New York Books

For me--raised on Sherlock Holmes--this novel, first published 1968, is not a detective novel in which morality or heroism triumphs, or in which the hero is able to think his way out. When Conan Doyle invented his hero, he was writing within the context of a moral Victorian society in which Holmes's kind of detective work was able to triumph over perpetrators, or at least able to rationalize his own faults. But the world Sciascia shows us is one in which the police remain silent, and those who inquire and question are punished. Sciascia gives us an intelligent, inquisitive high school teacher, Professor Laurana--not a Sherlock Holmes--but, as a learned and well-meaning man, he is an engaging main character. What sort of society is it in which sensitive, inquisitive people are devalued and ignored?

Professor Laurana's questioning opens doors and others shut. And in a town in which people teach each other to keep quiet, we have to wonder what is being taught. It seems that this society is reduced to primitive survival instincts. Only someone like Laurana can break the vicious circle of crime, but Laurana's emotional vulnerability--his sensitivity to literature--is considered a fault. There are clearly characters who do not like anyone asking questions. And there are two characters who are philosophical and analytical, but their ability to understand human psychology disables Laurana's investigation. It's as though too much belief in moral ambiguity can stop a criminal investigation.

While this novel is a comment on Italian or Sicilian society and politics of the 1960s, this setting could be anywhere in the world. We all must be vigilant that through silence and acquiescence, our world does not become like the one Sciascia shows us.

This short novel (158 pages) has so much wonderful, nuanced writing that virtually every page is enjoyable in and of itself. One Amazon reviewer called "To Each His Own" postmodernist, but it also seems reminiscent at times of 19th Century writing that is more character insightful than plot driven. Sicilian master, Leonardo Sciascia, certainly does provide a plot in this novel - an inexplainable double homicide begins the story, followed by the slow accumulation of clues leading to the unlocking of the mystery by a hapless bystander, who reveals his revelations despite himself. The cautious innocent ultimately wanders into the killers' crosshairs betrayed by his own lust and the quiet complicity of the entire community. And it's lust that author Sciascia suggests is at the bottom of everything in the Sicilian town that is the novel's setting.

This is a highly literate and entertaining read that will encourage most readers to seek out other titles by this terrific author.

This book is a well written mystery. The author sets the crime out before you right at the beginning and gives many leads for you to try and draw your own conclusions. His style of writting is very different, but very interesting. It is the type of book that you must continue to read to find out what the ending is about.

The basic principles of right are: to live honorably, not to harm any other person, to render to each his own." Digest of the Emperor Justinian.

The Latin phrase "suum cuique tribuere" or "to each his own" is one of the three fundamental maxims of the law laid down by the Emperor Justinian. The peculiar interpretation of that phrase in Sciascia's native Sicily forms the emotional core of his brilliant "To Each His Own."

"To Each His Own" begins with a double-murder. A local pharmacist, Manno, receives a death threat in the mail, compiled with words and letters cut and pasted from a newspaper. The pharmacist laughs it off. He considers the letter to be a joke and although these threats are usually taken seriously in his town, Manno leads a blameless life and simply cannot believe anyone intends him harm. So he goes off hunting the next day with his friend Dr. Roscio and, without further ado, both Manno and Roscio are shot dead in the woods.

A police investigation follows but it is doomed to go nowhere. Sciascia paints a very explicit portrait of a society in which everyone knows (or suspects) everything but says nothing, certainly not to the local police. The general consensus (on the surface) seems to be that Manno was killed by a jealous husband and Roscio was an innocent bystander. The matter would have ended there but for the curious intercession of Professor Laurana. Laurana is a history and Italian teacher at the local liceo (high school). He walks into the pharmacy where the police are reading the anonymous letter and quickly spots a clue. The police dismiss his information out of hand. Laurana, however, driven by what appears to be no more than a desire to solve a puzzle, decides to follow up on the clue. In short order he seems to have solved the mystery. Laurana is oblivious to the fact that his musings on the crime pose more of a threat to the murderers than a typical local police investigation. Events play out to their natural conclusion, and in Sciascia's Sicily natural conclusions are not quite so neat and tidy as say in Agatha Christie's parlor room England.

The enjoyment to be found in reading "To Each His Own" is not the mystery itself. The fact of the matter is that, for Sciascia, solving a mystery doesn't require great insight. Rather, it simply requires a willingness to actually see that which is self-evident. As blind as Laurana may be to the danger he puts himself in, he can see well enough to understand why Manno and Roscio were murdered and who murdered them. Laurana's problem is not that he knows more than anyone else in town, Sciascia makes it clear that the actual events do not seem a surprise to anyone. No, Laurana's problem is that unlike everyone else in town, he doesn't bother to hide his knowledge.

Sciascia's writing is both precise and enjoyable. He seems to have a keen eye and affection for his native place, but that affection does not diminish, but likely enhances, the despair he feels for a culture in which silence is golden and in which "to each his own" does not bring to mind Roman traditions of equity but, rather, the critical importance of minding ones own business. "To Each His Own" is a cynical, but highly-entertaining piece or work.

Highly recommended. L. Fleisig

Having read "To Each His Own" (or rather, "Il ciascuno il suo") twice, once in Italian and once in English, I find that each time I found new interesting nuances.

Rich, ambiguous characters fill the novel and leaves one wondering who is considered intelligent and who is considered an idiot in Sicilian terms. It also leaves one wondering what exactly is the crime: the killer or the one that deems himself the investigator? Is it the one who deals in politics or the one breaking the law of "omerta"?The novel explores the mafiosi as an institution, as a family, what it is in the government, the church, the peasant village.

Sciascia's novel is a page-turner for both those who want an easy read detective thriller and also for those wanting to dig deeper into the story's message.

Mr. Yagoda presents the results of his exhaustive research with clarity and style. It's a compelling story and makes a great companion to the Kunkel books on Ross. I particularly enjoyed learning more about Shawn and the Shawn years at the NYer, since many of my favorite writers were nurtured under his watch. The best one-book history of the NYer I know of.

Disclaimer: I love The New Yorker. I have been a dedicated subscriber for ten years (and I am only twenty-six), and I read the magazine for years before subscribing under my own name.

Given my disclaimer, perhaps my five-star rating is self-evident. But not necessarily: As a lover of the magazine, I approached this text skeptically. I was interested in an unbiased review, yes, but likely I would have been wounded by a wholeheartedly negative portrayal.

Yagoda loves TNY even more than I do, if that's possible, yet he truthfully approaches his biography of the magazine. The ugliest facts are laid bare, but in a sympathetic whole.

TNY writers, editors, and staff members are lovingly recreated; Yagoda writes so well that I felt I knew these people, I understood these people, and I physically missed them after turning the last page. Like others who have reviewed this book, I wanted more--more, more, more. I felt astonished and sad to have finished the book. Were it a novel, I'd beg for a sequel, even knowing that sequels rarely live up to the original. Even a second-best second-tome would be better than missing the people and the institution that this book brings to life.

Admittedly, TNY readers will love this book vastly more than those unacquainted with its pages. However, if you are even beginning to approach the magazine, you must read this book. You will understand the weekly journal better than you do now, and you will appreciate it far more. I certainly do.

Bravo, Yagoda!

There are at least two ways to view Ben Yagoda's book ABOUT TOWN: 1) as the history of The New Yorker Magazine, how it was conceived and developed and changed over time, and 2) as a social document reflecting its times. The subtitle of the book "and the World it Made" does not seem quite as accurate unless one considers that "world" to be the corporate culture created by the staff led by Ross and Shawn, the two longtime editors who built the magazine. The New Yorker certainly has influenced the world within which it existed along with many other magazines.

Harold Ross, the founder and first editor of the magazine, with the help of Katherine and E.B.White, Thurber, Dorothy Parker, and many other fine editors and writers launched the magazine in the 1920s. The sophisticated and literary focus of the magazine soon captured the fancy of New Yorkers. During the hard days of the depression the magazine actually gained subscribers as readers enjoyed the humorous repartee and cartoons that helped them laugh at their troubles. Many new readers learned of the magazine during WWII as it was handed around the barracks. The GI bill produced many educated readers who remembering their wartime contact with the magazine now subscibed to it. Following WWII, the magazine included more and more "social conscience" articles, for example, John Hershey's essay on "Hiroshima."

Ross died in the early 1950s, and during the fifties under the editorship of William Shawn, the magazine became relatively banal according to Yagoda who says it appealed to stay-at-home wives who enjoyed articles that reminded them of their college days (among other pieces, Mary McCarthy's tales of her Italian travels were featured). In the 1960s, the magazine once again became more vocal about social issues and the environment.

Yagoda says the best years of the magazine came in the 1970s when writers like Woody Allen wrote wonderful wacky pieces and investigative journalists covered the scandals in
Washington. Following a downturn in subscriptions in 1980s, the magazine was purchased by a media mogul and William Shawn departed. With Tina Brown's arrival, the magazine metamorphed into a Conde Nast publication. Garrison Keillor's comments about Brown's arrival (as he left) are amusing.

Over the years, I have read John Updike, Alice Munro, Jamaica Kincaid, Katherine White, and many of the writers who once wrote for the New Yorker. When I was a child, my mother used to quote Dorothy Parker regularly ("Rivers are damp..."), but I had no idea Parker wrote for The New Yorker until years later (we lived in a rural area and subscribed to the Progressive Farmer!!). When I read Rachel Carson's SILENT SPRING, it changed my life, but I read it in book form when it was first published as a Book of the Month Club selection. I only became aware of The New Yorker magazine when I was in my thirties and a college writing instructor suggested it. Yagoda says many people discovered the magazine when they were students.

As a social document, The New Yorker articles very much reflect the times, and to some extent, at least under Ross, the magazine seemed to be ahead of the times. In reading this book, I was reminded of National Public Radio, which seems to be the main innovator in broadcast journalism these days--though I am told there are all sorts of happenings on the Internet. The in-depth news stories, the essays by various knowledgeable citizens, the political commentaries and Garrison Keilor are all comparable to The New Yorker magazine.

If you are interested in a snapshot of the 20th Century from an educated New Yorker magazine perspective, or in writing and magazine development in general, you will find much of interest in this book. The tales concerning the origins of many innovative features of the magazine are quite good.

Yagoda suggests the magazine pretty much ended with Shawn's departure in the late 1980s. He devotes eight pages at the end of the book to the three editors who followed Shawn. He says the median age of the readership grows older every year (not replacing subscribers) and most of current readership as such is owing to the retention of loyal readers. He quotes some of these readers who no longer actually read the magazine but have not given up their subscriptions. His book goes a long way toward explaining to me why I dropped my subscription a few years ago.

There are two types of writers: those who aspire, no, dream of being published in the "New Yorker", and those who, after several rejections, bitterly deride the very institution they hoped to conquer. I am solidly of the first camp, though give it a few years and I might be a latter-day grouch.

The work of Ben Yagoda brings the magazine alive, from the heyday of such luminaries as Thurber and White to the tough war years, right up through the Shawn era and even right up to (for 1999) the present. Through it all, Yagoda examines the many lives who devoted themselves to this literary exercise in humor and good faith. The most compelling character studies, however, are the two main editors throughout the magazine's history, Harold Ross and William Shawn.

Ross, who founded the magazine in 1925 and managed it through its first twenty-six years, comes across as a gruff, thoroughly Western man who nonetheless saw the need for a magazine like "The New Yorker", and brought it to being through sheer will and fortitude. He also happened to publish significant works by James Thurber, E.B. White, and J.D. Salinger among others. Shawn, taking the reins after Ross's death in 1951, saw the magazine through 30+ years of challange and triumph, only to be forced out in 1987. Throughout the book, Yagoda makes these men the central focus of his tale, but he includes brief looks at literary and other lights of the twentieth century, some who did get published (like Donald Barthleme, Veronica Geng, and John Updike) and some who didn't (Tom Wolfe, whose scandelous expose on the magazine shook it out of its fuddiness).

Overall, the book looks fondly back at the magazine's past, with a hint that it might never reach the same heights of importance it once had. That may very well be, but there's still something to be said for a magazine that is such an institution no one could imagine starting a writing career without considering the possibility of submitting to it.

"The New Yorker" is still the premier magazine in America, and this book explains why, after almost a century, it still carries the weight it does.

"About Town", by Ben Yagoda chronicles the majority of the 80+ years, "The New Yorker", has been contributing its unique journalistic culture to everyone, including, "The old lady in Debuque". Mr. Yagoda's book stands out from many books that have been offered to readers about the magazine for while he certainly is aware of the contributions the magazine has made for over 8 decades; he does not seem to be in awe of it or the people to the point it affects his writing. He clearly admires the magazine, but this does not stop his including a wealth of information that documents the eccentric personalities that shaped the magazine. Some may not find the notes flattering, but he objectively shows some of the magazines famous quirks without committing the blasphemy of a young Thomas Wolfe.

The list of writers who either became major or occasional contributors, reads like an amalgam of winners of the highest literary awards that have been offered. The list of those names repeatedly rejected expands the list even further. The book contains dozens of examples of the famous rejection letters that often are almost apologetic about turning down a piece of work while always writing in the first person plural. Having a piece selected by, "The New Yorker", was often considered the ultimate indicator that a new writer had arrived, that he or she had entered the pantheon of the magazine's literary legends. This was true even if the work accepted for publication may not have appeared for months, or even several years. The reception of the envelope stating a writer's work had been admitted was all many authors needed to have their work given unique value and cachet, publication was a bonus.

Mr. Yagoda also spends a good amount of his book on the cartoons, their artists, and the painful process that started with an idea only to have to run a gauntlet to be published. As hard as this path may have been, the scrutinizing that a written piece received is almost beyond imagining. It is understandable that first time contributors would have their worked scoured and polished, but when some of the 20th Century's finest writers nearly drew blood over commas the action within the building must have been spectacular. There is a story of one writer who sat outside the editor's office for almost 5 hours over the issue of a single comma. This World War I trench warfare standoff continued until the early hours of the next morning. The editor capitulated, but noted to the writer, "you are still wrong".

The story of this fascinating magazine could fill many volumes. If your starting place for gathering an overview of this institution, its editors, staff and writers, is this book, you will have chosen very well. Mr. Yagoda has written a great tribute to those he has chronicled.

Due to ever degrading literary taste of our post-war generation, Stefan Zweig has been forgotten for few decades,in spite of the fact that the first half of the 20th century , Zweig was perhaps one of the most famous and popular authors in the world. He and compatriot Hugo von Hofmannsthal had almost pararell lives.They were both some sort of literary prodigies(Hofmannsthal and Zweig earned their fame in their teens).They began their literary careers as poets and ended up writing various kind of literary genres,including libretto for Strauss. Also both ended up committing suicide. Zweig wrote many memorable fictions ,but only one novel.And, this is "Beware of Pity".
The novel is a kaleidoscope of the Habsburg dual monarchy.Zweig's talent lays on his superb description of human psyche of each characters and representation of comtemporary time. this work well represents decaying , both morally and physically , Habsburg dual monarchy. It shows how anarchoronistic system of mores( of K.u.K) that led otherwise good natured and a bit simple minded Leutenant Hoffmiler conered to the desperate situation. Does Hoffmiler deserve his fate? read book and decide that by yourself. what amazed me was how well Zweig synchronized and symbolized tragic denoument of kekeskalva family with the outbreak of" the war to end all wars". This is both pcychological and historical drama par excellence.One of forgotten masterpiece that recently rediscovered. Thank you NYRB to bring Zweig back.

This is an intense, psychological drama, and a page-turner to boot! What's so great is the wonderful language, the "lofty" writing. I just loved every page, and our poor, tortured hero.

It's a fabulously written book about love instigated by pitty, which can be very dangerous. Worth reading as this kind of thing still happens every day.

...no, not the book by Dave Eggers, but this masterpiece by Stefan Zweig. I came upon this by accident, and bought it, intrigued by the story outline and the reviews below. Only very, very rarely does a book have the power to draw me into the lives of the characters, probably because they're usually just that - characters. Not so here. Here we have flesh and blood and all that entails. I'm still amazed at Zweig's story telling. He's the kind of writer who could make a shopping list fascinating. I lived and breathed every single word in this incredibly beautiful book, and, as has been said elsewhere, the tension becomes almost unendurable. I can hardly do justice to it in a few words. Weirdly, I often found myself smiling, not because it's a funny book, far from it, but just through an appreciation of Zweig's supreme mastery of his art. This is one of those books appearing only a few times in your life that wring emotion out of you whether you like it or not. A heart-breaking, unforgettable and life-enriching experience.

I'd also like to praise the translation, by Trevor and Phyllis Blewitt. At no time is there even a hint that you're reading a translation - something that occurred to me only after finishing the book. On the contrary, it seems to me that the elegance of the language and all the magnificent virtues that contribute to Zweig's humanity and genius have been faithfully rendered. The proof is in my twin disappointments; coming to the end, and learning that there are no further full-length novels by Zweig. I'll definitely be reading all his other works, though.

In the introduction to this book Joan Acocella tells Zweig's story as a writer. One of her claims is that despite his enormous popularity as biographer, essayist, writer of great novellas and stories, this novel is his masterpience. The novel is in essence the story of a feeling, of 'pity' of how it becoming the obsession and duty of the main character turns self- serving and destructive. Briefly , the book revolves around the relationship between a poor Austrian officer Hoffstein and a crippled seventeen year old daughter of a wealthy family Edith Kekesfalvas. After he has inadvertently insulted her by having asked her to dance he becomes bound into a relationship with her, in which she falls deeply in love with him without his truly reciprocating. This is how Acocella reads the protagonist's reasoning and its result after her doctor informs him that it would be disastrous for him to abandon her.

"So he descends ever deeper into hypocrisy. In the process, Zweig gives us a piercing analysis of the motives underlying pity. Gradually Hofmiller realizes how much he enjoys the courtesies paid to him for his emotional services, how it pleases him that when he arrives at the Schloss his favorite cigarettes--and also the novel (its pages already cut) that he had said in passing that he wanted to read--are laid out on the tea table. Nor is it lost on him that his own sense of strength is magnified by Edith's weakness and, above all, by his growing power over the Kekesfalvas, the fact that if he, a poor soldier, does not present himself at teatime, this great, rich household is thrown into a panic, and the chauffeur is dispatched to town to spy him out and see what he is doing in preference to waiting on Edith. Beyond the matter of power, however, Hofmiller finds that the emotion of pity is a pleasure just in itself. It exalts him, takes him to a new place. Before, as an officer, he was required only to obey orders and be a good fellow. Now he is a moral being, a soul."

This end in destruction is somehow a foreshadowing of what would happen to Zweig.Having been betrayed with the rise of the Nazis by the Europe he loves, tried to make a new home and life with his second wife in Brazil. But it does not work out and the both of them are found after having taken fatal overdoes of drugs hands intertwined.

I have not even finished reading this book yet, but I am blown away by the extraordinary story this man has to tell, and told with such heart. This is a major contribution to the history of 9/11.

Excellent read. Heartbreaking at times, but well written of the trials and
tribulations of the Ground Zero Recovery mission
This book honors the months day after day the recovery workers devoted to trying to find bodies. Some of the rescue workers suffered emotionally and physically, yet others kept going to the end.
I recommend highly

It was an incredible and accurate account of the heroics and emotions involved in the months of recovery at ground zero. A must read.

This is the story that needed to be told of the many courageous, heroic men and women involved in this search and recovery effort. It is also the story of the courageous, heroic families who lived through this effort with their loved ones. It is a must read.

So often we wonder what happens after all of the media coverage ends and life goes on for everyone else - this book opened by eyes to all that went on "after". It really is a tribute to all those that worked on the clean up of the World Trade towers. It was more than just a job - it was an opportunity to bring home more of those lost on that terrible day.

If you really want to know the history of Coney, this book is a must. I grew up in Brighton Beach during the 50s, and this book was a wonderful read.

The Terra and Belgenio patriarchs arrived in Coney Island at the turn of the 20 th centuty--legend has it that they got on a train and got off at the last stop--Stillwell Ave. This wonderful book put me in touch with them and my parents who lived and died on 15 th and 17 Streets between Mermaid & Neptune Aves. up until the mid 70's. My grandfather Anthony Terra sold ice in the summer and coal in the winter while his wife Maria ran a fruit & vegetable store and raised 6 children--one of whom was my father George, who knew everybody and everybody knew him. This book --the narrative and photos--ignited so many memories for me that I cannot read it without shedding some tears --as I am doing now. Buy the book--you'll love it! Dr Anthony Terra

This is the best book I've ever read on the history Coney Island and I've read every one I could find. It is extremely well researched and written, has incredible photographs and graphics, and a personal story that's moving and deeply felt.

Like many of the other reviewers of this book I grew up in the Coney Island area (Brighton First Street). Coney Island has an almost magical draw for me, so much so that I recently completed writing and illustrating a novel called, "Coney Island Book of the Dead" that takes place in 1956. Charles Denson's book proved to be an invaluable source of facts, lore, and pictures, but, even more importantly, of inspiration. If my novel ever gets published (I'm looking for an agent as of 6/08/07) I hope all of you coneyislandaphiles read it.

Also, you might also be interested in a new book by Charles Denson called "Wild Ride! A Coney Island Roller Coaster Family." I just ordered it.

I actually got a copy of this book from my grandfather -- who was featured in the book. I enjoyed this book so much that I have since bought this book for every friend and relative who has moved out of state. This is a great gift for any occassion... for any Brooklynite.

Like many of the other reviewers, I'm a Coney Island native. Unlike them, I grew in Trump Village, located on the border between Coney and Brighton. Growing up in the 1970's and 80's, central Coney was always a bad neighborhood and I'd only heard vague stories about how great it used to be. While I have since read books and seen documentaries about Coney, Denson's book goes even deeper, especially with his wonderful use of oral history.

I had always been told that before Trump Village and Warbasse, there used to be nothing but empty land in that area. Thanks to this book, I have finally learned the truth, that there used to be a vital, functioning and even happy lower and middle income neighborhood called the Gut, before Fred Trump, Robert Moses and other developers and politicians came along and destroyed all that. Despite it's unfortunate beginnings, Trump still ended up being a decent, affordable place for many middle class Jews and Russian immigrants to live, thanks to this book, I'll always see the ghosts of the homes, theaters and people who came before everytime I go home.

For anyone who is interested in Coney Island or the rise and fall of a city neighborhood, this book is most definitely recommended. And if you grew up in or even near Coney, this book is a must-read.

Rest in peace Dondi, your art will never die! If you liked Subway Art and Spraycan Art then grab yourself of a copy of this absolute gem as Dondi was truly up there with the likes of Seen etc and my favorite Dondi piece still has to be the children of the grave. Buy this as in a few years when it's harder to get your gonna regret it and probably pay a lot of dollar.

i grew up in brooklyn in the 70s and was witness to much of what is shown in this book. there are dozens of train photos from all phases of dondis subway days which i spent much time looking at. what really fascinates me though are the hidden things in these photos. anybody pick up on the iz the wiz throwups in the top photo of page 26. how about the le throwup in the top photo of page 57 or the blade tags inside the windows of the photo on pages 71/72? ever wonder what are those pieces faded beneath so much of dondis work? the birth of graffiti book out recently showed the very beginnings of the graff movement in nyc, but there seems to be a lack of photo/written history of the stuff from that time till the late seventies. i wonder how many people know how cool it is to just sit, relax and look at something like this that you've admired for so long without having to run down a train platform and try and commit to memory the amazing blur that just went by. the interview with dondi was very insightful and actually gave me a renewed appreciation for his work. the book itself is medium sized, hardcover and the paper is of excellent quality. i would love to see more books like this on other just as prominent writers. blade, lee, seen etc.

this is one great book,very well detailed from dondis underground train bombing days plus his days when he was hitting up art gallerys and it even tells you about dondi b4 he was even a writer.plenty of great pics plus lots of top reading too.one of the better graff books.

What can I say an excellent book from an excellent artist, I am sure Dondi and others form the late 70's to early 80's movement in NYC never would have thought that their creations and inovations would become such a world wide hit and change cities across the world. From my early days as a youngster starting out in Graff in 1985 to now as a somewhat maturer but always youthful graff lover I can definately say that this book was like turning back the clock, and boy was I shocked to hear that he was never caught, "I just wish I could say that"!. A well documented and presented book but sad he is'nt here still to have written it himself "RIP DONDI"

This is one of the must-have books if you dig graffities! It features lots of beautiful photos, sketches and actual pages from the Dondi's own black book. Hardcover with slipcover gives a good value for money!

These stories set in Mr. Parkhill's classroom at the American Night Preparatory School for Adults ("English -- Americanization -- Civics -- Preparation for Naturalization") are wonderfully humorous and warm. They reflect a generous humanity and a keen ear for language in author Leo Rosten (1908-1997), who first wrote the stories for The New Yorker using the pen name Leonard Q. Ross.

When Rosten wrote the stories in the 1930s, the debate that had roiled American society over the high levels of immigration at the beginning of the century had ended with passage of the restrictive Johnson-Reed Immigration Act of 1924. Readers of The New Yorker could well remember the rancor and the stereotyping of the debate.

Rosten countered the prejudice against immigrants by portraying Mr. Parkhill's students, drawn from several national and ethnic groups, as earnest learners eager to know about and join American society by first learning the English language.

When people from different cultures meet, there are bound to be some collisions. A dark side take on those meetings is the ethnic joke. The bright side is this book, finding humor in the encounters that all can smile at.

I read The Education of H*Y*M*A*N K*A*P*L*A*N as a teenager in the early 1960s. Though I do not recall negative attitudes about immigration in my family, school, or suburban New Jersey neighborhood in that decade, the book surely shaped my attitudes and feelings about immigrants and immigration in a positive way. Hyman Kaplan taught me immigrants make America a better and richer society.

Each time I look through the book now, I worry whether Rosten crossed any of our modern "PC" redlines that would cause it to be crossed off reading lists. The book's humor ("comic dialect" is the scholar's term) depends on the rendering of accents, not much used at present. I found one use of the N-word (misspelled, in accent, not in anger) by a student character. On the whole, however, the book stands up well.

I give copies of this book to friends who are ESL (English as a Second Language) teachers. Leo Rosten's own nights as an ESL teacher, while he was working on his Ph.D., gave him the inspiration for the stories.

The shape of our nation's immigration policy is certainly a licit issue for debate and disagreement. Current immigration has some different countours than in the 1930s. Some voices, however, get carried away and tip over into negative stereotyping. They should take a break, have a cup of coffee, read this book, and meet Mr. Kaplan.

-30-

Think you can read an uproariously funny book without laughing out loud? Think again. Adventures of an English-as-a-second-language class for new immigrants in 1950's America.

Having just begun teaching English As A Second Language to a group of Asian adults, a relative thought I might enjoy "The Education of Hyman Kaplan". The novel takes place entirely at the American Night Preparatory School for Adults. There under the tutelage of Mr. Parkhill, Hyman Kaplan, Miss Mitnick, Miss Caravello, Mrs. Moskowitz and an assortment of Jewish and Italian immigrants struggle with the complexities of the English language, anxious to master the language and learn about the history and culture of their newly adopted home. The irrepressible Mr. Kaplan takes center stage in the classroom with his singular logic in using the English language. Abraham Lincoln becomes Abram Lincohen, King George III of England is an autocrap, and Valley Forge becomes Velly Fudges. Kaplan conjugates the tense to die as "die, dead, funeral", and when talking of the contents of a newpaper he can't understand why he must say "it said", instead of "he said", since the paper is decidedly of the masculine gender. It's the Harold Tribune after all. This is a hilarious yet touching book. We are never laughing at Hyman Kaplan's linguistic foibles but with him, as we appreciate the struggles of all immigrants, those seventy years ago, or those today to come to terms with becoming Americans and learning the language that binds us together.

As a new ESL teacher, my husband thought I'd enjoy this book. H*Y*M*A*N K*A*P*L*A*N* is an irrepressible immigrant to the US, struggling to master English, but that doesn't stop him from communicating at every opportunity. Waves of malapropisms spoken with a thick Eastern European accent don't get in the way of his enthusiasm. Set in the 30's, this is a world where teachers and students are Mr., Mrs. and Miss, immigrants worked in garment factories, and all still believe in the American Dream. Even Mr. Parkhill, the god-like teacher, can't help but be infected by Mr. Kaplan's unique interpretations of the great works of English literature--the Shakespeare story was a classic. Definitely dated, certainly politically incorrect, these stories hail from a simpler, but maybe tougher time--Leo Rosten originally wrote under the name Leonard Ross. A lovely little collection of stories!

This book, along with its sequel, "The Return of H*y*m*a*n K*a*p*l*a*n," (and don't be fooled, those stars are important) is a beautiful work and one that I'm surprised hasn't been rediscovered by critics and readers alike. Originally published as a series of stories in a magazine, these stories were finally collected into book form and later combined with its sequel in a grand form called O, K*a*p*l*a*n, My K*a*p*l*a*n (which is now out-of-print, but worth reading if you find it in a library or rare book store, since it was edited and improved by the author, with new characters and stories).

The stories all revolve around a group of immigrant adults attending the American Night Preparatory School for Adults in New York City in the 1930s. Under the tutelage of the fastidious, but patient and kind, Mr. Parkhill, the book chronicles their challenges in learning the English language. This is in and of itself a masterpiece: Leo Rosten (who had to publish the stories under a pseudonym since he wrote them while living off a fellowship and did not want to let his professors know that he was working on totally unrelated research) has found humor in GRAMMAR!! He not only shows how difficult English is to master, but how irrational and arbitrary the grammatical rules are that we all, as students, desperately try to commit to memory. Moreover, he writes with an expert ear, hearing the subtle differences in the accents and common foibles of English speakers from various language backgrounds. The fact that these passages are life-out-loud funny (and not at all in the sense of laughing at any character's mistakes but at the English language itself for torturing non-native speakers so) is astounding enough.

But this is the story, however, of a true comic hero - Hyman Kaplan. Leo Rosten has created a character as complex and poignant as Shakespeare's Falstaff, or John Kennedy Toole's Ignatius J. Reilly. Hyman Kaplan is a force of nature, yet distinctly human -- irrascible, dogmatic, determined and yet sensitive, noble and joyous. He is a man who refuses to kow-tow to the rules and guidelines of the English language and who truly relishes the joys of wrestling with learning. Since his exuberance leads him into constant conflict with his fellow students, his character is one of the greatest literary devices ever devised by an author. The stars emblazoned in red, green and blue crayon that are part of his signature, only serve as the ultimate monogram, defining this character as one worthy of the ages.

While this book is about efforts by foreigners to assimilate as Americans, it also highlights the glories of America's immigrant, melting-pot past -- a heritage and tradition that is sadly rapidly being forgotten and lost in this modern globalized world. Moreover, with the advent of the politically correct era of hypersensitivity, it is likely that this book will never experience a renaissance of popular support that it richly deserves. This is a true treasure -- I discovered it as a teenager and have often enjoyed returning many times to visit with these charming, inspiring characters. I cannot recommend it enough!

I purchased this book as a gift for a friend who is a New Yorker and loves to know everything about the city he loves. He was thrilled with the book, as he'd been reading it already whenever he visited his brother, and said he can never put it down once he picks it up. Covers everything there is to know about NYC. I can't speak for myself, having not read it personally, but the hard core New Yorkers at the table when I gave it as a gift all swore by it!

Wonderful book. Full of tidbits of information about NY. Some I knew already and some were eye-openers! I recommend it to anyone with a thirst for knowledge.

This is a very entertaining book. Good for a coffee table type book.

If there was anything you ever wanted to know about NYC but couldn't find the answer, this book will have it. What an amazing treasure trove of history, information and trivia. This book should be in every library in America.

Looking for very old maps of the Big City, the Mayoral and Presidential elections, Capsules of about every neighborhood in all 5 boroughs, histories of Broadway, Wall Street, MidTown, Columbia and NYU, the New School, and every other educational institution. Music from Classical to Jazz to Pop to Rock (but there is no listing for Sinatra! I think there should be.)How about the incredible skyscapers, docks, restaurants, clubs. And all this goes back to 1624, when the Dutch first settled. And sections on about every leading NYC personality ever. (though for some reason Mantle and Dimaggio are not listed separately, amoung many other famous NYC sports stars ). Even though the book is 10 years old, it is about as timeless as you can get, even with my very few small quibles mentioned!

First-person tales from the likes of Herman Badillo and Jimmy Breslin recall life here a half-century ago.

THE CITY HEARD

Words can conjure up places and times as vividly as pictures do, especially when people are speaking from the heart, fueled by intimate experiences and affectionate memories of a place.

It Happened In Manhattan stitches together anecdotes and recollections told by a disparate group of Manhattanites - from writers and architects to rabbis and restaurateurs - all steeped in the spirit of the city where they live and work.

Stretching from the close of World War II through the psychedelic 60s and beyond, the subjects of the recollections are equally diverse. Many of the chapter headings come from songs - "East Side/West Side," "Puttin' on the Ritz" - reflecting the writers' wish to celebrate their city as enjoyably as generations of entertainers have. They also note its dark and somber sides.

Imaginatively chosen photos round out the portrait capturing nostalgic moments or illustrating stories told on adjoining pages. Flipping through the book is like riding a time machine to one of New York's energetic eras.

Myrna Katz and Harvey Frommer's It Happened in Manhattan ... is an encyclopedic oral and visual memoir of life in New York from the end of World War II to the fiscal-stricken era of the mid-1970s. The Third Avenue El, Ebbets Field, the Automats, the Chelsea Hotel, the Fillmore East, and the pre-AIDS clubs of the swinging gay '70s can all be found here, along with accounts of the rise of abstract expressionist and pop art and Norman Mailer's mayoral race. This book captures a New York in transition, accelerating through the cultural changes of the 1950s and '60s from the world of Joseph Mitchell to the world of Tom Wolfe.

It Happened in Manhattan probably is the anti-book for unreformed New York haters. It revels in the story of Manhattan, a 22-square-mile borough in the city during the mid-20th century.
Interviews with more than 60 current and former residents of Manhattan tell a rich story of city life in the post-war era. The prologue, a monologue by Sid Bernstein, the music promoter who arranged the first Beatles's appearance in America, is wonderful.
"I'm still a tourist in the city I was born and raised in," says Bernstein. "I'm a walker of the city streets." Bernstein wanders and explores by his own north star: his sense of smell. "If I walk by a place and an aroma greets me, I go there."
There are plenty of food stories in It Happened in Manhattan. There is a lot more, of course. Sections deal with memories of growing up in Manhattan, of starting careers in finance and fashion, of finding sanctuaries in churches or museums. There are memories of restaurants, nightclubs, department stores, eateries, celebrities. People remember when they cleaned out a section of a restaurant for Frank Sinatra's posse, the early days of Bette Middler, described as colorful as a "Jewish parrot."
Tin Pan Alley, the Guggenheim Museum, Yiddish Theater, Walter Winchell, Harlem, Greenwich Village, escapees from the Hollywood blacklist - they're all in here, not in formal history, but in the memories of people who knew them.
Perhaps Manhattan expatriates will enjoy It Happened in Manhattan most, as there really is a lot of nostalgia in a book like this, but others can find many pleasures.
After all, even if we never go to New York, part of it come to us. It's that big a town.

Manhattan is a narrow island, only 22 square miles, but its history is much bigger. It Happened in Manhattan is an album of vintage photos and first-person reminiscences that form mid-century Manhattan. Ranging from the early post-World War II years to the mid-1970s, the book is an oral history constructed from dozens of interviews with New York luminaries such as Jimmy Breslin, Elaine Kaufman, Alan Greenberg, and Pauline Trigère, as well as everyday people like Rabbi Dan Alder, teacher Linda Kleinschmidt, and drugstore owner Joel Eichel. With chapters like "If I Can Make It Here..." about emerging celebrities, "Sanctuaries in the City" concerning religious communities, and "Politics As Usual," It Happened in Manhattan evokes an era when Checker cabs still passed down a two-way Fifth Avenue, when 11 daily newspapers covered the city beat, and when young women attended their Katharine Gibbs continuing education classes in hats and white gloves. Their reminiscences and perceptions are woven into a narrative that describes how New York became an international center in the wake of victory in the Second World War, and how the city was affected by new immigrants from Europe fleeing fascism and immigrants from the Latin America seeking opportunity. This was an era when soaring real-estate values led to the tearing down of whole neighborhoods, and when community activists rallied to save many architectural treasures. It Happened in Manhattan illustrates with personal details and anecdotes the passing of the Manhattan of the Industrial Age, how the city government almost went bankrupt, and how New York City survived and continues as a financial, political and cultural center of the nation. Father Peter Colapietro, pastor of Holy Cross Church on 42nd Street, offers his recollections:

As a kid, I always saw Sixth Avenue as the dividing line between the East and West Side. The East Side was Rock Center and St. Patrick's Cathedral; the West Side was the stuff on 42nd Street. It was like you needed a passport to go from one to another... Even though Manhattan was only a fifteen-cent ride away from where I lived in the Bronx, it was a whole new world. I felt I had to dress up to go down there. I couldn't wear jeans and a polo shirt. I was an eleven- or twelve-year-old, I knew what Playboy magazine was, but when I went into some of these stores on 42nd Street - wow! Ten or twelve of us used to come down to Herman's Flea Circus. It had an arcade with pinball machines, magic shows, and a famous Flea Circus. We would go to Rockefeller Center and see as many television shows as we could get into, getting there early to be first on line for shows like The Price Is Right, The Match Game, and Truth or Consequence. A warm-up person like Johnny Olson would ask the audience, "Anybody out there celebrating a birthday? anniversary? parole? We got to know the routine. Once my kid brother and I got a pair of handcuffs. When Johnny Olson got to "Anybody celebrating parole?" we raised our hands handcuffed to each other.

Finally this Australian children's classic is becoming available to Americans. I first read it 60 years ago and it has never lost its unusual charm. I read it to my children, enjoying together its wonderful illustrations by author-artist Norman Lindsey and its whimsical poem-songs: "It's worse than weevils, worse than warts/ Worse than corns to bear/ It's worse than having several quarts of treacle in your hair." My grandchildren are now enjoying the books (I had to order copies from Australia, and consider it wonderful that children today can more easily obtain the book). I consider it a classic of the first order--one of the greatest children's stories of all time.

Big tough talking penguins and talking never ending desserts, what more could you want? Ok, that, but this is a kids book, and one you should get if you have some (kids, that is, not talking penguins and puddings). There are the good guys, and there are the bad guys. Both are hungry, but the bad guys want to put out tasty pudding friend to nefarious ends, while the good guys just want enough dessert. Needless to say, the pudding is cantankerous.

Honestly, I'm no read-aloud wimp! And my kids are usually up for anything. They giggled like mad at the pompous puns of Mr. H.M. Wogglebug T.E. in the Oz books, and urged on my faux-Yorkshire accent in the Secret Garden. The century-old Australian slang and endless sea shanties of the Magic Pudding, though, just about did us in. It really is a magnificent flight of fancy, but there were just too many incomprehensible sentences to paraphrase and longggg songs to make up tunes for. Save this for when you're at your most daring and energetic, read-aloud parents!

The Magic Pudding is a fun-and-nonsense tale that has become my nine-year-old son's favorite book. It deserves to be published in the US so that American children can enjoy what has become a classic in Australian children's literature. If you enjoy Roald Dahl's books, "The Phantom Tollbooth," and "Alice in Wonderland" you'll enjoy this.

This book is part of the wonderful new series of republished children's books from the New York Review of Books. Over 80 years old, "The Magic Pudding" describes the adventures of a koala bear, named Bunyip Bluegum - the kind of koala who wears a high collar and spats - who falls in with a crazy cowboy sort of fellow named Bill Barnacle and a penguin named Sam Sawnoff.

Bill and Sam are possessed of a magic pudding (named Albert, if you can believe this), who regenerates every time you take a bite of him and changes into whatever flavor you like. Albert the pudding is much coveted by two evil villains who are constantly tricking our Heroes into giving up the Pudding, whereupon they must go and re-re-re-rescue it.

The characters and style are very reminiscent of "Alice in Wonderland," with Bunyip seeming a little White-rabbitish to me, and Bill and Sam sort of Mad Hatter and Dormouse-y. The effect is somewhere in between "Alice" and an old Loony Tunes in which Bugs Bunny constantly bewilders Elmer Fudd.

The whole narrative is punctuated with many whimsical song lyrics, like the poetry in Carroll's book. The lyrics make it a great read-aloud for the younger set, although older kids might be a bit puzzled by its style. However, everyone will be charmed by the Pudding himself and want one of their very own.