California Books

I had contacted the author prior to buying the book - to use any pictures needed for my archaeology report on a site I was working. I couldn't believe the treasure I found inside. Those pictures allowed me to continue my research direction & I was able to reduce the age of my site from c.1900-1940 to c.1900-1927 & have the proof to back those dates up. I applaud Chris for this book & hope to obtain other copies for friends & associates, in the future.

I grew up near Huntiington Beach and remember the times of oil wells and derricks up and down the now-famous beach. If you drive around the town and look closely, you can still see a few derricks pumping away. What is most interesting to the reader, and should be most instructive to younger people, is the fact that Huntington Beach was part of the oil boom that attracted many, including J. Paul Getty, to southern California in the early years of the last century. Also, compared to other books in the same series, this volume has more "people shots." It's interesting especially to note what people wore in earlier times, even to the beach!

Huntington beach has changed and former residents and visitors can easly miss once popular landmarks. This book combines a pictorial history along with a collection of then and now photos. A nice book to have.

Having lived in and near Huntington Beach for the last 5 years, I found this book fascinating. Historically, you get a great perspective of what the city once was...and how it developed throughout the late 1900's. But what I found MOST interesting...was the before and after transformation. Walking the same streets the author had. Lining up the same shots at the same historical locations. Standing in the exact same spot that the pictures had been taken almost a century before. And seeing how this sleepy surfside town blossomed into the famous city we now know. I definitely recommend this book for anyone that lives in Huntington Beach. It's great reading...and great for exploring the sidewalks of HB.

Excellent pictorial history of "Surf City." We've lived here for years and never knew all that had gone on here. Incredible selection of rare historic photos, which we've always been on the lookout for. Well worth the price of admission.

Great reference, and the only of its kind. Sadly it is out of print though still readily available for an elevated price moast of the time. The only "substitute" is Dr. Hogue's other California Insects book for the whole state. If you see either cheap buy it and donate it to your local High School Biology teacher!

If you want to know more than just the names and habitat of Southern California insects, then this is the book for you. If the insect is non-native, what is its origin and when was it introduced? If it stings or bites, what does it feel like and does the toxin affect the nerves like a black widow or just dissolve the local tissue like a brown recluse? Do they jump or dart? Why is it always showing up in a certain room or part of the yard? "Insects of the Los Angeles Basin" will answer these questions. Read this book and become the lone rational mind in a roomful of hysterical screaming humans recoiling from the sight of one of these magnificent little creatures.

A magnificent book. Hogue details all of the more important insect species, and some the of the lesser known, as well. Did you know that L.A. is home to 3 species of fireflies? There are numerous photos, black and white, and color, along with several line drawings.

There are pictures of every insect (and spider) featured, and this makes it very useful in identifying the critters in the yard.

My wife knew I wanted this book as a reference guide to the insects in our house and yard, so she surprised me with it on our anniversary. It made a wonderful gift! When I'd seen it at the bookstore, I hadn't had time to do anything but skim the pages, and so I was pleasantly surprised to find it's actually a readable book. I never thought I'd read a book on insects cover to cover, but this one I finished in a few days (even the chapter on Ticks and Mites).

Most reference books -- you know, the North American Guide to Seashells or whatever -- are dense and hard to use, with keys and indices and all the pictures collected onto the fewest number of pages possible, to save printing costs. But this book has pictures or drawings of every insect listed, right next to its listing. And while it doesn't cover every insect of the LA basin -- no book could -- I've yet to find one that isn't in this book.

But what really sets this book apart is the writing. Charles Hogue was the entomology curator at the LA Natural History Museum until his death in 1992. Surely, he had hundreds or thousands of people bring in pictures or specimens, asking, What is this? And he's written a book for that type of people, those who would never study entomology, but would notice and wonder at some unusual bug.

As you wend your way through the chapters, Hogue anticipates what you might find interesting, what you might ask, and he's right there with some details or answers. He'll mention how Belkin's Chigger played a role in a murder investigation in Ventura County, or recount how Black Witch moth (with a wingspan of 6 to 7 inches) was common around the Coliseum during the 84 Olympics, even though you won't find its caterpillars in the basin.

It's fun reading about dragonflies and whatnot. It's fun learning that the daddy longlegs in your cupboard isn't a daddy longlegs at all, it's a cobweb spider. It's not so much fun reading about earwigs. But telling your friends that earwigs can fly, and that the tubular lawn furniture on their patio might be housing large populations of them? That's great fun.

After reading this book, I knew I had to get on Amazon and give it a five star review. How nice that so many other people beat me to it!

A friend of mine had this guide for NYC during a trip together and I loved it!
Before traveling to San Francisco I decided to get it as it is very easy to use and has everything you need!
I traveled by myself and I did get lost once but it was my own fault. With the attached compass is very easy to find your way, specially when the guide even has bus routes! By following the guide I was able to enjoy most major attractions in only 3 days!
It also comes with a pen and a light in case you find yourself in need of those. Great little (it's tiny!) book that I'll definitely look for everytime I travel.

I've purchased several Inside Out maps in the past, and finally picked up the San Francisco one. I'm a San Francisco resident, and know my way around this city fairly well, so didn't really need it. However, I find it is a timesaver. I keep it handy just in case friends from out of town visit, and I need to take them sight-seeing. Instead of having to think of places to go, I just lend them this guide, and let them pick their own destinations!

My only complaint would be that this guide doesn't do the city of San Francisco justice. There are just too many jewels to list!

I bought this book for my girlfriend for Christmas when she first mentioned that she wanted to go to San Francisco some day. She loved it. I did too. The quality is great - crisp white paper, eye-popping color in the photos and handy gadgets builtin to the book - a small but working compass is built into the spine of the book. A pen slide neatly down the inside. And, coolest of all, a tiny LED flashlight is built into the other end of the pen. We used every one of the features of this book in the 3 days we were there. When we got turned around in Chinatown, the little compass pointed us in the right direction. The pen came in handy for making lists of what we wanted to see. And the tiny flashlight was the most useful of all when I was taking some pictures of the Golden Gate after dark and couldn't see the settings on the camera. So cool!
Of course, who buys a guidebook for the free pen? You want pictures. They're here. You want maps - the book is published by The Map Group and the maps are as good as you'd expect. Probably the neatest thing is the origami folding job that fits a 8 inch by 12 inch map behind the cover of a book that fits in your back pocket. It's really wild to see it pop out at you when you tug on the corner.
I own a whole shelf of guidebooks and this one really stands out for the small size, paper and photo quality and the cool gadgets and maps. The content is good, plenty of ideas to browse looking for one that grabs you. Of course it is limited by the small size of the book so if you're looking for city history or a comprehensive list of attactions, you'll need to supplement with a larger companion guide. But take this one with you as you walk. You'll be happy you did.

I bought this pocket sized guide while visiting San Francisco for the first time and it has been the most helpful useful map i have ever used. The popout maps are convenient and easy to read and understand. The overall size of the book is perfect for my small pockets and I used the included pen to write out the details of a fabulous Chinese restaurant i found in the city, using the notepages in the back. The guide part of the book includes some interesting facts about the city as well as a selection of the most popular tourist sites and a selection of restaurants and buisnesses. I would say this is a must have for any city it is available for. Especially for people like me who have no sense of direction.

This guide is great. Now whenever we go somewhere, I look for the InsideOut Guide for that city. The suggested itineraries and restaurant recommendations were right on target. The maps are easy to read and nice and small. The whole book fit in my smallest purse - so handy. This book made exploring the city seem more manageable.

Even if you live in Napa, have ever visited Napa, or some day would like to travel to the beautiful Napa Valley this latest book by renouned
photographer BRAD PERKS is a stunning showcase of why so many people
Love Napa.I highly recommend you share this book with your family and
friends that appriciate the most beautiful places on earth.

If I had to describe this book in one word, I would say PHENOMENAL! The photographs are breathtaking; the poems and verses are both soothing and inspirational. Brad Perks truly created a masterpiece with his innovative vision and soul-searching heart. I HIGHLY RECOMMEND this book to anyone who strives to experience beauty, emotional growth, and spiritual awareness.

Wow! When I first saw this book I was in awe. My first instincts were to ask myself, who else can I buy this great book for besides myself? Of course the answer was simple, my wine lover friends. I also know that my Christmas shopping has just gotten a lot easier for my business clients. There is a lot of bang for the buck with this book. The photographer, Brad Perks seems to have an exceptional eye for every aspect of creating the perfect picture.

Sometimes we just take all the amazing beauty of this world for granted. Brad Perks wonderful pictorial of the Napa Valley seasons is so much more than just another pretty book. His combination of quotes that inspire and pictures to back them up make a true keep-sake. I am not a wine afficianado, but that didn't keep me from buying a copy for every member of my family. I will be ordering more for Christmas. The world needs more of Brad and his combination of heart and art. Kathy Johnson

If you live in the Bay Area, you need to have this book on your living room table. The crisp and colorful pictures make it an instant winner with our guests and the wine country quickly becomes a must see on their to-do list of places to see.

It also makes a great gift. I gave one to my father-in-law for his 70th birthday last month. Being a wine connoisseur, he loved the book and quickly started paging through and appreciating the pictures.

If you live in the Bay Area, buy one for yourself and a couple more to have around as a handy gift item. And no, I'm not getting commissions on these books :)

Typographic inspiration at its best. Effortlessly combines interviews and stories with images of Venezky's work...every graphic designer should own this book.

If you are looking for experimental and intiguing imagery this is the book for you! I don't understand how Martin got looked over so bad? His work is from the school of Cranbrook. If you like collage work and fun typography buy it!!!

Martin is brilliant, this book is beautifully designed and his work is amazing. Definately a very inspirational book for all graphic designers out there, especially for those experiemental typographers.

this book is the most beautifulest, gorgeousest, most awesome kickass book EVAR. it is heartily recommended. keep a lookout for martin's cat, "baby girl", who makes frequent appearances. WORD.

-fish

Martin Venezky's It Is Beautiful Then Gone (1568984561, $40.00) provides an unusual artistic approach: Venezky hones 'Slow Design', using raw materials and old design tools of collage and cut-and-paste to create an artwork which will intentionally age and decay over time. By this process, Martin Venezky maintains, the art evolves and changes and the artist develops a closer connection with the tool over the machine. It Is Beautiful...then Gone provides his commercial design work plus new graphics created just for this book: some 700 images in all.

This volume is just as good as all the other Steinbeck volumes within the Library of America series -which is to say that this collection of stories and novels is second to none. Steinbeck was a force and the guy will change your life. Read this and people will actually smell you becoming smarter.

It is surely a shame that Mr. Steinbeck forever will be confined to the archipelago of socio-economico-political literature. Too often a smug reviewer writes of Steinbeck's "moving" portrayal of the Joad family and their struggle against a growing America. "Oh, how I can 'identify' with the Preacher!" HUMBUG. Mr. Steinbeck wrote words, not ideas. His art is exquisite and melodious and stock-full of imagery. His structure, even in the volumunious Grapes, is compact and economical. His style, even in the scientific Log, is artistic and exact. And his ideas, even in the idea-ed Harvest, are irrelevant. Buy this book. But don't buy it because the blurb on the back says something about the Joads being an American archetype of the twentieth century; instead, buy it because it is literature - American literature - at its finest. Every sentence. Every word.

Political statements are always dangerous: one either completely convinces a reader of one's argument or forever alienates them. And, unfortunately, the end result is rarely dependent upon the quality or force of argument made by the author, but rather entirely dependent upon the notions with which the reader entered the "discussion".

Knowing this, it seems that one has to be of a particular mindset in order to enjoy the novels collected in "The Grapes of Wrath and Other Writings 1938-1941". The novels of this compilation attack many of the ideals upon which this country was founded -- and they do so by looking closely at those who have never really benefited from those ideals. This attack is carried out most effectively in the most prominent of the packaged novels: Steinbeck's classic "The Grapes of Wrath."

At an abstract level, this particular novel is an impassioned plea for change ... one that left many readers at the time of its publication both angry and frightened, and resulted in the book being placed on many academic "Banned" lists, and caused Steinbeck himself to be branded by some as anti-American.

That said, it is my opinion that "The Grapes of Wrath" is one of the best novels ever written, because it tells the story of those most affected by the Great Depression - those who never had much in the first place. In particular, it focuses on the Joad family as they are forced to relocate to California, to try to find enough work to put food on the table. Along with thousands of other displaced sharecroppers they are lured by colorful handbills advertising great jobs for all. California becomes Mecca to the families, many of whom have literally been forced out of their homes. Desperate, the families sell all of their belongings, buy cheap cars, and begin the arduous journey. Many do not make it, and those who do find to their dismay that all is not as promised.

This is an extremely powerful novel. The reader comes to know the members of the Joad family and their friends as people, not just as characters in a story. We are able to identify with them as they suffer hardship after hardship. Written in an accessible style, and spellbinding throughout, this novel is certainly a deserving classic, and it dominates this excellent new collection of Steinbeck's fiction.

grapes of wrath is a great book. it is about a family that goes through ups and downs every chapter. and a man who wats to get his family back on track, cause his father lost his farm land in Oklahoma. So they head to California to find new jobs but there new jobs arn't the same as having there own land, cause when they had there own land they had no boss but when they head to Cali. they are not happy cause they are bossed around.

I, like many, first read this _The Grapes of Wrath_ in high school. Then, it piqued a great curiosity about recent (this century) American history that my teachers could never satisfy. A recent re-reading, however, has shown me the great depth that I missed the first time. Read it slowly, savor the dogged, determined hopelessness that was life for many of our immediate ancestors. From the sad beginning to the desperate ending, it will teach you, and reach you.

Beautiful book! Author does a lovely, sensitive job profiling Morgan, and her career as the first licensed female architect in the US. I also really enjoyed the socio-cultural, and artistic context of the early 20th Century. The extensive photographs are a wonderful addition - imperative in a book dealing with a visual art. One of the very richest architectual books I've seen in a long time, and a great addition to anyone's collection.

A wonderful survey of a truly great Architect. Great photos. Original drawings. A detailed career history & biography. Most of the better known masters haven't gotten this kind of treatment; Ms. Morgan deserves it. GREAT book.

This is an outstanding book on Morgan's life and work. Well written text, detailed history, biographical information, and quality photos of the many buildings are just of few of the book's strong points. Morgan designed hundreds of buildings during her over 50-year career, and the author deserves credit for covering so many of them. Of course, she is most famous for the projects she did for Hearst, such as the "Castle" and Wyntoon, the Austrian/Bavarian style estate near Mt. Shasta in northern California, but she created many other important buildings also, which get discussed in detail in this fine volume. Also included are scans of the original plans. Out of all the books on Morgan, this one is by far the best, and well worth your time and money.

A little side note here, I've done five different tours of the Hearst Castle over the years, so have had an opportunity personally to view one of her most important works. During one of the tours, the guide said that a few years ago they had a 6.4 magnitude earthquake there, but except for a few tiles that came off here and there, the castle sustained no damage. That's because despite the delicate looking surface ornamentation, underneath the building is steel reinforced concrete, with even thicker walls than necessary. As a result, the entire Hearst Castle sustained almost no damage during the quake, and no structural damage, and the only really dramatic thing that happened was the guide said that the quake shook things violently enough so that a lot of water sloshed out of the big Neptune pool. :-)

One of the guides said some interesting things about Hearst's wealth. By the standards of the time, he was certainly very wealthy, earning $50,000 a day back in the early 30s. But compared to the most wealthy people of the day, such as Rockefeller, who made one million dollars a day, this was relatively modest. Hearst was the 42nd wealthiest man in the U.S. at the time, his father, George Hearst, being 32nd, if I remember right. He spent 9 million dollars on the Castle, approximately one half a year's earnings, so percentage-wise, it was not that much money for him. But compared to the super-wealthy of the day, such as the Morgans, Rockefellers, Vanderbilts, etc, apparently it wasn't much. :-)

Back in the financial panic of 1905, J.P. Morgan, one of the wealthiest men of his time, lent the U.S. government 20 million dollars of his own money, back when that was a lot more, so it could temporarily keep operating. When Morgan died, Rockefeller commented, "He accomplished a lot for a man who wasn't that wealthy."

Anyway, just a few perhaps irrelevant comments on some of the history of the wealthiest individuals of the time. :-)

I have always been interested in Julia Morgan's work but I have never been able to find enough solid and valuable information about her and her work. I own all of the Julia Morgan books, that is every book written about Julia Morgan. This, by far, is the best composition of the true character of Julia Morgan. Not only do you get an entire biography with incredible detail but you also get insight from hundreds of pictures, scans of actual plans Julia Morgan drafted and entires from other important persons. This book is a must have if you are looking for "the" book covering everything in Julia Morgan's life. This book stands alone among all the other Julia Morgan reads. I suggest that if you are looking for a book about Ms. Morgan, this is the best book, brings the greatest attention to detail that you will ever find about Julia Morgan.

Comprehensive with great photographs, this is a good place to start learning about Morgan's career.

This book is an outline for how to recreate the late June Jordan's revolutionary poetry class at UC Berkeley. From how to organize, to how to pick a curriculum and run a workshop, to how to kick off a reading and publish a class chapbook, this volume recreates the process that will allow you to teach poetry to a broad cross-section of the population. And not just at a university, either: the book describes how this same process, with minor amendments, was used in public schools and in an area church. I can imagine this same blueprint being used to teach poetry in a community center, a long-term care home, or a prison with similar good effect.

And even if you're not inclined to teach, there is a great deal of information in this book that will help you learn how to write. Jordan inserts her guidelines for revision, self-critique, self-publicity, and other skills a working poet will need. Whether you want to work with others or alone, this book will open your eyes to the ways poets improve their art.

There is even a healthy selection of poetry that poets and teachers of poetry should take a look at. Categorized according to racial, social, sexual, and other lines, it will allow you to build a library that represents a cross-section of verse as it is written in America today. The list is a little out of date, having been written in 1995, but if you have access to a good library, or even time to look around Amazon.com, you should be able to bring the selection up to date for your own writing.

The book isn't without problems. In the reading selection, the "White Male" section seems to stop with the death of Robert Frost, as though no white men have written poetry, or none worth mentioning, for the last 45 years. Some of the poetry from the class is very confessional, sometimes at the expense of quality, so there are poems which seem less like poetry amd more like airing dirty laundry in public. And the social outlook of the book is very urban-centered, as though if you don't live in a world surrounded by urban sprawl and drenched in media, you can't write or perform poetry.

But on balance, even a rural white male poet with nothing to confess will have a great deal to gain from this book. From how to edit yourself to how to organize with other poets to how to publish and publicize, there is a great deal you'll be able to take away and apply to your own poetry and your own community. A must-have for all poets who aspire to work in a serious and committed manner, and for poetry teachers who want to do more than just copy-edit their students' work.

This book, based on the experience of students and poets involved with June Jordan's popular UCal/Berkeley poetry courses, is a handbook for people who want to put poetry in the mouths and pens of "The People," everybody -- whether in the university or in a community setting such as a coffeehouse or church. The "white male" poetry of the "canon" is here put in its rightful place as but one of the several American poetry traditions, which also include African American, Caribbean, Native American, Asian American, Chicano/a, gay and lesbian, women's, and Irish American poetry, for which beginning bibliographies are supplied, as is a sample syllabus and an anthology of student poetry.

I stumbled on this book when I was looking for new resources for good poems to read for Black History Month. Flipping through it, I found it instantly engaging, so I had no problem buying it on the spot.

It went on the stack of 'next time you're looking for something interesting to read' and had to wait for me to finish a few books of poetry, as well as Ted Kooser's Poetry Home Repair Manual. I felt some sort of irrational loyalty to the new Poet Laureate. But Kooser is good; very good. He made me think through everything that I write -- carefully, critically -- and my spirit was quickly wilting. I needed an antidote; or, more precisely, a complement, a little yin to counterbalance the substantial yang of Kooser's superb book. June Jordan was the very thing.

Reading it is a joy. Thinking through how to teach people to write poetry that speaks to the truth of their world, their experience, and how to bring it to the public -- all the grub with the glory, so to speak -- with June Jordan and her students was pure pleasure. And I couldn't argue with the results -- which are generously sprinkled throughout the book, with an extra dollop at the end. Poetry, the craft and how to sell it.

I have to mention that one thing that initially attracted me to Poetry for the People was the memory that Jordan had recently died (in 2002, I believe). I'm in the habit of reading a book by an author when they die as a sort of memorial, an extended meditation on their contribution and general mutability, if you will. We lost a great one when we lost June Jordan; but she was responsible enough to leave a substantial legacy, so the net loss is negligible. It's ours because she wanted it to be.

Even if you don't teach poetry writing, you will love this book if you're a writer of politically conscious poetry or if you care about how good poetry gets written. With the popularity of Slam poetry these days, this is a very useful primer. It includes poems from different cultural backgrounds about a range of racial, social, and gender issues. It also provides lists of suggested readings that go beyond the narrow range of poetry books found in mainstream bookstores.

Lauren Muller, editor, gently persuades a talented crew from June Jordan's Poetry for the People classes at UC Berkely, to tell the rest of us how they do it--run poetry workshops and readings that literally transform their participants and audiences. The book provides college and communityteachers with an accessible plan for poetry workshops, including syllabii, bibliographies, thoughtful meditations on the teaching and writingof poetry, and a rich sampling of poems. It's a tribute not only to the power of the word but also to the solid principle that teaching, like popular theater, is one of the democratic art forms that can revolutionize the way we think and how we live in community.

Haven't finished reading the book but I found it to be very ineresting and worth my time. It takes an in-depth look at the Manchu imperial family, something that is oftentimes glossed over or ignored in history classes.
When Evelyn Rawski wrote about the Forbidden City- literally and figuratively, it is forbidden to outsiders- a real wonderland populated with characters that might eerily remind one of Alice's adventures in wonderland.

This is a great book the let people to know that Manchu still exists, because most of people had been unknown about China was named Manchu, it really named Manchu. It shows the social life style of the Manchus, the power of kingdom, which is never going to forget about the wealthy lives in Manchu, what is forbidden city really means. Forbidden City is a heaven, it is the most beautiful place to live in. It is magnificent, no where could compare with Forbidden City. Kingdom life is the best!

China should changed the name back to "Manchu" Qing Dynatsy is great!!!

This book beautifully describes the social fabric of life during the Qing Dynasty. As the author claims, she was privy to previously undisclosed Imperial records and has unearthed new insights into Qing customs.
I was introduced to this book after reading Jonathan Spence's "Treason by the book". Mr Spence, perhaps the foremost sinologist writing in a Western vein, has himself praised this book for its fount of new information on the Qing period.
I couldn't agree more and can also add that it is highly readable.

I had been taught in my high school history that "Manchus conquered China on horseback but eventually they were assimilated by the Chinese, becoming more Chinese than the Chinese". After reading E.Rawski's book, I'm beginning to question what my history teachers taught me.

E.Rawski's concentrated research on the Manchu royal family shows that the Manchus, particularly the elite did not lose their cultural heritage but in fact strove to maintain it.

The book explains how the Manchu royal family differed from the Chinese dynasties in their various aspects of social life. As the book is divided in chapters, it's easy to follow and read.

In my humble opinion, this book is for those who wish to study the Manchu monarchy in more detail.

In this work Dr. Rawski argues convincingly for her side of the sinicization debate regarding the Manchu conquest dynasty, the Qing (1644-1911). For those of you who are new to the field of modern Chinese history you may be interested in reading the articles of Rawski and Ho Ping-ti (He Pingdi) found in the Journal of Asian Studies, published in the mid-90's. The debate that was started by those articles is still of great importance to modern Chinese history, and it seems that although Rawski and others have presented a very strong case no one as of yet has been victorious. Many scholars still hold the views of Ho Ping-ti (or some version there of). Although, I suspect that over time Rawski's views will triumph. The argument, simply stated, is the question - to what extent where the "conquest dynasties," especially the Qing (Manchu) Dynasty, sinicized? In the past, scholars (perhaps dominated by the sino-centric Chinese interpretation) have agreed that foreign powers who dominated the Chinese empire forsook their own cultures in favor of a Chinese identity. This included the adoption of the Confucian civil service tradition as well as the Chinese language and many other Chinese cultural traits and behavior patterns. In recent years however, scholars have given evidence to support a very different view of dynasties like the Qing. A certain level of sinicization is undeniable, and no one challenges the fact that the Manchu banner-elite adopted a very Chinese approach to governance and cultural issues, however they also held on tightly to their own culture and went to great efforts to distinguish themselves from the Han Chinese as a ruling elite. The Manchu language, which many scholars had previously considered irrelevant (when studying modern Chinese history) has here become increasingly important. Rawski goes to great lengths to demonstrate the ways in which the ruling elite of China did not adopt 'Chinese' cultural practices but instead tried to be all things to all people. For the Tibetans and the Mongols they adopted the identity of a ruling clergy of Tibetan Buddhism, for the Chinese they adopted the Confucian model of governance, and for the Manchus they held on to various animistic traditions of sacrifice and deity worship.
This book is well written, except for a few minor stylistically uncomfortable passages, and really proves her point. Unfortunately, it does drag on a bit at times. Rawski gives an extremely detailed account of life in the upper echelons of Qing society focusing on the imperial household. There is a large body of work here and it will take several readings to truly imbibe all this book has to offer.
If you are looking to deepen your knowledge of the field I recommend "Manchus & Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928 " by Edward Rhoads. It is a bit shorter and focuses on the ethnic and political divides between the ruling elite and the Han Chinese.

As a graduate student in cultural anthropology, I find Goldstein's book to be an important contribution to modern-day anthropology. As a good example of "on the ground" anthropology, this ethnography's greatest strength lies in the material itself, specifically those social issues that CANNOT and MUST NOT be classified as social phenomena (i.e. racism, class conflict, and structural and everyday forms of violence) attributable of a bygone era. By focusing specifically on the social, familial, and economic relationships of her main informant (Glória), Goldstein illustrates how Glória's experiences-as well as her friends' and family members'-are microcosmic examples of how the lives of Rio's urban poor continue to be characterized by these very real and contemporary issues. Often relegated to favelas in the Rio's Zona Norte, members of Brazil's enormous lower class encounter social and economic hardships that most-if not all-of us will only experience through ethnographic description. In my opinion, "Laughter Out of Place" is one ethnography that successfully and sensitively sheds some light-however depressing-on these realities.

I believe that "Laughter Out of Place" successfully interweaves both theory and ethnographic data in what is a cohesive and coherent final product. In reference to theory, Goldstein's explicit theoretical discussions are not only interesting, but also helpful in trying to wrap your brain around such difficult subjects as rape, police violence, and extreme poverty. For example, she utilizes theories of political economy, cultural capital, and Freyre's "myth of racial democracy" to better understand-and best convey-the complexity of the situations she witnessed in the early 1990s. Additionally, the ethnographic content is well proportioned to the amount of theoretical material included in the book. At times, the `thickness' of the ethnographic material is overwhelming, but this is necessary when writing of extremely depressing scenarios like those so prevalent in the culture of Rio's favelas.

One of the most endearing and unique aspects of "Laughter Out of Place" is at the heart of the ethnography: the examination of how a particular cultural group comes to use a specific coping mechanism (`black humor') to confront their lived realities and hardships. Goldstein skillfully shows that this adaptation is undoubtedly culturally constructed and culturally specific to life in Rio's favelas, particularly Felicidade Eterna. For as Nancy Scheper-Hughes and Philippe Bourgois suggest in the Forward, Goldstein clearly reveals "the layers of bravado, anger, defiance, and deep sadness that are built into each complex joke."

Lastly, I should mention that I reflected on my own coping mechanisms while contemplating Goldstein's detailed discussion of laughter `out of place.' As a result, I ask myself: How do I deal with pain, stress, and death in my own life? How do we in our own subcultures choose to cope collectively with our own economic, social, and political situations? The very fact that I reflect in such a personal-as well as anthropological-way makes me appreciate "Laughter Out of Place" that much more.

Donna Goldstein, a professor at the University of Colorado at Boulder, has written a true anthropological/ethnographic masterpiece. After many years of field work and manuscript writing, Goldstein's book should be added to nationwide anthro department reading lists. Each chapter deals with the core issues that any cultural anthropologist must come to terms with: gender, race, class, and violence. Black humor is also an underlying theme.

As a student of anthropology, this book changed my perspective regarding my area of study. After reading many of the required ethnographies and anthropological works for my major, Laughter out of Place was like a breath of fresh air. Goldstein's style is truly beautiful and poignant. Her storytelling style and descriptions of poverty, racism, rape, and violence cut to the core. Furthermore, the explanations of various cultural and social theories are not dry-- they flow with the rest of the book (thus making it accessible to those who are not students of anthropology).

Goldstein also does a fine job of demonstrating to the reader that although her book reflects upon her experiences in Brazil, it also stands as a symbol for any people in any country who suffer from having been "colonized".

I highly recommend this book to anyone. However, I would especially emphasize its importance for students of anthropology. This is definitely the book that will remind you of why we study anthropology: to come to an understanding of other cultures and why injustices exist in this world.

Laughter Out of Place is a wonderful ethnography in a number of ways. It captures an incredible depth of understanding of lives of the urban poor women and their families in a favela. It reveals the complexity of their predicaments, and their predicaments are many:
How can one try to move up in the society without reproducing the beliefs about black female sexual allure?
How can Gloria keep her children in line, out of prison and alive but also how can she prevent them from joining a gang?
How can she inflict harsh punishments on her children and at the same time witness the perpetual pampering of the middle and upper class children?
How can young men in the favela stay out of gangs in a situation where there are virtually no economic opportunities for them and they are constantly criminalized by the elite?
How can middle and upper classes stop their dependence on domestic workers without lowering their own class standing?
How can the women in the favela break the cycle of domination and refuse domestic work when sex work is one of the only other viable alternatives for them?
How can a black consciousness movement develop among people who believe that calling someone 'black' is an insult?
These are just a few of very complex predicaments that Laughter Out of Place reveals to the reader through a great depth of analysis and wonderful story-telling.
What might be most interesting, however, is that even though so much of the book is about violence -- either actual or symbolic -- Goldstein chose the lens of humor through which to cast the story. This choice might seem odd at the first glance but at the end of the book it is clear that the framework of humor as a survivalist strategy and also as a place of disjunction between aesthetics of the poor and aesthetics of the middle and upper classes brings all aspects of Goldstein?s work together. This book is also written with a clarity of thought that I believe will draw both academic and non-academic audiences.

Within the first few pages of Laughter Out of Place, I realized that Dr. Goldstein was going to embark on ethnographic analysis in a more personal vein. The introduction reads like a personal reflection of her time spent in "Felicidade Eterna," folding in memories of the people she met into a journal-styled ethnography, of the kind introduced to us by Ruth Behar. I found Donna's approach refreshing: a reader knew where she stood on issues, and there were no concealed objectivities in her observations. Donna's personality comes through in her writing in her style -which does not back away from harsh realities, nor delve into idealized or romanticized metaphors for Brazilian music, sex, or style. I found large scale conclusions were lacking, but her small conclusions peppered within her dialogue were cogent: clearly understood and explained by her observations.

Looking at the book's format in an overall construction, I thought she made an interesting and deliberate choice in segmenting the book around particular phenomena of favela culture. The overarching concept - of laughter in the favelas that seemed to be out of place - ran through the book, but other subjects like the aesthetics of domination, black cinderelllas, short-term childhoods, gangs and violence, and the carnivalization of desire focused the book into themes particularized to the society of the favela. The choice of these themes and I can guess were synthesized from coded observations. The phenomena addressed were concrete and drew Donna's discursive writing style along into interesting, relevant, and "involving" territory. She used theory to bolster her arguments, but didn't saddle the story with overwhelming treatises. The choice of ethnographic writing - employing themes - makes me curious though. Does the use of themes artificially differentiate the life in the favela from our own, or other social conditions where poverty subjugates its population? Are we getting a picture of what life is like there, or rather of what particularizes life in the favela from our existences?

Admittedly though the book is seductive in drawing the reader into the discussion. And issues touched upon in the book can be applied to many other geographies. Donna does not try to ingratiate herself in pure relativism, as she says, she is often shocked by the ironic attitudes of the people who seem to accept their fate much more humorously than Donna imagined prior to her experience in Felicidade. She takes issue with some theortists, including Foucault, presenting and then unraveling their theoretical positioning. She also disparages the study of elites, or "cosmopolitan intellectuals, or transnational social movements" as a form of "ethnographic refusal," and a condition "that would fail to provide density to our representations, sanitize politics," or produce "thin version of culture with a set of dissolving actors" (43). Donna does not hold back.

In her review of Donna Goldstein's book, Nancy Shepar-Hughes mentions that Golstein's book will not come without controversy because it may be painted in a "culture-of-poverty" conceptual framework. But I don't see that happening in this case because Goldstein concentrates on the conditions of life and the subsequent actions of people mired in a difficult situation and in the fragile structure of the favela. Donna is also quick to point out that she herself does not understand - at all times - the social structures in place. For example, out of generosity Donna sets aside some money for Soneca to attend a computer institute. The idea does not succeed and Gloria, the main informant of the book, is annoyed by the waste of valuable resources.

Donna also employs modern electronic resources to make her point, and bring the reader directly into current attitudes and stereotyping concerning "Brazilian Mulatas." She enters a search engine with those exact two words and finds dozens of porn sites exemplifying popular viewpoints related to sexuality in Brazil. She points out many of the inconsistentsies and ironic attitudes present in the favelas regarding sexuality and race. Gloria, for instance, views the white coroa taking on a dark skinned lover as evidence for a "reluctance of Afro-Brazilian women to interpret certain kinds of interactions as racist" (124).

While all of the discussion in Laughter Out of Place is interesting, for me the discussions on violence and gangs are/were most relevant in a changing second and third world. One can imagine the "trajectory into criminality by young men as a form of local knowledge (and as a vehicle for advancement)..." (203). Indeed, after the descriptions given of the lifestyle, poverty, abuse, and of course humor that saturate the favela, one can clearly see the seductive link of falling into gang violence and criminality. Donna also clearly demonstrates the functionality of bandit existence, quoting and borrowing from Hobsbawm the reasoning behind the formation of "primitive rebels:" "Social banditry becomes a form of self-help in the context of economic crises and social tension" (209).

In Donna's short but cogent conclusion she does not try to offer monumental solutions to the problems she sees, but nevertheless her astute observations and solutions provided are idealistic and perhaps unrealistic. She points to endemic problems in the favela such as the "differential application of the rule of law," and the need to "reform policing forces" bringing an end to corruption and abuse" (273). She points out that in order for drug traffickers and gangs to be removed from the favela, "'good faith' social services need to be put in place to treat the everyday private injustices that are currently being handled by such organizations" (274). Like so many impoverished societies, an infrastructure or support girdle of municipal services needs to be put in place (or reformed) to aid all segments of the society of Rio. This remains a common need for societies battling poverty. Great ethnography and seductive reading examining a micro-world of global inequality.

Carlos Torres, Ph.D. student

Laughter out of Place is crucial reading for those interested in exploring the hardships of Brazil and the spunk that keeps a population of oppressed and impoverished people dancing, singing, and always eager to laugh. Goldstein takes the reader through the gutters and alleys of a Rio shantytown, sharing years of experience as both a fieldworker, and a personal friend to many of the book's feisty characters. Laughter portrays the unbearableness of shantytown life and how it is expressed through laughter, ridicule, and trickery that seem inappropriate to outsiders.

From my own experience of living and working in a Brazilian shantytown, I can with say confidence that Laughter out of Place is an authentic and well-researched exploration of shantytown survival tactics in Brazil. For any person interested in learning about the Brazil that lies outside of Carnival and beautiful beaches, this book is your transport.

Annie Eastman
director of (a room of an hour) an excerpt of Brazil
floorsleepers'productions@hotmail.com