations have shifted the responsibility of social housing onto private development organizations, which are solely driven by profitability. Unfortunately, this has rapidly decreased the amount of affordable housing in East Harlem. Local businesses and residents have been displaced and neglected as a result of this rapid gentrification. "East Harlem's real estate is not advertised in El Diario or other Latino and local newspapers...many believe, (they) intend to keep Latinos out of the area (pg 54)," said one the area's residents. This process is a result of the lack of representation from Latinos and residents of the community. Even those Latinos from the area who have shown upward mobility have been consequently displaced outside of East Harlem and thus do not intend to return. Spanish Harlem symbolizes the romanticized version of Latino culture and will unlikely relinquish its reputation of being underprivileged. Roberto, a union leader Davila interviewed, describes why he can not live in El Barrio: "I saw a lot of brutality...El Barrio will always be El Barrio, not the Puerto Rican Barrio, but the barrio of immigrants and the poor (pg 38)." Roberto's comments shine light on the fact that this neighborhood is not able to develop without providing outlets for upward mobility and representation.
Part of reshaping the marginalized perception of El Barrio is being provided by activists in order to "secure the identity of (their) place (pg 24)." The current commercialization and outside marketing contradicts attempts and assertions that are being made to redefine the associations to the Latino identity. Many of the residents that reside in East Harlem are not a homogenous culture or ethnicity. Specifically, Puerto Ricans have struggled to assert their identity as a community in American society. As a group, they have attempted to downplay the stereotypes and negative associations that are being exaggerated by cultural marketers. In attempting to understand the own accurate identity, Puerto Ricans must be able to understand their significance in El Barrio. Puerto Ricans have been commonly linked with other ethnic groups such as African-Americans, who reside in West Harlem. Davila discusses the movement of Puerto Ricans to differentiate themselves as a functioning and successful ethnic group. Mexicans, who are the fastest growing immigrant population in the United States, experience similar struggles of re-signification in East Harlem. They have tried to establish themselves as "worthy and hard-working immigrants," and separate themselves from the marginalized reputation of other Latinos in the area (pg 156). Davila cites one man who commented, "We Mexicans are hard workers and don't depend on welfare as do Dominicans...many Mexicans are deported because they are illegal. Each month, Dominicans are deported because they've been jailed for selling drugs, committing robberies, crimes and fraud (pg 172)." The US depends on Mexicans to fill the lowest positions in the workforce - those jobs that require extensive manual labor for very little pay - but our government and policies prevent these immigrants from gaining rights and representation in their communities. The Mexican Day Parade was one example of a culturally-specific event that was marketed and organized by non-Mexicans for corporate interests. Davila emphasizes that the control of such cultural events by marketers who do not represent the Mexican community actually undermines the purpose of such ethnic celebrations. Further, she stated that the outrage of Mexicans in such situations "asserted ethnicity over industry and challenged the inequities in the production and consumption of ethnic events (pg 167)."
Artists have become catalysts for publicly marketing the real Latino identity with images that represent both the past and present. This initiative contradicts the growing commercialization of Latino culture geared toward economic gains in the EZ. The author adds, "Heritage is ancillary to tourism, put in the service viable tourist districts containing cultural, entertainment, dining, and recreational attractions (98)." The various cultural projects in East Harlem that would further allow the appropriate exposure of Latino heritage, such as el Museo del Barrio and the Edison Project, were centered around tourism, economic interests, and employment. This only furthered the process of gentrification in East Harlem. To inhibit this process, artists began to show an effort to represent Latino aspirations and dreams through non-profitable murals and graffiti. Their actions signify that ethnicity is more than just a business venture. Davila posits, "The fact is that current ethnic and cultural identifications are being concurrently fueled by a variety of political and commercial interests, and are thus not about to fade, as long as they are profitable, politically marketable, and viable (pg 214)." Thus, the need for further artistic expression of the actual Latino ethnicity is vital.
Through her book, Arlene Davila clearly represents the position and role of many Latinos in American society today. Neoliberal policies further prevent these groups from taking hold of their community and ethnicity, and allowing private companies to consolidate affordable housing. This book can only shine light on the rapid gentrification of all cities around the country. It is difficult not to think of the re-urbanization process going on in Durham over the last five years, and in doing so I hope those involved think of places like East Harlem. Many of the same efforts to improve the image are fueled by economic interests, however without considering the history and diversity of this culturally-rich city, the future of Downtown Durham will continue to be tainted.

Arlene Davila's BARRIO DREAMS is simply amazing. It grapples with the diversification of New York's Latino population, asking important questions about community solidarity and alliances. The final chapter on Mexican immigration to El Barrio is especially informative. Professor Davila is a stellar scholar whose ground-breaking work is helping shape the future of Latino/a studies. A must-have book indeed!