History Books

Michael Shapiro does a superb job not only of capturing the excitement of the Brooklyn Dodgers' last pennant-winning season but also of explaining just what the Dodgers meant to so many Brooklynites. Set against the background of the Walter O'Malley-Robert Moses negotiations that would determine the fate of the Dodgers, Shapiro provides logical proof that it was not O'Malley's intention to move the ballclub but that Moses kept making a fool of him to the point where remaining in Brooklyn would have been rather humiliating for O'Malley.

Though never elected to any office, Robert Moses was the most powerful official in New York City in the late 1950s. His power was further enhanced by the fact that the Mayor at that time, Robert F. Wagner Jr. was both lazy and indifferent, and would not have gone far in politics except for the fact that his namesake father was a very popular U.S. senator. If O'Malley was going to get the land and permits to build a new ballpark, he was going to have to go through Moses and Moses couldn't have cared less as to what became of the Dodgers.

O'Malley tired desperately to be taken seriously by Moses and the NYC politicians to where he even had the Dodgers play seven "home" games in Jersey City in 1956. In the end, the Dodgers moved to Los Angeles, not because O'Malley plotted to take them there but because L.A. politicians eagerly and actively courted O'Malley to move to their city while their New York counterparts, especially Moses, gave him the brush-off.

O'Malley wanted to build a ballpark at the junction of Flatbush and Atlantic Avenues, where multiple subway lines and the Long Island Railroad converge. Moses at first wanted O'Malley to build a ballpark in a hard-to-reach part of Bedford-Stuyvesant and later proposed having the city build a ballpark on the site of what is now Shea Stadium. Anyone familiar with Brooklyn knows that if you're riding the subway, it's easier to get to Yankee Stadium from Brooklyn than to go out to Flushing Meadows, where Shea Stadium is.

In any case Los Angeles made O'malley an offer he couldn't refuse--300 acres in the heart of the city, where multiple freeways converge. New York officials made no effort to compete as Brooklyn didn't count for much in their eyes. When the Mets were created a few years later there was no question in their minds that they should represent New York and use the orange "NY" logo formerly used by the New York Giants, rather than the Brooklyn Dodgers' "B."

50 years have now passed since the Dodgers moved, and Walter O'Malley has been elected to the Baseball Hall of Fame. The ballpark he built and paid for (which opened in 1962) remains one of the most beautiful and popular in major league baseball. Shea Stadium, on the other hand, built by Robert Moses with taxpayers' money and opened in 1964, will soon be torn down. What is more, New Jersey Nets owner Bruce Ratner is currently trying to arrange to move his NBA basketball team to that same junction in Brooklyn that O'Malley originally wanted.

Michael Shapiro is an excellent writer and his book is highly recommended!

This book probably doesn't get the sales or the attention it deserves, because the title and the cover make it look as if it's intended just for baseball junkies. But it's far more than that. In just 332 pages, Shapiro tells four stories:

1. The story of the National League pennant race in 1956.
2. The story of why the Dodgers (and therefore the Giants as well) decided to move to California in 1958.
3. The social, demographic, and economic changes that Brooklyn (and, by extension, much of urban America) experienced in the post-World War II era.
4. Thumbnail sketches of the personal lives of the core players in the Brooklyn Dodger lineup from 1947 through 1956.

None of these four themes is given short shrift. Furthermore, Shapiro has organized this book beautifully. He seems to have done a perfect job in choosing exactly where to break the narrative of the Dodgers' wins and losses, and insert a section about the changing character of a neighborhood in Brooklyn.

Not only that, but Shapiro's writing is superb. Here is his account of the last pitch of the last Dodger game of the regular season - a game they had to win in order to clinch the championship, with Dodger Don Bessent pitching to Pittsburgh's Hank Foiles:

*****
Don Bessent went into his windup. The last thing he thought before releasing the ball was, he later said, "Tight, keep it tight."

Hank Foiles swung. The next thing he heard was the thud of the ball in Roy Campanella's mitt.
*****

You don't have to be a baseball fan to enjoy this book. You just have to enjoy good writing and a wonderful story, wonderfully told.

I have long been interested in the old Brooklyn Dodgers, having read multiple books on the subject. This is among the best. First of all, it is an excellent read. There is plenty of baseball included in its pages, and the Dodgers teams of the 50s were always interesting. But I learned much more than I expected from this book about the politics that led to the team's move to California. It's too bad the franchise couldn't have remained in Brooklyn, but the reasons they left were different than I would have imagined. The book also paints the picture of a post-World War II New York that was rapidly changing. As a lover of baseball, history and baseball history, I thoroughly enjoyed this book.

Wow. First let me say that I'm not a Brooklyn resident or a Dodger fan and picked this book up without knowing anything about it. The book turned out to be one of the best baseball books I've read in quite some time.

I was drawn into the book immediately. It is clear in the Prologue that Shapiro is a very good writer and that the book is as much about the fifties and Brooklyn as it is about a pennant race. The book is enjoyable on both fronts.

Shapiro does a great job of weaving a portrait of the changes going on in Brooklyn in the mid-fifties and giving younger readers a good idea of what it was like to grow up in that era. It is clear that Shapiro has done quite a bit of research and I think the reader really gets a good look into the personalities of the players and other characters in the story.

Any fan of baseball history will do himself a favor in buying this book. It truly deserves more acclaim than it has received.

THE LAST GOOD SEASON, by Michael Shapiro, earns itself a provisional rating of FIVE STARS in my mind, based primarily on the quality of the writing (which is uniformly excellent) and the depth of the research (which, within limits, is exhaustive). Yet the book deserves, like Roger Maris' "61*", to be only a qualified ***(**) success.

Much of that qualification comes from Shapiro's heavily touted and slanted thesis that Dodgers owner Walter O'Malley was not responsible for the Dodgers' departure from Brooklyn in 1957, after Robert Moses refused to build a replacement for the aging Ebbets Field.

Shapiro's grasp of the facts regarding Brooklyn is somewhat fuzzy. He says, "Jews went to Midwood [High School], poor blacks to Jefferson." Yet in the Dodger era, Brownsville was predominantly (70%) Jewish. It was not until later that Brownsville became a black neighborhood. Shapiro waxes rhapsodic about Midwood (his childhood home?) but slights the rest of Brooklyn. He admits that by the time he became aware of the Dodgers they were gone. Ironically enough, even while granting O'Malley absolution in absentia he makes and supports every argument as to why the man did not deserve it.

Shapiro blames, among other things, "white flight" for the Dodgers' relocation, but then argues that fans come in all colors. It's as if, in pardoning O'Malley, he is trying to convince us of something he really doesn't believe himself.

According to Shapiro, "Robert Moses is the bad guy in this story." This is an incredibly strong statement, particularly since Shapiro admits in many places that O'Malley was mendacious, that he was arrogant, that his plans for a new Buckminster Fuller-styled stadium seemed, at best, to be for public consumption only (O'Malley stole the scale model from the actual designer, Billy Kleinsasser, and used it without permission or recompense at public events), that he dealt with player and staff salaries in increments of hundreds and thousands of dollars not hundreds OF thousands of dollars (i.e., star pitcher Preacher Roe claims his highest Dodger salary was a paltry $28,000.00 in 1955), that he did not understand the "Little People" who were Dodger fans, that he once (as a youngster) traded a stack of Dodger baseball cards for one Giants' Christy Mathewson, that he fined employees who mentioned Branch Rickey's name in his presence, and, in short, that he was not really a fan of the team he owned.

Shapiro wants to paint horns on Robert Moses' head, and in some sense they do belong there, but not necessarily in the sense that Shapiro would prefer. Like the Master Builders of Ancient Egypt he had virtually unlimited power in his sphere. The ironically-named Moses was a man with a vision for New York, and he set about creating that vision of shining, rising buildings (such as Lincoln Center), vast bridges (the Throgs Neck, the Whitestone, The Triborough, and the frighteningly huge Verrazano are all his), and endless parkways (as a sampling, the Cross Island, the Belt, the Northern State, the Southern State, the Meadowbrook and the Wantagh) linking New York City and its expanding suburbs in a net of urban development. Yet this visionary had pathological flaws. Monomaniacal in his sphere, he had no compunction about unilaterally razing hundreds of city blocks, evicting tens of thousands, and altering the neighborhoods and neighborhood patterns of New York without a thought. Such changes brought other, unanticipated changes---the "through" expressways of The Bronx relegated it to a kind of backwater status accelerating its descent into slum conditions, and Moses' chopping up of neighborhoods in Brooklyn balkanized the Borough into a patchwork of disconnected rich and poor enclaves. Moses was more successful on sparsely-settled Long Island and in Westchester, where his road network created rather than changed demographic patterns.

When these two prima donnas met head-to-head, they treated each other with barely-concealed contempt. Although Moses was at first favorably disposed to a new stadium in downtown Brooklyn, this agreement soured within days. Without access to O'Malley's papers (which he was refused by the O'Malley family), the reason for this sudden souring is unknown, and ripe for speculation. Moses pressed, at first, for a new stadium in Bedford-Stuyvesant, a declining neighborhood; O'Malley refused. Moses promised him a new stadium in Flushing Meadow, Queens (the future Shea); again, O'Malley refused, declaring that the team was to remain in Brooklyn---he countered with an offer to build in Brooklyn, on the site of a ramshackle meat market. Moses refused to condemn the property (a first for him).

This bickering was never about questions of civic-mindedness, fan appreciation, nor humanitarianism. This was strictly a personal issue between the two men that affected millions of people.

While this was going on, the 1956 Dodgers struggled successfully through their World Champion season. Shapiro's snapshot of the team is far more detailed than his portrait of the politics, and is a joy to read. Shapiro is at his best as he describes the dynamic tensions that existed between the various Dodgers, the great negotiator of personalities, Pee Wee Reese, and their fanbase. It is clear that Ebbets Field was no longer a suitable home, at least without major modifications. Parking was very poor, a serious concern in the emerging era of the suburban commuter fan; the stadium itself needed to be revamped, the plumbing fixed, the seating rearranged. Still, Ebbets Field was only 45 years old, and was a solid structure, despite its flaws.

If O'Malley was indeed "desperate to stay in Brooklyn" as Shapiro posits, then why weren't his efforts directed toward staying? Why was he engaged in a stalemated battle of wills with Moses over a new stadium? Perhaps O'Malley simply wasn't "desperate" enough. Certainly, Yankee Stadium and Fenway Park still stand in less than desirable locations, but they draw dedicated fans nonetheless. Had O'Malley spent a part of his considerable fortune buying up some surrounding properties and building a parking complex, and then incrementally improved Ebbets Field with better seating and new amenities, the Dodger fanbase would have continued to travel to Flatbush.

O'Malley did not do this. He wanted land, and a lot of it, on the cheap---had Moses condemned the meat market, O'Malley would have bought the property for pennies on the dollar, a very attractive possibility to a man who squeezed a penny hard enough to put a permanent wave in Lincoln's beard. Los Angeles offered him that and he jumped, literally across a continent, to get it, taking his team about as far from Brooklyn as it was possible to go in his desperation to stay. Yet, if he'd REALLY wanted to stay, Flushing Meadow beckoned. And despite the fact that Flushing is not Brooklyn, the New York football Giants play in New Jersey's Meadowlands and still remain a New York team (the O'Malley-inspired move of the baseball Giants from Manhattan to San Francisco is another issue). In 1957, many of Brooklyn's fans were Long Island transplants, and more would be as time passed. Queens, while not the best of all possible worlds, would have been a convenient waypoint for fans from the old and new neighborhoods.

For that matter, had either O'Malley or Moses given a damn about Brooklyn, they would have cooperated in building a new stadium and reinvigorating Brooklyn. Neither cared to.

"Walter O'Malley was not a bad man. He was devoted to his wife and his children loved him," Shapiro points out. That's nice to know. But O'Malley was also an S.O.B. in business. The two are not mutually exclusive. "Only a sentimental man," Shapiro writes, "would have stayed." Maybe so. But the Dodgers and the Dodger fanbase needed a sentimental man, they needed a fellow fan, they needed a man who loved the team and who loved Brooklyn. What they had was Walter O'Malley, who saw the team merely as a moneymaking concern. O'Malley's actions speak for themselves, regardless of Shapiro's revisionism. And if O'Malley was "not unique" among team owners but merely "so obvious" about his profit motives, the blame is still his for eroding the spirit of The Game, and beginning the slide to where we are today in baseball with its overly mobile nonentity franchises, bloated payrolls, stars on steroids, cupidity and stupidity, and fan disinterest.

In the face of necessity, sentiment oft-times does not serve. But in circumstances of choice, such as faced by the Dodgers, sentiment can be a hedge against callousness.

What O'Malley (and Moses) failed to grasp is that a ball team is more than an agglomeration of men in uniform standing around in an open field. He (they) failed to grasp that a baseball game is more than just nine innings and a cold toting of runs, hits, and errors. It is a conversation at a water cooler, a friendly argument over lunch, an invitation to meet at the ballpark on Saturday afternoon for dogs and beer and a chance to see The Duke of Flatbush. It is a sense of neighborliness, a sense of pride, and was---still is---an important part of Brooklyn's special identity.

As Roger Kahn says in The Boys of Summer, "In the best of all possible worlds the Dodgers would be in Brooklyn and Los Angeles would have the Mets."

That's as it should have been.

i found all three books in this trilogy fascinating. it was a painless way to learn about the french revolution, napolean and josephine's lives, and a multitude of other historical facts. the books moved very quickly and from the time i picked up the first one i was hooked!

I don't need to repeat what eveyone else seems to be stating in their reviews of this book and the entire Josephine trilogy; the story flows from start to finish.

I very highly recommend this book!

A perfect ending to a wonderful trilogy. Gulland has clearly done her research and France comes alive through the eyes of Josephine Bonaparte. Compassionate, kind and well-loved in France, Josephine also gives us a very intimate and sympathetic insight to Napoleon Bonaparte. I enjoyed this whole series and would heartily recommend it to anyone interested in the French Revolution, the French Republic and the rise of Napoleon. It is engrossing, humorous and heart-rending. Highly recommended.

While this book stands out on it's own merits, you would be doing yourself a huge disservice if you didn't read the first two books in the trilogy first ('The Many Lives and Secret Sorrows of Josephine B.' and 'Tales of Passion, Tales of Woe'). This is probably my favorite group of books and everyone I have let borrow them feels the same. All are well-written and easy reading (as well as interesting history). I am only sorry that Sandra Gulland hasn't written any other books...yet. I keep hoping.

I can't express how much I loved this wonderful novel. The most accurate adjective I can think of would be 'interesting'. This book was soooo interesting. Gulland's attention to detail is absolutely meticulous. She used over 400 sources in the writing of this trilogy. I learned so much--not only about Napoleon and Josephine, but also of other historical figures of that time. I also found the daily life of the aristocracy not only fascinating but also exhausting.

Napoleon Bonaparte and Josephine Beauharnais are some of the most intriguing characters in history. Their story is so compelling and Gulland does a wonderful job of presenting it. Her 'Josephine' trilogy tells the story of Marie-Josephe-Rose Tascher (Beauharnais Bonaparte) who was born on the French Caribbean island of Martinique in 1763. She died, as she was still known, as the Empress Josephine at her beloved Malmaison in Paris in 1814. THE LAST GREAT DANCE ON EARTH begins in March 1800 at the Tuileries Palace in Paris and ends at her death. But, Gulland has a special treat for her readers. She ties up all the loose ends by telling us what happens to all the characters in her novel. I loved that! In fact, I was taking a tour a couple of weeks ago in St. Augustine, Florida and the guide told us that this is where Napoleon Bonaparte's brother came to....I now know that it was Jerome. The author also has a chronology with detailed accounts and dates of events in the last fourteen years of Josephine's life. Gulland also used actual letters of the pair in this book. And again, the pages are peppered with footnotes that add credence to this story.

In book three we're treated to more of the deep and abiding friendship of Josephine and Napoleon. The love they had for each other is legendary. Napoleon was a wonderful father to Hortense and Eugene and they also adored him. But Josephine had to put up with her horrid in-laws, their jealousy and constant designs of destroying her marriage, their lies and the constant undermining--geesh, she was more patient than I could have been. They eventually succeeded. Despite going through horrible and archaic treatments for infertility, Josephine could not conceive. As we all know, Napoleon divorced her in order to gain an heir. Even then, they continued their friendship and love.

I have been mesmerized with Napoleon and Josephine since visiting the Lourve for the first time as a college freshman and falling in love with David's "The Coronation of Napoleon." Then, after visiting the famous, albeit headless statue of the former Empress at her birthplace in Martinique, my curiosity became insatiable. We learned that Josephine's head was cut off because she influenced her husband to reinstate slavery. I was hoping to read an explanation in these novels but it was never mentioned (although Martinico is mentioned quite often). Which comes to another point: Gulland mentions that researching the lives of Napoleon and Josephine is addictive; I've already bought two more books, maybe I'll find the answer to my question!

This is the best most spectacular book on leonardo to date.What can i say that hasnt already been said in the reviews above except that i cant believe that a couple of reviews gave 3 outof5 stars for this book. I think the book deserves 10 out of 10. The book is a masterpiece in itself. Keep up the great work.

I first saw this outstanding book at the Palm Springs Air Museum's Da Vinci exhibit last month. It is a comprehensive and beautiful tribute to Da Vinci's genius that young and old alike can enjoy for decades. Spending an hour glancing through its pages is a visual treat; reading it to more deeply appreciate his multiple talents will take years. Though the price of the book may seem high, it is an unique volume and worth the price.

without studying Leonardo da Vinci, one of the greatest Italian Renaissance artist and would-be inventor of all time. He left us a legacy of paintings, drawings, diagrams, inventions, and even sculpture for all to see. He's known more than the Mona Lisa painting, he's an inventor of sorts as well as a very fine draughtsman.

This book should be a required course for art students everywhere.

this book is a daily source of admiration, exposed on our table and we change the page practically every day to have a new work of wonder to admire every day. combined with more and deeper information on leonardo da Vinci the true art becomes clear.

The massive size of this book is only dwarfed by the enormous amount of information it contains. Did you know Leonardo Da Vinci conceptualized the helicopter...or the x-ray machine...or even the engine???? He did indeed and it's all in this comprehensive anthem. I highly recommend this book for the Da Vinci neophyte as well as the most avid "Leo scholar" as both will be awed and amazed.

At first you can't help but chuckle, especially if you were around during the 80's. Alot of the work in here is very time based and looks like posters hair metal bands would drool over. Regardless of the decade inspiration, the sheer talent Olivia has will keep you studying a piece long after your nostalgia for the days of air guitar and Iron Maiden ware off you can't help but see nothing but beauty on page after page. My favorite piece is "Cat and Mouse" it's a bettie page number. Enjoy!!

Second Slice, The Art of Olivia is two books in one...sort of...about ¾ of the book is displays Olivia's paintings in portrait format. Flip it over, and the rest of the book is in landscape format...a flip book for adults! Olivia's second slice is every bit as filling and delectable as the first offering featuring 124 pages with 140 paintings in full color. Each of the two sections provides a detailed index with the name of the piece, size of the original painting, materials used, the name of the model, as well as Olivia's own commentary on her works. These comments are often as entertaining to read, as the paintings are to view.

The models used in this edition include Pamela Anderson, Rhonda Shear, Bettie Page, Julie Strain, and Sandra Taylor. The paintings of the saucy Julie Strain are some of my favorites in the book. With her long, kinky black hair, ample curves, and playfully wicked smile, Strain made a wonderful pin-up queen for the 1990's, when most of these pieces were completed.

Olivia experiments with many forms of style and color, which make for some of her most striking and exotic work to date. This is well displayed in "Zebra Lady III" as the nude, striped model (Rhonda Rydell) blends into and almost disappears into the striped backdrop. While not necessarily known for darker, gothic works, Olivia clearly shows she can compete with the best in that genre with works such as the female vampire on display in "Things that Go Bump in the Night" and the winged, horned "Banshee" which serves as one of the book' covers.

Flipping to the landscape side, the buxom blonde bombshell Shear is captivating in the painting entitled "Pomeranians" as she finds herself lying on the ground, covered in a wrap made out of those furry, little dogs.

Second Slice is another gorgeous collection of Olivia's works, all from the 80's and 90's. It is filled with gorgeous women and bold, sassy, and exotic colors and settings. Olivia continues to prove why she is at the top of her game.

Reviewed by Tim Janson

Olivia was one of my favorite artist, and in my collection of Illustrations books she can't be absent. This new collection of paintings shows her skills to mold all kind of techniques.
A must have release.

Olivia is the Vargas of our time. As Vargas took the reigns from Petty, Olivia has done the same, and Just like Vargas went beyond Petty in terms of realism, and delicate beauty, Olivia De Berardinis has taken cheesecake to a whole new level. Every pose, expression, and little bit of body language is put to use. Every Shot is beyond what a glamor photographer would dream of. Utter Perfection on so many levels. There is definitely some of her art that pays tribute to Petty, and Vargas among other legends of pinup in many of her pieces in most of her books. This one is a collection that spans many realms, and genres as would only be appropriate in our day. (Frank Frazetta influence spans the universe) There are no pieces that are over the top goriffic, or Horrific works like Clevenger, but there is some definite influence from Fantasy art in a portion of this book. The cover of this book was also a cover on Heavy Metal Magazine of which Olivia did many covers for in the past. This book is like an homage to the beauty of the feminine and female form, as is all of her work. Mouthwatering is the only description I can give it. If your looking for extreme fantasy, or horrific, gorrific works go for Clevenger. But if you want to see the beauty of the female form that can only be described as: like looking into the eyes of an angel". Olivia's books will do you no wrong. This one is no exception.

Who better to draw women than a woman? Olivia De Barardinis is the undisputed queen of cheesecake art, that wonderful if ill-defined blend of sensuality, sexuality, humor, and glamor.

Although her style covers a wide range, each illustration depicts a lone model. Based on Olivia's notes at the end of the book, it sounds as if each woman's presence is just too big to share a page with any other. Each time Olivia paints, she captures something unique to the model, so two models might confuse the directness of the image. Other visual elements appear in her work often enough to form a recognizable ensemble: happily erotic poses, improbably high heels, and lingerie ranging from antique to futuristic fanatasy. Various of the paintings here show other influences, including Bettie Page, Klimt, Marilyn Monroe, Erte, and generations of other sensualists.

Olivia uses the last few pages to add notes describing the paintings. The text identifies each one by title (if any), year, medium, and usually the name of the model. In many cases, Olivia says a bit more about the woman depicted, the inspiration for the image, or something else to help the reader enjoy the picture - as if help were needed. Then, the last two pages let her talk about the creative process in each of her media, including watercolor, gouache, acrylic, and her trademark oil. I recommend this to anyone fascinated by Olivia's voluptuous, vivacious vamps and vixens.

-- wiredweird

We have been reading this book for the past year and just purchased a copy for a friend. It offers incites into people's lives, summaries of events and people, and quotes that you will want to share with others. We recommend it highly to all who are interested in the past and influences on people's lives.

Excellent education on Christian history as a daily devotional with wonderful examples of walking in the faith, even unto death.
Highly recommend.

This devotional is worth your money and effort to purchase. It tells each day what happened in church history on the day you are reading.

There is a lesson to be learned from the past. This devotional is not based on Scripture. So, it is not the standard devotional. Make sure you know that before buying.

It is a real jewel for church history buffs!

I received this book as a Christmas gift from my brother. I was so impressed with it that I bought three (from Amazon) for each of my grown children. They now use it as a daily devotional. very interesting and educational. I have learned alot about the origins of my faith.

I continue to be inspired and delighted to read the stories of Christian men and women who are part of the multitude of witnesses to the life of faith. The 366 biographical/historical sketches are extremely well written and thought provoking. My wife and I use it as part of our morning devotional time.

This scholarly and highly readable book is of importance to art historians, historians, and anyone with a serious interest in orientalism as both an art movement and a western cultural phenomenom. The illustrations are superb,and the additional profile articles on key orientalists (such as Richard F. Burton) are an added bonus. This book is certainly worth more than its price and will be of lasting value to future readers.

Brilliant book completely covering the subject, solid research, perfect rare illustrations. Lots of forgotten and difficult to find names. Very useful and highly recommended - worth every penny!

"coffee table" art books are usually just vehicles to display reproductions of the paintings. Not here - Davie's writing would make compelling reading if it was published in regular book format. He mainly focuses on orientalist painting itself - and shatters the critics - but he also has a fascinating section on four famous 'orientalists' which include Richard Burton and Lady Digby.

The reproductions are are splendid very accurate ( i have the pleasure of having easy access to some of the original paintings) and capture the exquisite craft of "Orientalist" painters. often with close ups of parts of painting that allow the reader to see the elaborate detail.

Worth every penny. I find myself reading it again and again.

An outstanding volume providing high quality images and interesting commentary. Too many art books commit the sin of spreading large images over two pages so the picture gets lost in the spine - not this one. Orientalist paintings are crammed with detail to show the erudition of the artists and their patrons: for once you can see plenty, and you're not sold short by the layout or the print quality. Not a book if you're looking for lush pictures of harem lovelies, one of the aspects of orientalism not given such high prominence here. Over all impression? The many different effects created by light in Middle Eastern landscapes, and the skill of these artists in capturing it

Really I'd like to give this 5 stars but for the lack of women it's 4. I feel sort of silly doing so because the art is astonishing and the sheer beauty just magnifies how "art" has changed. I wonder if any artist alive today could come close to duplicating these masterpieces. I doubt it. And Mr Davies writing blends with the terrain and subject matter splendidly.

For me, the most interesting thing about Rachlin's very interesting memoir was the incredible strength she showed in forging a life for herself that was so different from the culture she was born into in Iran and for which she had very little or no family support. It is a very personal tale of courage. Rachlin was given to an aunt to raise shortly after her birth and then wrenchingly, for both Rachlin and her aunt, taken away from her when she was about 8. I suspect it was this horrible experience that later gave Rachlin the courage to leave her family to attend college on a scholarship in the United States and to live an independent, solitary and self-sufficient existence in the United States for awhile before she met her husband.

If I am at all disappointed with this book it is because of the emphasis Rachlin places on arranged marriages as the cause of unhappiness in women in the culture she was born into. Rachlin's sister was in an abusive arranged marriage as were other women in her family. I know some couples who are in very happy arranged marriages and I know a lot of women who are very unhappy in marriages of their own making. The divorce rate in the United States certainly attests to that.

No, I would not have liked my life and/or marriage determined for me. And I value the ability to chart my own course. But Rachlin goes too far I believe when she seemingly equates arranged marriages with unhappiness and abuse.

But overwhelmingly, this is a very interesting, and although somewhat sad, nonetheless a charming book.

Very interesting to learn about the Iranian culture from an author who is unafraid. I felt her writing portrayed her pain as well as her strength. HIGHLY RECOMMENDED!

Particularly in the current political climate, I was hoping that this book would provide a fascinating look into a culture that is, at best, underrepresented in mainstream English language books and, at worst, criticized, discriminated against, and even hated; the fact that the author is a woman made it all the more enticing as I simply can't read enough of how my fellow women live, survive, and thrive in other cultures.

PERSIAN GIRLS delivers on all accounts and has made me want to learn more not only about this intriguing woman--cappuccino is on me if you're ever in southern Italy Ms Rachlin!--but also about Iranian history and culture in general.

From Rachlin's difficult childhood with a mother who didn't seem to want her and a father who wanted only control to her struggle for independence and acceptance in America, PERSIAN GIRLS places the reader in the very heart and mind of the author as she rises to each successive challenge placed before her.

From the time Rachlin was taken from the only mother she knew, I found myself cheering her on-a credit to an outstanding opening scene that transports the reader to 1950s Iran amidst a prayer rug, a Koran, rose water, a paraffin lamp, and hot summer nights spent talking about a golden ladder descending from the sky.

And yet Rachlin's writing style isn't nostalgic or wistful. She presents her life with such an objective tone sometimes that I forgot she was telling her own life story--and this is not a criticism. To the contrary, I felt like what I was reading was a true, fair account of events, and knowing that I'm able to trust the author is so very important.

At times, however, I did feel that there was just a bit held back regarding the working through of her feelings in some of her relationships, particularly the most difficult ones; the fact that some family members are still alive surely had something to do with this, but overall I don't find that this guardedness distracts from the memoir. Rachlin gives plenty of clues into her personality to provide the reader with a sense of what the author might've been feeling, and I don't think there's anything wrong with a little mystery in any book, even a memoir.

On another level, Rachlin's expat status in America really spoke to me, and I'm sure to plenty of other expats as well--the feeling of being caught between two cultures, two languages, two ways of life. On whether she regretted her choice to go to America, in a subsequent interview, Rachlin said:

I have never really regretted my choice to come to America, pursue my own goals. But I am always aware of a loss, a price to pay for the independence I have gained. I don't have easy access and closeness to people I love, because of all the distance between us.

Indeed I wouldn't mind another memoir (or even a how-to!) from Rachlin on her marriage to an American and raising her daughter in a country that is a sometimes enemy of her own. I look forward to reading Rachlin's fiction as well.

I wholeheartedly recommend this memoir to anyone with an interest in women's history, cultural differences, the Middle East, family relationships, love, or, you know, life.

This review originally appeared on my blog here: [...]

The front cover of Persian Girls: A Memoir by Nahib Rachlin has a quote from a Boston Globe reviewer saying that the "memoir reads like a novel", which I felt was very accurate. Nahib has provided us with a peek into her world, spanning over fifty years, and immersing us in the culture of Iran and her family.
Nahib pulls us quickly into her world, showing us her split childhood - life with her adopted mother for her first 9 years, and then life with her birth family. Nahib's birth mother, Mohtaram, was very fertile, she agreed to give a child to her sister, Maryam. It was when Nahib turned 9 that she was considered "of age", able to legally marry, and that is when her father came to get her. When her father took her from her adopted mother, Nahib lost an attentive mother, she gained a sister and confidante.

Nahib's relationship with her older sister Pari is incredibly moving. Both girls loved American movies and the idea of new freedoms for women. I look at my daughters, and hope for them to continue their close relationship - one like what Nahib and Pari had. There were many times as I was reading Persian Girls that I wished I was reading a novel, and that the author could guarantee me a happy ending for everyone involved. The relationship between Nahib and Pari was so intense, and yet fraught with obstacles. Their middle sister, Manijeh, was their mother's favorite, and the obvious favoritism made for a lot of rivalry between them. As time passes, and physical distances between them increase, the bonds between them change and strengthen.

The Iranian Government and its changing laws cast a shadow over the lives of Nahib and her family. Every choice they make has to take the laws and social mores into account. Nahib's brothers go to college in the US, which is seen as a very modern thing to do. However, her two older sisters are married traditionally - in arranged marriages. While all families worry about appearances, in Nahib's father seemed to worry even more than usual. His job as a lawyer seemed tied to how his family is perceived, and he must balance the traditional and the modern.

Parts of Persian Girls feel like a mystery, and one that cannot be solved. Without an omniscient narrator, we only know what Nahib has experienced or discovered. I wish I could see into the heads of many of the characters, but there is an intimate feeling reading one person's memories, one person's truth.

Nahib states at one point in Persian Girls that she feels like she doesn't belong in either culture. I know that feeling is common among many ex-patriots, but I have to wonder if the problems in US-Iranian relationships made her transition more difficult. I found myself identifying so much with Nahid, finding many universal truths within her words, no matter your background.

I highly recommend Persian Girls to anyone who enjoys memoirs and non-fiction, as well as to anyone who enjoys women's fiction or literary fiction - it really is a memoir that reads like a novel. It pulls you in, with vivid imagery of Nahid Rachlin's world. Watch out, though, once you start it you won't be able to put it down easily! I look forward to reading Nahid Rachlin's other books.

Persian Girls is the true story of Nahid Rachlin's experiences growing up in Iran during the years leading up to the Iran hostage crisis.

I was particularly interested to read this when I learned there was an adoption theme to the story -- until she was in elementary school, Nahid was raised by her aunt Maryam. Nahid's biological mother had given Maryam baby Nahid to raise as her own, since she had been widowed without children and Nahid's biological mother already had several children. And interesting sisterly pact.

But at the age of nine, Nahid was yanked from her peaceful existence as the only daughter of religiously observant Maryam to live with her estranged biological family.

The story is a mostly sad one -- there are not very many happy endings in this book, partly because of the iron fist with which her father ruled her family, and because of the fall of the Shah and the rise of Ayatollah Khomeini. But it is an interesting portrait into life in Iran and what it was like to be raised as a girl in a country where daughters were, at least at that time, thought more of as chattel than individuals.

My one reservation about wholeheartedly recommending this book is Rachlin's writing style. I have never read any of her fiction, but this book read more like a series of journal entries than a narrative story. I also kept waiting for there to be some sense of hope, but this seemed to be more a story of resignation than one of triumph -- a tale of the bonds of sisterhood and how the lives of Nahid and her sister Pari came to differ on many levels as Nahid eventually made her escape to America.

While not every story is a happy one, and I certainly enjoy memoirs that aren't 100% happy and joyful, I kept waiting for there to be some relief in this tale about how lives were shattered and how families were torn apart. I found the writing style to be a bit disjointed in places, but not enough to keep me from finishing the book.

For those of us who grew up in a time of new awakening and women's rights in America, this was a fascinating look inside patriarchies of the Middle East, the small roles women had in that society. There are some poignant story arcs that I don't want to spoil, but ultimately, Persian Girls reinforced the stereotype we have about how women are treated in that part of the world and the lack of value placed on women's lives.

This is not your so called war stories. It is about a man and the men he served with without any liberal gibberish (see his references to more modern times)and the fact that wars happen and will happen, just or unjust depending on one's views. But, they won't go away like some Utopian dreamers think just because other "Utopians" weren't up to it. There were so many pages that hit me in the gut because one could so readily identify with things on the page. I never expected such a great book from a journalist / media person which proves that there is good in every crowd. I salute Fraser and I wish I could tell him so in person.

GMF has outdone himself with this book about his part in the Horrific war in Burma during War II. He tells of his time as a junior enlist then junior NCO with the Border Regiment. He spins his tale extremely well about the story of the last great War fought by the Old Anglo-Indian Army of the Raj. So if you want to get a feel for a bygone Army, its various & exotic troops, weapons and some great characters like the Iron Duke and the Impressive FM Slim then this is the place for you.

I read this entire book with a smile on my face, punctuated by frequent outbursts of laughter. George MacDonald Fraser's memories of his WWII service with the British Commonwealth Army in the Burma campaign was the first of his non-Flashman works I've read. Although it's impossible to really compare two completely different literary genres, I'll just say that "Quartered Safe Out Here" was-in its own unique way- as hilarious, if not more so, than the best of the Flashman novels. The difference is that in the Flashman novels, Fraser's obvious respect for the sacrifices and achievements of the British soldier had to be viewed as a backdrop to the foreground humor while the opposite is true in this work, where the humor plays a supporting role to his tribute, which is explicit.

Unlike his Flashman creation, Fraser was an honest-to-goodness war hero- courageous, honorable, and immensely proud of his country, regiment and platoon section. Like old Flashie though, Fraser cuts through the B.S. and shows no tolerance for armchair generals, civilian second guessing, and the nattering classes' politically correct sympathizing for Britain's enemies, so long as they were black, brown or yellow. It was amusing how Fraser's account of his argument with a bleeding-heart over the atomic bombing of Japan exactly echoes Flashman's dustup with a supercilious academic at the beginning of "Flashman and the Redskins". The alert reader will notice other such episodes in this memoir that seem to have found life in that series, but as Fraser noted, sometimes real life in Burma was so bizarre that he would have been laughed out of town if he had tried to slip some of those stories or dialogue into his fictional novels or screenplays. That's why I'm glad he finally got around to writing this book. It would have been a real shame if this story had not been told.

Fraser details his time as a 19 year old soldier in Burma during the last months of the war. His writing is brilliant, as usual, his stories engrossing, his attention to detail is fascinating, and the characters we meet, from the lovably obscene Cumbrians to the unbelievable Captain Grief, are unforgettable, the more so for being real. Apart from the entertainment value, which is considerable, Fraser's insights into the nature of war and the warrior are poignant and valuable as a historical record of, and paean to, a lost Britain. He bemoans the fact that that Britain (not to mention America) has been replaced by a therapeutic society of hypersensitive p.c. twits who have been severed from the warrior tradition and stoic ethos which made their existence possible in the first place. As with most of Fraser's books, it's not for someone who thinks that the world has improved much in the last 50 years. What else is there to say? This is simply a great book. Read it and love it.

This book had been brought to my attention by the author John McKinna ("The Sen-Toku Raid" and others) when it was learned we both had been combat infantry. And a great recommendation it was. The name of the book was taken from a Rudyard Kipling phrase in "Gunga Din", and outlines the infantryman's life during the final days of WWII as the Black Cat Division pushed down the Burma road towards Rangoon.

His book is unique in that it recounts the perspective of the war-fighter on the ground, who's entire knowledge of a world conflict is about 300 yards. At one point, he described every piece of equipment on his person, a bit of historical information I found of great interest.

Interspersed with this narrative however, was Fraser's meticulous research of after action reports of the units involved to weave a mosaic for the reader that helped round out the full picture of the campaign itself.

Overall, a great read.

George MacDonald Fraser, best known for his Flashman novels, and, in my opinion, one of our best writers, gives us here his nearly fifty-year-old memories of his service in Burma in 1945.

There is so much to like about this book that it's difficult to know where to begin. There is Fraser's absolute honesty about his fears, his mistakes, his attitude toward the Japanese, and the virtues and vices of his comrades. There is his ability to place his unit's activities within the context of larger campaigns and yet give a vivid impression of what fighting with his unit must have been like. There is his brief but compelling portrait of General William Slim, for whom he has an unabashed admiration. There are moments of low humor, of heroism, and of tragic loss of life, and there is an unapologetic pride in what he, his comrades, and the rest of the British and Allied forces accomplished.

This is one of the best books that I have ever read, and I recommend that you make it one of yours.

"A vivid account of how Jackie Robinson and Branch Rickey shattered baseball's age old color line. A must read for baseball fans everywhere. A wonderful book so ably pulled together by noted baseball historian and journalist Harvey Frommer."

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"Just a terrific book. It fills in so many of the blanks about the story of Jackie Robinson and Branch Rickey. It's like a history lesson. And the intro by Monte Irvin puts it over the top." - - -Billy Sample, MLB Radio
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The Story Of Rickey And Robinson
by Russ Cohen
BASEBALLOLOGY.COM

If you have never heard of Branch Rickey or Jackie Robinson, boy do I have a book for you, it's called Rickey and Robinson: The Men Who Broke Baseball's Color Barrier! Jackie Robinson was one of the greatest multi-sport athletes to ever walk the earth and Branch Rickey was the guy with the guts that gave Robinson his chance to shine, it's a truly amazing story.

Rickey was a lawyer with a rich history that will amaze you in this book. As always author Harvey Frommer goes into tremendous detail to shed even more light on a great story!

Robinson was a true American hero and this book talks to all the right people to give you a feel of how Jackie felt and was feeling during his playing career. The book also points out how he was a civil right's activist as well.

The book talks a lot about the Negro Leagues and mentions even more players that you may not have heard of that unfortunately never made it to the bigs. Anytime you can read about Josh Gibson, Roy Campanella and Satchel Paige you are in for a fun time.

Jackie died a young man at the age of fifty-three-years of age. This great man had to endure more stress, on and off the field, than most people could imagine. His funeral had 2,500 mourners and when you see the names you will see the type of respect that Robinson garnered.

The author does a great job of keeping the final chapter of Robinson's life as upbeat as possible. It was sad but there was so much good to reflect on and the book did that. The afterword was a nice little story and the boxscore of Robinson's first game along with Rickey's player and managerial record are priceless.

Buy this book now

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Professional athletes are probably no more ignorant of history than the rest of us, but there was something especially disturbing about the number of modern players who, in 1997, during the fiftieth anniversary of Jackie Robinson breaking the baseball color line, revealed that they didn't know who he was. Pollsters probably didn't ask, but it's likely even fewer would have known who Branch Rickey was. That black players in particular, whose careers follow the path that these men blazed, do not comprehend and honor the debt is most troubling of all. Anyone wishing to remedy their own lack of knowledge, and even those who think they already know the whole story, will find Harvey Frommer's Rickey and Robinson an invaluable resource and a truly moving read.

Mr. Frommer had the novel idea of structuring the book as parallel biographies of the two men, their stories overlapping and lives knitting together for that remarkable period of years when they, almost by themselves, integrated major league baseball. Jackie Robinson's is the better known tale, from UCLA to the Army to the Negro Leagues to the Dodgers' minor leagues and then to Brooklyn, with a significant career in business and politics afterwards. And most baseball fans will be familiar with Branch Rickey's reputation as an innovator, his most lasting contributions, besides integration, to the game including the batting helmet and the organized minor league farm system. Met fans too will recall Ralph Kiner's stories about how tight-fisted and patronizing (in both the positive and negative senses) Rickey was with his players. But Mr. Frommer gives us a full picture of the man, of his religious background (which seems to have played no small part in his willingness to be a racial pioneer), his keen mind for the game and for business, and his endless maneuvering to improve his teams. Each man led a life full enough to support a biography of his own. Here we get both and they're fascinating.

But the event that defined their lives was the meeting on August 28, 1945, at Brooklyn Dodgers headquarters, between Rickey and Robinson. It's astonishing to realize that this first time the men ever met, Branch Rickey asked Jackie Robinson to take on the daunting task of being the first black man to play organized white baseball (at least since the color bar had been erected decades earlier). But Rickey had made a true project of the whole idea, had scouted the Negro Leagues and the personal backgrounds of the prospective players thoroughly, and he knew Robinson was uniquely well-suited-- by his ability, his intelligence, his education, his relatively middle-class California upbringing, and his temperament, desire, and will--to bear the burdens. And so "The Meeting" was not just a get acquainted session, but an opportunity for Rickey to probe and to prepare Robinson, even to the point of demonstrating the kind of taunts he should expect to hear, before offering him the bittersweet role of, as he put it: "carrying the reputation of a race on your shoulders."

The whole book is enjoyable but it is this chapter that really sings. The Meeting has been the subject of books, film, stageplay, and more, but it's never been told better than here, with high drama and a sense of history, but also with an immediacy that makes the reader feel like he's a fly on the wall in Rickey's office those sixty years ago. No one can understand what happened in baseball and in American society over those sixty years without knowing the story of Rickey and Robinson and, Mr. Frommer having given us such a rewarding and readable book about the men and their noble achievement, there's no excuse for not knowing it.
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Pinstripe Press
Rickey and Robinson
The Men Who Broke Baseball's Color Barrier
Blending exclusive interviews with Rachel Robinson, Mack Robinson (Jackie's brother), Hall of Famers Monte Irvin, Duke Snider, Pee Wee Reese, Roy Campanella, Ralph Kiner and others,
- The Pinstripe Press

Celebrated author Harvey Frommer evokes the lives of Brooklyn Dodgers General Manager Branch Rickey and heralded baseball player Jackie Robinson to describe how they worked together to shatter baseball's color line.
"This book clearly illustrates the elegance and class that BOTH men showed on the field and off. Frommer has provided a fresh perspective and a testament to overcoming adversity in the face of ignorance. Rickey and Robinson is a must read for hardcore baseball fans everywhere."

I would love to read this book, my great uncle died aboard the Leopoldville and though the family has been told stories from some of the survivors, it would be nice to have a researched account of it all. At $1,050 a copy, I fear it may take a while before that happens, but all the same, i'm glad someone took the time to find out the truth about this disaster. This month, my great uncle's 3 brothers are all being awarded medals for their service in WWII, Korea and Vietnam. These are the real heroes, these four brothers.

This true story of the souls lost and those who lived on from a World War II disaster is unequalled in military history. There is probably no other single incident in WW2 that compares to or involves so many lives in so many states, stories that continue on to this day. The stories Andrade provides, and his writing ability place you on the Leopoldville on Christams Eve, 1944, the day it was lost.

My father-in-law's brother perished in the sinking of the Leopoldville. I married into the family 20 years ago and never really knew what happened to Uncle Waldo. Now I am filled with a great sense of loss at never having known him--and that loss is compounded as I think of the nearly 800 families who lost sons, husbands, fathers, and uncles.

I am also filled with a great sense of appreciate and reverence for all those on board--for those who gave their lives and for those who survived the terror.

Allan Andrade did a great job of presenting the story and introducing those who involved. They are very real people to me now. I finished the book with tears streaming down my cheeks. This is a must read for anyone who had family involved in the sinking. It is an important piece of history for everyone. It reminds us of the price others paid for our freedom, but it also raises important questions about the mistakes or errors that contributed to the loss and the failure to acknowledge those problems.

Thank you, Mr. Andrade, for writing this important book.

I just put this book down and was astonished both by the tragedy of the disaster and by Andrade's insightful and meticulous reporting. I highly recommend it.

"`Hey, I'm alive!' Drew blacked out. When he came to, he found himself on a beach, naked protected only by a raincoat thrown over him. He heard a faint voice `Throw him in there too.' Drew, realizing that they thought he was dead, yelled." This is just one of many harrowing tales of a life and death struggle resulting from the sinking. "SS Leapoldville Disaster, December 24, 1944" is the story of this troopship loaded with American troops being rushed to the help in the Battle of the Bulge. It was sunk barely five miles from shore taking with it 763 American servicemen. The book consists of many short stories detailing individual accounts of the disaster. Even the Introduction has 38. These were compiled from hundreds of interviews and research. Andrade includes many actual copies of letters. Perhaps the most moving are letters from parents to their sons before they knew they were dead. One story in particular is very moving: "Lt. Gene Barwick died that night. They never recovered his body. Each Christmas Eve reminded Barwick's parents of his death. His young bride eventually remarried and had two children but 20 years after her first love's death, she took her own life on a Christmas Eve." Many who died were only 18 to 21 years old and came from 47 of the (then) 48 states. All are listed by state in the In Memoriam Section at the end of the book as are the survivors.

This disaster was kept secret for many years. It was understandable during the war but not so afterwards. Allan Andrade has done a service to the nation and to the families of those lost with his book. It is well done, and an easy read - well worth your time!...