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"These sunless afternoons I can't find myself."Review Date: 2005-03-17
And ThenReview Date: 2000-12-25
Of all modern Japanese writers, Soseki is one of my three most favorites. Of his books, I have read Kokoro, The Three Cornered World, Grass by the Wayside, Light and Darkness, and, And Then. Of these, And Then, is by far my most favorite. I probably love it for different reasons than most.
Whenever I begin re-reading it (I have read it four times now), it is initially for the feeling of being transported into Daisuke's beautiful, if fragile world, where he set against a cast of lovable if predictable characters. His lazy houseboy, Kodono ("is that right, Sensei?"), his niece, Niu ("I'm warning you, you'd better watch out") who changes her hair ribbon several times daily, his sister in law with her love of Western music and concern for Deisuke's future and keeping the peace with Father, and so on. But as the novel evolves, the imagery takes on stronger substance, while retaining the light touch of a master. Of the lighter: the time when Daisuke and Kadono strip down to their waists and toss water around in the garden; when Daisuke fills a bowl with water and floats white lillies to offset a pounding headache, how he sets off to take a trip (in an attempt to avoid facing the pressure from his family to choose a bride) and never quite goes anywhere, and his foolish mishandling of his personal affairs.
Daisuke sees no point in trying to overcome his enui and take a stand of any kind, nor to try and resolve a series of issues that offer no simple resolution. Daisuke is a man with his feet planted in neither the past nor the future, and as the story comes to crisis, he loses his already delicate equilibrium, and plunges into a near mad state, where, since he cannot conceive of hurting anyone else, he runs headlong into trouble.
It is unfortunate that my copy gives no credit to the translator, for the prose is of exceedingly high calibre.
I highly recommend this book.
Beauty feeds the soul, but not the bodyReview Date: 2006-04-05
The plot reminds me of a quote I heard once. "I was a soldier so that my children could be merchants, and their children could be artists." The main character, Daisuke, is a dilettante, an appreciator of life's fineries who has never turned his hand towards anything seriously in his life. His father was a famous soldier during the Russo-Sino war, and his older brother is successful in business, and neither of them can understand this luxury object of a younger sibling that they both maintain financially. Seeking to find some value in him, his family attempts to pressure him into an advantageous marriage, which Daisuke's refinements does not permit. Love, however, will destroy everything.
The story floats along at Daisuke's pace, with nothing hurried or in crisis. Inside of this veneer are heavy issues of family obligation, the distaste of working for food as opposed to working for pure artistry, and most of all the undeniability of love, something that none of us can choose for ourselves.
Like all of Soseki's novels, "And Then" lingers long after the last page is turned, forcing us to evaluate our own lives and wonder what we would do in similar circumstances. How much of our own dreams have been sacrificed for necessities, and what does it mean to be human besides eating, sleeping and making more humans?

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A gorgeous book you'll turn to again and againReview Date: 2003-09-11
The completed dolls were then sent on a 19-month journey from artist to artist and their travels were recorded in art journals that are also splendidly displayed in the pages of the book. The amount of creativity within both the dolls and the journals is staggering - I can't even put the proper words to it. This is one art book you will never regret buying.
Art Dolls everywhereReview Date: 2005-07-08
Gorgeous book you'll turn to again & again!Review Date: 2003-09-10
The completed dolls were then sent on a 19-month journey from artist to artist and their travels were recorded in art journals that are also splendidly displayed in the pages of the book. The amount of creativity within both the dolls and the journals is staggering - I can't even put the proper words to it. This is one art book you will never regret buying.


Best reference book on the solar system I've seenReview Date: 1998-05-22
This book has wonderful photographs as they all do but also explains the workings of the solar system in much greater detail. The section on the sun is over 50 pages long with explanations of black body radiation, absorption lines, doppler shift and multiple sections on the chromosphere, sunspots, flares, the corona, etc. Coverage of the planets is no less detailed.
I sincerely hope that this reference is updated soon, although even the out of print editions will remain excellent references for years to come.
Fabulous layman's reference work that should be updatedReview Date: 1997-10-21
This is one of the best layman-type reference works I've ever been able to find on our solar system. It contains something for everybody: lots of text, images, illustrations, and facts and figures.
The book begins with a synopsis of the universe, and then moves onto detailed chapters on each of the bodies which exist in the solar system:
- The Sun;
- The 9 planets;
- Known satellites;
- The asteroid belt;
- and finally the oort cloud and comets.
If that isn't enough, it also covers (in brief) the history of astronomy, space exploration, and many other topics. I've read it from cover to cover & pull it out every time there's a new space probe or landing to refresh my memory.
Excellent book.Review Date: 1998-06-01

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Wonderful book!Review Date: 2007-09-11
dudely's bookReview Date: 2002-11-24
in it you will see that he had good times & bad. You will learn about his life story & how so great he was. As a person &
actor as well . you get to learn about his two son's & his wifes too. In all i think it book is the best of dudely moore that i have ever read. He was so wonderful in his music & movies . Now you will get to learn about his early childhood & about mr moore himself. Buy this lovely book. Dudely will thank you for it. we miss you dudely :)
The book was one of the better books that I have read.Review Date: 1998-04-11

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Real help with financial troubleReview Date: 2002-08-31
NO ONE IN DEBT CAN LIVE WITHOUT THIS BOOK!Review Date: 2003-11-10
This fantastic, comprehensive workbook not only gives tons of great strategies and ideas about dealing with the "D" word, but it also provides ample work pages for you to actually see with your own eyes what your true financial situation is, and how you can go about getting back on budget and back on track.
There are tons of books out there about dealing with debt and credit, but I truly believe this is one of the best, because it is so complete, so packed with info, and so hands-on in its approach to educating the consumer about money and financial health.
Highly recommended, whether you have debt, or just simply want to get a better credit rating - this guide's for you.
MARIE D. JONES, BOOK REVIEWER - BOOKIDEAS.COM, REBECCA'S READS
A LIFEBOAT FOR A MAN DROWNING IN DEBTReview Date: 2002-09-14
Better than a cold beer on a summer afternoon

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A work of art!Review Date: 2002-01-31
A magnificent book!Review Date: 2001-08-23
a treasureReview Date: 2001-08-18
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Connecting the Dots: A Life in Wall StreetReview Date: 2008-06-13
are to be swallowed, and some few
are to be chewed and digested.
-- Francis Bacon
I strongly recommend Mr George's Moore book to young and experienced bankers. "The Bankers Life" successfully reveals the common denominators of a great leaders and their carreer in banking: disciplined people, disciplined thought and disciplined action.
A great benchmaark for anyone working at Wall Street.
a wild ride at citibankReview Date: 1999-08-21
from the lessons of the depression, to rediscovering lending to companies, from creating a consumer lending business to the idea of foreign branches spanning the principal trade routes, moore was there. he hired and retained talented individuals who helped him raise the citibank banner from an also ran in the world of banking to the premier global franchise it was at his retirement.
as his successor, moore named walt wriston to lead the bank forward. he excelled in a ceo's principal job, to pick the right person for the company to not just succeed but to thrive.
The Bankers LifeReview Date: 2002-03-18
As a banker, I found that this book can be used as a tool in the day to day of any banker, wanting to be one step ahead of the rest.

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Handy for homeschoolingReview Date: 2008-03-18
Great math practice!Review Date: 2007-06-27
The Best Math Supplement I've UsedReview Date: 2006-06-12

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Continuation of Being and TimeReview Date: 2003-12-21
As for the book itself (for now on referred to as BP), the book is incomplete--just like Being and Time. Heidegger undertakes Three Parts each with Four chapters (see page 24). But BP only deals with all of Part One and only chapter 1 of Part Two. Heidegger gets no farther than the Problem of Ontological Difference (entities vs. the Being of entities) and the lecture course ends. But the book is extraordinarly helpful because of what it does address. Part One is elaborate and interesting because it deals with other philosophers and their ideas. Heidegger pays particular attention to Kant, Aristotle, Descartes and explains how their ideas have been inherited into the contemporary philosophic era. What I found most interesting was the deconstruction of Medieval and Modern ontology. Heidegger thus gives a broad historical interpretation of the history of philosophy and explains the presuppositions of each period.
Obviously this book is not for philosophical neophytes. The book should only be undertaken by those with some background in 20th century philosophy and knowledge of basic Heideggerian thought. The book's appeal should thus be limited to few individuals, and certainly only those with philosophic interest.
The book borrows much of the terminology from Being and Time with some notable exceptions. Authenticity and inauthenticity have pracitically been dropped. The term "horizon" becomes notably more important and the term "Temporality" is of great importance to understanding what is being disclosed from the text. Ontological difference is explicitly defined, though it was implicitly defined in Being and Time. Pay particular attention to Part Two of the work, for it questions through many of the underlying questions I had after completing Being and Time. If you are disappointed how the book abruptly ends, it is to be expected. But for those 285 people on Earth interested in Heidegger this book is indispensable. But read Being and Time first!
Philosophy Student,
Drake University
eminently readable and interestingReview Date: 2006-11-14
Clean as a whistle, until it defines "is"Review Date: 2004-01-05
"We have here once again the peculiar circumstance that the unveiling appropriation of the extant in its being-such is precisely not a subjectivizing but just the reverse, an appropriating of the uncovered determinations to the extant entity as it is itself." (p. 219).
If you read the small print on the cover of THE BASIC PROBLEMS OF PHENOMENOLOGY (1982, published in German as Die Grundprobleme der Phanomenologie in 1975) by Martin Heidegger, you will see that this book includes "Translation, Introduction, and Lexicon by Albert Hofstadter." The Lexicon is quite an accomplishment: pages 339 to 396 contain a wealth of information about the pages on which particular words ended up in this translation of lectures by Heidegger on philosophical problems. If you read the book first, then come to the first entry on page 340, "already, always already, antecedent, before, beforehand, earlier, in advance, precedent, prior--expressions used with great frequency: . . ." you know that dozens of pages can be cited for "some characteristic instances: . . . " Longer entries provide more complete indexing for being, being-in-the-world, beings, Da, Dasein, exist, extant, horizon, interpretation, "is" (See copula), Kant, now, nows (nun), ontological, ontology, philosophy, problem, problems, problems, specific, projection, project, self, structure, subject, Temporal, Temporality, temporal, temporality (zeitlich . . .), temporalize (zeitigen), theses, thing, thingness, thinghood, thinking, time, transcend, truth, understand, understanding of being, unveil, and world.
Frankly, I am glad that I have previously attempted to read lectures and the Heraclitus seminars which used the Greek alphabet (alpha, beta, gamma, delta, etc.) for Greek words, so that I was warned that translation was necessary, and I learned enough Greek words to recognize that ancient language even when it is printed in transliterated form, with no indication that a foreign language is being used, as frequently occurs in this book.
"In a corresponding passage Aristotle says that this `is' means a synthesis and is accordingly en sumploke dianoias kai pathos en taute, it is the coupling that the intellect produces as combining intellect, and this `is' means something that does not occur among things; it means a being, but a being that is, as it were, a state of thought." (p. 182).
People with absolutely no knowledge of Greek might try reading the Lexicon entry for "Greek expressions" (pp. 358-359) before reading pages 73, 86, 115, etc. to remind themselves that when they read "to on" on page 53, they were reading Greek, as "to ti en einai" on page 85 is a bit more obviously not in English, as Aristotle was not. How helpful is this? Consider the final entry in Greek expressions: zoe, 121. Looking it up, I find in the final paragraph of section 12:
"First, however, one problem makes its claim on our attention: besides the extant (at-hand extantness) there are beings in the sense of the Dasein, who exists. But this being which we ourselves are--was this not always already known, in philosophy and even in pre-philosophical knowledge? Can one make such a fuss about stressing expressly the fact that besides the extant at-hand there is also this being that we ourselves are? After all, every Dasein, insofar as it is, always already knows about itself and knows that it differs from other beings. We ourselves said that for all its being oriented primarily to the extant at-hand, ancient ontology nevertheless is familiar with psuche, nous, logos, zoe, bios, soul, reason, life in the broadest sense. Of course. But it should be borne in mind that the ontical, factual familiarity of a being does not after all guarantee a suitable interpretation of its being." (pp. 120-121).
The actual lectures only consist of 22 sections, with "The Being of the Copula" in Chapter Four (pp. 177-224) primarily considered in sections 16 and 17, though the outline of the subject at the end of Heidegger's Introduction, section 6, suggested that this would be at the end of Part One, Chapter Four. Section 18 on the existential mode of being of truth has also been included at the end of Chapter Four, where it seems to follow quite naturally. Though it is only followed by Part Two, Chapter One, anyone who wishes to imagine more may adopt the idea stated by Heidegger on page 225 that Part Two would also have four chapters, in which we could encounter the basic problems again ending with "fourthly, the problem of the truth-character of being."
There isn't anything about pandering in the Lexicon, but the 22 listings for "copula" might be close, considering the "See `is' " cross-reference and the amount of political scandal that has recently been generated by President Clinton when he was trying to think non-copulatively in the way he defined "is." The 1908 Oxford translation of Aristotle included in note 4 on page 181 illustrates the kind of compartmentalization that most people exhibited in thinking about the impeachment proceedings:
"For neither are `to be' and `not to be' and the participle `being' significant of any fact, unless something is added; for they do not themselves indicate anything, but imply a copulation, of which we cannot form a conception apart from the things coupled."

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Filled with images of speciesReview Date: 2002-08-08
An eye-openerReview Date: 2002-12-27
Breatkthrough workReview Date: 2002-07-08
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The novel poses the following question: How could a man who showed all the promise in the world ultimately come to naught?
In his university days, Daisuke had two friends, who also had great plans for the future. But, when the thirty-year-old Daisuke meets them again, he learns that their hopes fell short of their mark. One of them, Hiraoka, sought to forge a brilliant career in Japan's civil service system, but fell into conflict with his superiors, mismanaged the money entrusted to him, and was fired. Daisuke's other friend, Terao, intended to become a world-renowned novelist, but failed to find a sponsor, and found himself having to scrounge, day by day, for one-time deals writing articles for cheap rags, or translating documents from English, in order to survive. Both men are now consumed with the fear of dying in poverty.
Daisuke has a strong sense of dignity, emerging from his refined aesthetic sensibilities. To him, such fear is degrading; his idleness becomes the only way to preserve his clarity of thought. Consequently, his reluctance to enter the "world of men" is confirmed in his mind, widening the gulf between him and his former friends, who view him as lazy and sheltered. When Daisuke writes to an acquaintance about a certain book he had sent, the acquaintance politely thanks him for the gift, but says, with regret, that he no longer has time to read. Soseki writes, "As he put the letter back in the envelope, Daisuke felt keenly the fact that this old friend, with whom he once shared the same inclinations, was now playing a different tune, governed by thoughts and actions that were nearly the precise opposite of those of the past."
Daisuke is adrift without ties to history. Unlike his father, he has no attachment whatsoever to traditional Japanese society; his education has given him the knowledge that the world is too vast to be confined to the boundaries delineated by tradition. Furthermore, Daisuke cannot help but notice that his father is motivated by selfish, ulterior motives as much as by any sense of obligation to tradition. Unlike his friends, however, Daisuke also cannot form a connection to modern society, which views education as a means to advancement in a bureaucratic order. He has no roots anywhere; one might say that he remains standing still at a crossroads after all other passersby have left. When Daisuke considers the occupations that he might be qualified for, were he to look for a job, he concludes that he would be incapable of doing anything other than begging on the street.
Daisuke's peace of mind is dependent on such artificial circumstances that it essentially rests on the head of a pin, where the slightest vibration will send it tumbling down. The more intent he becomes on continuing to be a detached observer, the more difficult it is for him to do so. His family has long given up hope that he will do anything with himself, and is willing to support him for the rest of his life, but demands in return that he get married, and threatens to disown him if he doesn't comply. Daisuke prefers to deliberately take a self-destructive path by categorically rejecting his family's demands and falling in love with Hiraoka's wife Michiyo.
Of all Japanese writers, Soseki, the father of contemporary Japanese literature, is the most inscrutable. His works cannot be called "beautiful" in the same way Kawabata's works can; "precise" is a more appropriate adjective. Kawabata's books overflow with beautiful, painfully fragile imagery of nature, glass, fabric, arranging these things in a way that creates a mood of deep melancholy. Soseki, however, is concerned above all with his characters' thoughts, which he faithfully records with painstaking levels of detail. They are not told in interior monologue, or any other such device, but rather conveyed straightforwardly in the third person. The book is absorbed in Daisuke's situation, yet simultaneously detached from it. One may find this style of writing to be pedantic, even artificial, but it enables Soseki to describe emotional truths that are complicated to the point of abstraction.
Soseki's writing is not without flourishes. Until the very end, Daisuke regards his circumstances with a charmingly carefree air, and is witty in conversations with his family, which makes him quite likable. Soseki also uses colours to symbolize his themes. There is a recurring image of white lilies, perhaps representing an ideal of frail beauty that, as it turns out, is impossible to attain, and the novel's ending is painted in bright, fiery red, carrying an air of beautiful, tragic finality, conveyed in sharp, concise language.
And Then is the greatest work by Japan's greatest novelist. Like all of Soseki's works, it moves very slowly. There is no real action in it, and yet, when it ends, one feels that a great upheaval has occurred. This is not a book to read when one is living a peaceful, wholesome life; however, in times of personal crisis, when one is driven to sleepless self-analysis, there is no book more relevant than this one.