Bloom Books

This is a decent and easy enough to follow introductory text to basic molecular biology techniques. It's used in my Biotech class, and I like how the protocols clearly give you every step as well as cite reference papers. However, this book would not be enough just on its own as a textbook. This should be treated as a lab manual. It provides a cursory introduction and background for each protocol listed, but the information is very brief. You'll need an actual molecular biology/biotechnology textbook to understand the principles if you are a beginning student.

Excellent introductory book for people who are interested in molecular biology. It is loaded with very detailed and easy to follow description of current molecular technicques. The book also contains a great deal of information on current theories in molecular biology, which are written even for the layman. I would also recommend this book for high school students who are interested in this field.

A great read-aloud for grades pre-K through 2, this is a wonderful story of a boy just trying to establish a relationship with his rough and ready step-dad. Bonus sub-plot of mom pregnant with the step-dad's twins. Heart-warming ending.

Great story for all kids, but step-parent theme makes this of special interest to families involving a second marriage, step-siblings, or step-parent.

Wonderful illustrations, too.

I am 10 years old and read this book at school. It is a very good book and the story is easy to read. It teaches how a new family can come together.

After shaking up the academic world with his "theoretical" "Anxiety of Influence", Bloom begins to settle into what would prove his proper mode--the discursive literary essay. "A Map of Misreading" centers upon Browning's "Childe Roland to the Dark Tower Came" (one of Bloom's touchstones for his theories) as the perfect example of the latecomer Romantic poet struggling against his precursors. It is Bloom's wonder and love of this poem that is on display here as much as "proof" of his theory.

What is most evident in all of Bloom's books, and what is most important, is an obvious passion for reading (reading anything and everything). Bloom ranges across British and American Poets to discover how poems struggle against other poems. But, frankly, what I've always come away from a Bloom book with is a map of Bloom's misreadings that are worth a college education in and of themselves. We discover Emerson afresh and hear of Dutch Psychologist J. H. Van Den Berg, discover we must encounter Hans Jonas on Gnosticism and The Kabbalah of Isaac Luria(if we're to know anything of the roots of literary struggling against the precursor) and wish we'd memorized Paradise Lost. In short, for me, he encourages continued and life-long (mis)reading.

Harold Bloom is the great literary critic of our age. His passion for reading is felt in every line he writes. This does not mean that his lead- ideas as the 'anxiety of influence' and 'map of misreading' are to be taken uncritically, but rather that they ordinarily lead him to ' open up the texts' in new ways, making surprising and interesting connections.

Although Dr. Bloom focuses the entire collection of criticism on two Strand collections, the insight provided therein is stellar. Bloom cuts through the chaff of criticism to get to the morsels of wisdom in all but Nicosia's ending piece--a good choice, for that final essay is excellent as the final word on Dark Harbor.

This collection of criticism on one of America's three finest living poets is long overdue. While I don't believe all of the criticism contained herein hits the mark in all cases, Jim Nicosia's final piece on Strand's magnificent long-poem Dark Harbor is a gem itself, and is alone worthy of the cost of this book. It is thoughtful and insightful and, as is Strand's poetry, serious yet joyous at the same time. Bravo.

I haven't read the critical essays, only the novel itself and it is the best-crafted piece of nihilism I have read since Celine (and utterly different from him, as well).

"Miss Lonelyhearts" is the 26-year-old son of a Baptist preacher, working in New York in 1933 as the writer of a gossip column. A sensitive person, he reads thirty or so traumatic letters from readers every day, ranging from women with too many children and abusive husbands, to people who have no idea where their next meal will come from, and he must offer some sort of hope to each one. Shrike, a features editor, is his antithesis, a nihilist who mocks Miss Lonelyhearts's Christian faith, every other philosophy which might offer hope, and Miss Lonelyhearts's every attempt to escape from the sadness of his life. Sex and alcohol do not help, and Miss Lonelyhearts gradually descends into obsessive behavior, hypochondria, and religious fanaticism while still trying to help his readers, several of whom he meets in person.

Though the novel is often described as having dark humor, its emotional power is so overwhelming that few people will find much to laugh about here. Shrike, whose name is both satiric and symbolic (shrikes are birds which impale their prey on thorns, much as a butcher hangs meat on a hook), is bent on destroying Miss Lonelyhearts and what he represents (the search for hope), and at a party Shrike has all the guests read aloud and mock the letters from Miss Lonelyhearts's desk--about paralyzed children, a teenager without a nose, suicidal mothers, and exhausted caregivers.

Tautly constructed with overlapping motifs and symbols, the novel is firmly rooted in the Depression and the edge-of-disaster lives of ordinary Americans. As Miss Lonelyhearts becomes drawn into his readers' heart-rending problems, he tries to become a rock, emotionally and symbolically, and as he examines the sadness around him, he also begins to think that God has sent him to perform the kinds of miracles that God performs. West's satiric attitude toward religion here and the use of Miss Lonelyhearts as a Christ-figure, filled with agony and passion, also suggest some sort of satiric Christian martyrdom, but the ending, when it comes, is shocking and unexpected.

Extremely emotional and filled with cynicism and despair, the novel is the consummate example of Depression literature, firmly establishing the attitudes and philosophies that prevailed as people tried to deal with events so overwhelming that no philosophy, other than nihilism, could fully explain them. West's focus on themes and philosophies and the symbols which illuminate them prevents this brilliant but often heart-rending novel from descending into melodrama and pathos. This edition, edited by Harold Bloom, offers a full range of critical interpretations. n Mary Whipple

The story of Nora and James Joyce's unconventional relationship and how it shaped the writings of one of history's most controversial authors. This book is nothing short of riveting, both in terms of the story it is telling and the way it is told. It explores the influence Nora held over Joyce in his life and his writing and gives countless examples of how he used the experiences of those around him in his books. More than anything, this is the story of a woman struggling to hold her life and her family together in the face of hardship after hardship. A truly incredible read that I couldn't put down until the last page - I even read the bibliography!

This is the perfect companion to Richard Ellmans bio of JJ. I first read it when it came out a few years ago and I found it to be a good "other side of the story". Much has been made of Joyce's letters to his wife and of her being the model for Molly Bloom. He must have been a happy man if that was the case. She was all woman.

In this work, Rousseau replied to an article in the great "Encyclopedie" penned by D'Alembert. The article concerned Rousseau's hometown -- Geneva, and D'Alembert was for the most part quite complimentary about that city. But he did quarrel with the absense of any theatre. He was surprised, he said, that "in a city where proper and correct theatre is forbidden, coarse and silly farces as contrary to good taste as to good morals are permitted."

Rousseau was right to see elitism in those words. The intellectuals of D'Alembert's crowd naturally thought that they could decide for everybody what it "proper and correct," what is "coarse." Rousseau was right, furthermore, to issue this counterblast.

I'm not an advocate of every sentiment here, but I think I get the general drift of Rousseau's contention about art, festivals, and the public good. And I believe he got the better of the argument.

In this work Rousseau took to task the French theater and, to a great extent, much of what passed for enlightened thinking about censorship and republican government. It is difficult for a modern reader to tolerate his arguments after they have largely been displaced by the concepts of our own Media age: the essential goodness of total freedom of the arts, uncensored publications, and all that goes with these.
Rousseau's rhetorical criticism of the theater, and the French Enlightenment figures, such as Voltaire, is carefully considered and extensive. He separates the intellectual deceits from what he considers bedrock issues, such as the absolute importance of a virtuous citenzry, and offers up a strict, severe Calvinist indictment of the foibles of passing off political thought as scientific reasoning. Rousseau makes no cheap arguments - his attack on the French theater is not predicated on some cheap vulgar play deserving of our disdain, but instead he confronts Moliere's masterpiece, the Misanthrope. And Rousseau shows in a magnificent reading of the play, which he admires, how Moliere deliberately subverts the truth for the effect of comedy. In this, Rousseau believes, virtue has been damaged more than we recognize. Rousseau believes comedy, and comic characters, strike at the heart of society's greatest strengths, pride in civic virtue, unity of purpose, repect for its leaders. He concludes that the theater is far more dangerous than the simple divertisement and amusement we think it, that supporters would have us believe. And he roundly rails against those who suggest the theater has the ability to improve society.
Much of what Rousseau argues echoes in our own society. However reactionary it all sounds at first, there is a deeply troubling truth in the pictures he draws of the duplicity behind Enlightenment pronouncements. He is also quick to point out conceited Philosophical attitudes devoid of any strict self-appraisal or self-criticism. Much of what he writes sounds almost upside down from modern accepted belief.
Harsh it certainly is, but Rousseau is very challenging, and his final words, for this essay was written near the end of his life, are not easily dismissed as final rantings of old age and bitterness with the future.
Although I am certainly not a conservative, I would suspect this book would be interesting to anyone holding such political views. For others, it offers a chance to see the darker side of what many of us take too readily for granted: freedom of press, an open - wide-open - popular theater (i.e. the movies) and the certaintude that many Democrats have in the absolute rightness of their beliefs. Rousseau throws buckets of cold water on all of us, and plays Prince Hal as King to our infatuation with the Falstaffian ethos.
There is an excellent and very necessary introduction by Allan Bloom.

This little book is to the point and concise. Krista Bloom includes thoughts that helpfully expand on every day common sense. I like The Ultimate Compatibility Quiz and have suggested it to some of my psychotherapy clients. I am a licensed clincial social worker.

This little book may save your relationship. Or keep you out of a bad relationship. Or help you steer clear of heartache.

Dr. Bloom and Mr. Nold propose that we do not do a very good job at choosing our life partner, that we spend more time and critical effort choosing a car, appliance or job. This book asks simple, straightforward questions about potentially problematic areas in relationships and assigns a colored flag to each answer.

Green flags as you can probably guess, are answers that reflect a healthy relationship. Red flags are cause for concern. And black flags are toxic and harmful.

This book reads like a checklist. It is simple without being simplistic. And it allows the thoughtful reader to look at relationships in a more critical and tangible fashion. The reader who is looking for solutions or answers to relationship problems, or who is looking for advice, will want to look elsewhere. But for the individual who is open to examining their relationships, these critical questions can be a good start in highlighting areas of significant concern.

This collection contains twenty- four pieces from the work of America's greatest poet. Whitman is the quintessential American poet the one who speaks for the heart of the nation, the great cataloguer of its vast varied landscape and life. Great poems such as "When Lilacs Last in the Dooryard Bloomed" and " I sing the body electric" provide the reader here with a true sense of Whitman's work.
Whitman with all his greatness can at times be plodding and tiring, and turn the open- road catalogue into a formula-like list. But mostly he is the celebrator of the American people in their great outward expansion through their own cosmic continent.
This work is represents fairly the one who even in his own time Emerson saw as the great representative American poet.

This review is about the Dover Thrift Editions publication entitled "Walt Whitman Selected Poems" [Unabridged]. 119 pgs.

If you are any kind of fan or student of Walt Whitman, you probably own (or at least know of) "Leaves of Grass", which is THE definitive collection of Whitman's work, as it contains virtually all of his poems. Over the course of his lifetime, he continually added, revised and reorganized his material, right up until his death in 1892. Several additional poems were added to the 1897 posthumous edition, but the 24 poems chosen for this particular collection ("Selected Poems") appear unabridged and in the original chronology, as they appeared in the final Whitman edition of `Leaves' in 1892.

The Table of Contents lists both the names of the poems and the Section titles under which they fall in `Leaves', for easy cross-reference if you feel so inclined. In the rear of this book are two lists that readers who are already familiar with Whitman's work might find helpful for easier reference - Alphabetical List of Titles & Alphabetical List of First Lines - although readers who are new to Whitman may find no use in them at all.

In short, this book is good (and CHEAP CHEAP CHEAP!!!) for those who merely wish to acquaint themselves with one of America's most well known 19th century Poets. However, if you already have an appreciation for Whitman, you might do better sticking with `Leaves of Grass' (which you probably already own or have read anyway!). I have given this book 4 stars, from a new student perspective. It would have been nice to have a little bit of biographical info on Whitman to round out the experience, but you can't beat this book for the price!

Like many other readers of Joyce, I considered Trieste to be merely "anywhere but Dublin" -- i.e., it was significant to the author only because it was where he began his self-imposed exile from Ireland. In his writings, I felt, Joyce never really left Dublin, and he could as well have been in Mombasa or Ulan Bator for all the effect that his city of residence had on his work. So this book was a revelation to me: although Joyce originally landed in Trieste by happenstance, he quickly grew to feel at home there, and the city provided a cosmopolitan, ethnically diverse, and culturally rich environment in which his art grew to maturity.

McCourt provides ample and convincing evidence of the degree to which Joyce's experiences in Trieste influenced his most important works, from the Triestine puns in "Finnegans Wake" to the main characters of "Ulysses," and how productive he was as a writer during his years there. What I found especially fascinating were the details McCourt unearthed about the rest of Joyce's life: in his perennially unsuccessful pursuit of financial stability, he was (inter alia) a partner in a cinema, a bank clerk, and a would-be exporter of Irish woolens; his domestic life was continually in uproar (Nora lacked his facility at learning languages, and was marooned at home with a series of babies and, from time to time, Joyce's transplanted siblings); but he was a good English teacher, and, through his private tutoring, he became acquainted with many financially and intellectually influential members of Triestine society. (The influence went both ways: the writer/businessman Ettore Schmidt was on the verge of giving up his literary ambitions when Joyce convinced him not to, and he went on to write several classic novels under his pen name, Italo Svevo.)

This book was originally a doctoral dissertation, and it suffers at times from the graduate-student tendency to include Absolutely Every Detail relevant to one's subject (I sympathize: been there, done that). But, in general, it's readable, clearly written, well organized, and, although the basic structure is chronological, the author gives each chapter enough of a thematic focus to make it more than a mere recitation of dates and events. I found the book entertaining as well as informative, and I feel it's a valuable resource for anyone interested in Joyce or, for that matter, in early 20th century European literary history.

John McCourt's The Years Of Bloom: James Joyce In Trieste, 1904-1920 is a remarkable and original contribution to Joycean studies. McCourt was able to acquire information never before published about Joyce's activities in the years he resided in Trieste, and which influenced his career as one of the truly great writers in the English language. Superbly researched, accessibly written, thoroughly documented, and impressively presented, The Years Of Bloom is a major work of outstanding scholarship and a welcome, enduring, seminal contribution which will be part of every college and university reading list and reference collections on the life and writings of James Joyce.