Michigan Books

I've read all of Jean McGarry's novels and story collections and this one ranks at the top. The assured, sometimes whimsical but always well-controlled style is here, but there's something about the characters Siri and Esther: they are ingratiating young women who grow on you as they themselves grow. In fact, Ms. McGarry's story works as a double bildungsroman, a chronicle of the intellectual growth spurt that can invigorate one's early college years. Although Ms. McGarry is an esteemed professor there is nothing of the usual academic musk: the college is too odd, the story too focused on underclasswomen's mental life to rehase the fixations of the conventional college novel. What starts as a variant on The Odd Couple evolves into a type of quest with both girls breaking free from their roots and trading intellectual places. Dare we ask for a sequel?

Richard Rutt was an Anglican Bishop living in Korea who translated many of the classic Korean songs or sijo. First published over 30 years ago by University of California Press it is now again available with a fine introduction by David McCann. Sijo is the national poem of Korean and consists of a 42 to 49 syllable poem in three lines. The first line states a theme, the seocnd line develops it and the third line is a an ironic twist or counter theme. In English the form is frequently presented in six lines. Modern sijo are not so rigidly conformed to the syllable count but not doing so takes all the fun out of it. Rutt's translation holds up very well and he presents some of the finest examples of sijo, which are sung in Korean. World weary courtiers and those distressed by urban life fled to the countryside in fourteenth century (the flight to the countryside has been going a long time)took up writing sijo. The themes are of nature, the changing seasons, the fickleness of court life and the beauty of the simple life. There is a symbol system of pine, stones, water,sun, moon, mountain etc. but it not necessary to worry about it. They are quite exquisite. Teachers of poetry will find sijo are fun to teach. Frequently the last line of a sijo will be a seventeen syllable haiku. I love this book. It is handsomely printed. It is a good reference to the classical poets of the form. Anyone with an interest in poetry and does not know sijo would be well advised to start here. Thanks to David McCann and the University of Michigan for reprinting this volume. Put it in your shopping cart without delay.--W. Edward Harris

Professor Ropp's sensitive and passionate book is not only a learned study but also a valuable memoir. He has chosen a highly ambitious and broadly conceived approach to a complex and intriguing subject, Shuangqing--the 18th century peasant woman poet whose existence is still being debated today. In recent years Shuangqing has emerged as the focus of attention in Ming-Qing women's studies, but so far Ropp's book is the first work (in any language) which demonstrates--through extensive field trips and years of research and reading--the abundance and complexity of the questions of Shuangqing as a cultural icon. The book manages to be specific and broad-ranging at the same time, providing valuable information not just on Shuangqing but also on Shi Zhenlin and his circle, the group of Qing literati responsible for the transmission (or possibly the creation) of the Shuangqing story. This is indeed a richly researched and elegantly written book

Most important, Ropp has written an engaging study of Shuangqing which demonstrates impressively what an innovative methodological approach could mean to the general public and the scholarly field. Instead of following the conventional way of academic writing by routinely presenting an analytical argument with a supply of copious notes, Ropp creates a lively narrative throughout the book which offers its readers an exemplary interplay of literary history and personal observation. He begins his narrative with his trip to Jintan and Danyang with Professors Du Fangqin and Zhang Hongsheng, two of China's leading scholars, in search of information about the vanished worlds of Shuangqing and Shi Zhenlin. In retelling and reconstructing the story, he has skillfully introduced the various themes running through the book, namely (1) his reading of Shuangqing's story in Shi Zhenlin's Random Notes; (2) the poetry and song lyrics of Shuangqing and their place in Chinese culture; (3) the evolution of Chinese opinion on Shuangqing and her poetry from the mid eighteenth century to the present, including debates over whether she really lived or was just the fictional creation of Shi Zhenlin. Parallel to Shi Zhenlin who prized the opinions of like-minded people, Professor Ropp also documented his discussions with many scholars and friends, so that his is an extremely interesting book with a fresh perspective. It tells the readers not only the result of his research but also the "process" of the long search for the "mysterious" Shuangqing. Needless to say, its implications are numerous and rich. I believe readers are bound to learn more about Chinese culture from this book than from a conventional academic book. For Ropp writes like a literary detective, and the book has a message about the joy of constant discovery. As he explains in the "Preface," the most interesting part of this project has been the process of discovery along the way. From this book readers will learn how a scholar can study and examine the past of an alien culture, how one can use a book such as Shi Zhenlin's Random Notes as a window for learning about a significant aspect of traditional china, and how people (of all cultures) are inclined to mingle history, fiction, and legend in recreating our remembered past. Moreover, the fact that Professor Ropp has experienced firsthand the dust and dirt of farm work in his youth (in a small town of Illinois) certainly enriches his many close readings of poetry by Shuangqing, a peasant woman poet in 18th century China. Ropp's translations of Shuangqing's poems are generally accurate and elegant, and so far they represent the most comprehensive and meticulous treatment of this body of texts in English. Again, rather than providing a conventional book of translation with notes, Ropp has incorporated his many discussions of poems with informed people like Liu Laoshi of Taipei's Stanford Center and Zhengguo Kang of Yale University , thus creating an interesting account of the translation process which would make fascinating reading for general readers and scholars alike. Indeed, in terms of the study of Shuangqing's poetry, this book is hard to match. Truly this work by Professor Ropp will make a significant contribution to the fields of cultural and gender studies, China studies, anthropology, and even other branches in the social sciences. One of its strengths lies in its innovative methodological approach which I have already mentioned above. It is obvious that the author of this manuscript has read a vast quantity of materials in a wide variety of fields, and many of the primary texts he read in the original Chinese. In particular, this is the only book (in any language) which discusses in such depth the history of reception regarding the story of Shuangqing. There is no doubt that Professor Ropp's scholarship is both sound and solid. Moreover, he writes in an elegant and powerful style that holds the reader's attention to the subject amidst highly detailed descriptions and discussions.

Professor Bernhard has written a lucid yet dense explanation of phenomenon that, while much commented on, remains unexplained: Central Bank Independence. Considering the relationship between legislators, parties and central bank independence, Bernhard inserts politics back into a topic where it was previously neglected.

A valuable contribution to political economy and comparative politics.

From Gob's review of an unendurable anthology: "The divide between matter and manner shows up particularly in the overuse of similes. Indeed, after wading through this book I'm ready to propose that the simile be abandoned altogether as a literary devise, or perhaps relegated to private eye novelists. The endless marshaling of elaborate comparisons creates lines top-heavy with their own cleverness."

Okey-dokey. But I resent Gob's prissy use of the word "simile". Which it technically correct, of course. But I wish he had used "metaphor" instead.

Gob quoted the following lines from Branwell Bronte: "He whose hopes are o'er / Turns coldest from the sufferings of mankind." My guess is that people develop a profound indifference to global-scale human suffering when they realize that Planet Earth is absolutely hopeless. Rather than when their own personal lives go down the toilet.

Gob then goes on to say about the Brontes: "Poetry, conceived as a fluid medium for preserving and broadening the spirit of childhood play, has in the end betrayed them. They would finally mistrust it as an opiate, an instiller of false hopes."

That's a good reason for hating poetry but it's not the best reason. Ned Rorem hates poetry for its unbearable highmindedness and I feel the same way: "Poetry's dangerous. Oh, not because it exposes 'truths' to the world, no. It's dangerous for the poet: it makes him look sappy to *talk* that way. I distrust the impulse, and I shan't read poems anymore. I hate that word. The pomposity of Poetry. I could scream."

Sports Illustrated had positive things to say about this book

An excellent source for introducing new words in a non confusing presentation. It's more interesting than flash cards for sight words.

Bob Jackman and Ross Miller are two of the finest political scientists today. Their book--Before Norms--takes a daring and engaging position opposing the idea that one can trace political outcomes to cultural behavior. Instead, Jackman & Miller argue that one can more accurately understand political outcomes through institutional design. This book is sure to serve as a lightning rod for debate in the years to come on how one can explain political outcomes.

Robert Converse Bailey's book is both illuminating and highly knowledgeable, revealing him as an anthropologist of the highest order. It is, however, a great shame that he chose to lavish his attentions on such an aggressive and discourteous tribe as the Efe.
Having lived with the neighboring Aka pygmies for many years, I have often heard the lament: "Curse the Efe with their stinging sharp arrows!" I have even witnessed the Aka, while singing one of one of their magical polyphonic songs, cruelly interrupted by an arrow flying out of the bushes and lodging in one of their tiny behinds. The distinctive high pitched laughter that resounds throughout the forest during such occasions leaves one in no doubt as to the culprits.
The Aka are a peaceable tribe, whose family units are strong and who hunt together with nets. Yet how often have I heard them, in that peculiar clicking and ululating tongue of theirs, describe how they wished, "the Efe be chased by bees, and have termites infest their huts. Curse them and their multi-caretaker child-rearing techniques!"
One hopes that a pygmy war may yet be avoided, but books such as Mr. Converse Bailey's only enflame the egotistical nature of the proud Efe and increase their appetite for mischief beneath the jungle canopy.

The author proposes to study the Vietnamese expatriates living in Paris, France and arriving in that country between 1954 and 2000. The majority came to France after 1975. Although they formed a minority group, they did not actively get involved into French politics.

They had their own politics, which they brought with them from Vietnam. Two groups dominated the landscape: the communist pro-Hanoi group and the anticommunist group. The particularities of these two groups were analyzed and studied lengthily as the author, a Frenchwoman, has been able to "infiltrate" into these groups.

This is an important study that reveals how fractionated the Vietnamese living in Paris are and how politics in the native country still profoundly affects these people. One could say that the Vietnam war goes on in Paris.