Arts and Entertainment Books

Seriously, if you want to learn how to play rock music, buy these books (volume 1 and 2) and practice learning the rhythms and leads and solos. It's challenging stuff for sure, but there's a wide variety of styles and such. I recommend learning all of Patience to start, then move on to harder songs. I learned so much from learning songs and parts of songs from this by striving to play it note for note. Theres a ton of guitar playing on all these songs so it should keep you occupied for a long time.

If your advanced and just want to learn GNR songs then its just as good. Everything is easy to read, the print size etc. is perfect and everything is accurate as far as I can tell. Get both of these books and you have the blueprints for learning to play rock music.

Slash is definately my favorite guitarist and to me there's none better when it comes to playing with heart and soul and technique to match. If youre serious about self teaching yourself rock guitar definately give these books a try, it will be very rewarding.

Includes songs like Break Down, Civil War, Don't Cry, Knocking on Heaven's door and more - just fun to play. A must have for all those who play the guitar or Guns n roses fans. Don't forget to buy volume 2. Doesn't have the songs from: 'The Spaghetti Incident?' though, maybe it's better this way because that album wasn't too good.

I love how every single song is in this two book set (Complete I and Complete II). It's very thorough and it has every signal note from every Slash solo. But, it is a bit advanced (for me too) and a lot of it is pretty complex. Good thick tab book though.

If you want to learn Guns N' Roses songs exactly how they were recorded, get this book!

This is a brilliantly written book about remarkable and eccentric character in the Indian films. Guru Dutt was a complex man but a simple soul who was always unhappy with his life. Unlike other filmmakers, Guru Dutt did not copy western filmmakers. You can read this book many times and still not figure out what Guru Dutt wanted in life or what type of person is he. Does any one know what they want in life? Many of his colleagues become emotionally attached to him. That was his legacy.

The author states that she came up with the idea of writing this book while she was working on a documentary on Guru Dutt for Channel 4. Therefore, this book contains rare insights by people who knew Guru Dutt intimately. This is what gives this book its life. And if you haven't watched the 3 part documentary made by the author I strongly recommend it. There you will find Guru Dutt's friend speak about him with emotions, something missing from the book.(January 2000)

The 3 part documentary is now available bundled with a special edition of Guru Dutt's Pyaasa released by Yash Raj Films. (Oct. 2002).

This book on Guru Dutt and his films is a rare insight into his life and works. This book soulfully touches the different aspects of his life, the shaping factors, love of the people around him ,the deep spiritual quality and poeticism of his films. It is fitting tribute to Guru Dutt. This is a lovable book can be read again and again. People with whom Guru Dutt worked like Kaifi Azmi ,Raj Khosla and others have so many interesting things to say about the person they loved and respected so much. Guru Dutt and Sahir Ludhiyanwi had some differences after and 'Pyaasa'. The author says that their differences existed only at the superficial level. Their souls merged at a much deeper level in their works How true! In fact when Guru sings 'Yeh Duniya Agar Mil Bhi Jaaaye...' it appears that the persona of Guru Dutt, Sahir has merged into one. It is the cry of the eternal poet . I compliment Nasreen Munni Kabeer for this piece of work. Like Guru Dutt's work, this book is meant to be felt deeply not just read from an intellectual perspective.

when you read this book you will understand why Indian films, at least those of Guru Dutt, have depth and are capable of moving people. There are few books written about Indian cinema as a whole. This book is different because it relies on first-hand memories of the people who worked with Guru Dutt, people who knew him personally, and people whose lives were transformed by their association with him. This book is worth reading if you're interested in cinema or in India.

I am so grateful to have found a copy of the story of "Fibber McGee and Molly" (Jim and Marion Jordan) available in print. This book was published back in the '80s, and this copy was a used one that was, luckily for me, available through amazon.com! I was not content to merely listen to available recordings of the McGees, or to see them portrayed in film, I wanted to know more about the radio show and the protagonists themselves.
The book was not the best-edited or put-together book I have read, but the story is there, and I found it very interesting. My preference for biographies is that they be presented in chronological order, and the chapters tended to move back-and-forth through the time-line, but I had no trouble following the story. I found many typos in the text, and the illustrations, though many, were poorly reproduced, but every one is a treasure, nonetheless, to a lover of Old Time Radio. If you are the type of person who enjoys knowing the people behind the characters, I hope you are as lucky as I was to find a copy of this book. Although it was a used copy, to me it is a keeper!

Thank goodness that this book is out there so that people won't forget the great comedy team of Jim and Marion Jordan.

With plenty of pictures to put faces to names, the book thorougly recounts the lives of Fibber McGee and Molly and their supporting cast.

It's a quick and easy read, and a great peek inside the lives of one of the great comic duos.

Forget the fact that there is no other book on the subject, Stumpf's Heavenly Days is the most comprehensive work on this classic radio show. Half the book is pictures (yes, one on every other page), though the quality is sometimes less than wonderful. Anyone looking for a detailed log is going to be disappointed, but if you're seeking a historical account, richly detailed, this is exactly what you need. No wonder there's not been another book on Fibber. It's unnecessary.

While "Fibber McGee and Molly" is still beloved by fans of Old Time Radio, for the general public, the names mean nothing. Nor do most people know who Jim and Marian Jordon were.

But for the curious, those who want to know more about the show, this is the book to read. Not only because it is well-researched with interviews with Jim Jordon and others, but also it is full of photographs of Jim and Marian both before and during their years at 79 Wistful Vista.

Listeners to the show know it evolved over the years. The earliest episodes are almost unenjoyable and bear little resemblance to the show at its height. Why did the show evolve? Look here to find out. Favorite characters would come and go. But where do you turn to find out why? This book! And what was behind the "Fibber McGee's closet" routine? How and why did it come about? This will tell you why. How did the show handle the drafting of many of its most important stars during World War Two? Turn to these pages. Why did Johnson Wax end sponsorship? And why did the Jordans decide against playing the roles on television? This is the definitive book to answer those questions.
Easy-to-read type; single space, packs a lot of fact on the page.
This book is invaluable!

Shirley and Jeff Lawrence worked for years in the entertainment industry and share their experiences in this 420 page book. The book contains 3 sections: Part 1 "My Story - His Story - Our Story". This section shares their collective and individual experiences. How they got in the business, people they worked with etc. Part II "Working in Movies". This section describes films in the beginning, the life of film extras, casting couch stories and stunt work etc. Part III "Extras, Directors and Stars". In this section Shirley and Jeff share more stories about people in the industry.

The book is written in a an easy to read style, with the names of the stars, extras etc in bold black text so they pop out.

It's a very interesting read. Shirley and Jeff name names and share the good, the bad and the ugly. Because of the era they worked in most of the names would be recognized by many baby boomers but not by today's younger generation. But though the names of the famous have changed the scenarios have not. Shirley and Jeff describe what it is like to work in the business with an emphasis on what it is like to be an "extra". They describe how extras are may be treated poorly, taken advantage of and not given that break because they uphold good values.Though I had heard about the "casting couch" in Hollywood, I never realized that it was so prevelent. They vividly describe the heartache and ups and downs of the business. One minute you think you have a deal and the next you don't.

It's an eye opening read and highly recommended if your intent is to try and make it in the industry or if you want to read about what goes on behind the scenes in Hollywoodland!

~Lee Mellott

Your wonderful book about Hollywood was by far THE most enjoyable, engrossing, delightful, romantic (J & S), funny, shocking book I have ever read! A real page-turner. Your style of writing is first class. I enjoyed every page!
Elaine Baum

Entertaining, easy to read, episodes in the lives of two Hollywood extras. Reveals facts and heresay about many famous movie personalities, actors, producers, directors, etc. It is refreshing to read of two people who fell in love and felt that living in accord with moral principles was more important than a quick way to success.

Barbara Morse

This is a fast enjoyable read. Through their eyes, we are exposed to a very different Hollywood. Vastly different from the one we fantasize about. Through the eyes of Hollywood extras, we are shown what it takes to "break" into show business. The ancedotes are light and entertaining, but also offer a darker picture of the realities of an actor. Many of the Hollywood elite consider an extra a moving prop. It is through Shirley & Jeff's eyes, that the every day humaness of the extra is shown to us.

In the fall of 1995 Tim Madigan interviewed Fred Rogers for an article he was writing on TV violence for the Fort Worth Star-Telegram. It turned out to be the beginning of a friendship--mostly conducted long distance, by email and phone--that would profoundly affect Madigan and would last until Mister Rogers' death early in 2003. In I'm Proud of You Madigan discusses Mister Rogers' role in his life during their seven-year friendship, explaining how Rogers' support and unconditional love helped him through problems with his marriage and his brother's untimely death from lung cancer. Madigan quotes liberally from Rogers' correspondence and from their conversations, both of which are infused with Rogers' spirituality: Mister Rogers was an ordained minister, and references to prayer and God were a staple of his communication.

By all accounts, Fred Rogers was possessed of an otherworldly goodness. It's impossible to come away from Madigan's account or other write-ups of Mister Rogers unimpressed.

"I had always hated to swim, but didn't have the heart to say so then. So Fred led me into the club's locker room, introduced me to the attendant and a few of his other friends, found me a swimsuit that would fit, then quickly and unselfconsciously stripped off his clothes. On the way to the pool with a towel over his shoulder, he stepped on a locker room scale and smiled.

"'One-four-three,' he said. 'I've weighed exactly one hundred and forty-three pounds for as long as I can remember. Did you know that in sign language that means, 'I love you'? One finger for I; four fingers for love; three fingers for you. Isn't that wonderful?'"

He was, Madigan's book makes clear, constantly thoughtful, apparently always on the lookout for a means of expressing his support to his friends, and to their friends and family.

Madigan's life was much improved by his relationship with Mister Rogers, particularly since the friendship straddled such rough patches in Madigan's life. Madigan is honest about those difficulties, and quite willing to expose his vulnerability. Indeed, his account is so honest it sometimes feels as if the author has rubbed his raw wounds on the page. I wouldn't do it, certainly, and, truth be told, I'm tempted to feel embarrassment on his behalf. The title of the book, for example, is a reference to Fred Rogers' response to a letter Madigan wrote him in 1996, explaining how he craved acceptance from his father as a child and that he was still looking for acceptance from a father figure:

"That is the question I have of you this morning, Fred. Will you be proud of me? It would mean a great deal to me if you would. I have come to love you in a very special way. In your letters, and during our brief time together in Pittsburgh, you have done so much to teach me how to be a person and a man. And now I have this favor to ask of you.

"Will you be proud of me?"

I am of a cynical bent, and find it difficult to believe in the possibility of--or even the desirability of--unconditional love (with an exception granted for one's children). So I confess that the intensity of the relationship between these two men strikes me as strange. But the book offers an interesting look at the sort of man Fred Rogers was, from someone with a unique perspective on the subject.

-- Debra Hamel

I happened upon this book...and thought it looked interesting. It's an awesome book. A wonderful story of a friendship between two men in both good and bad times. Mr. Rogers seems to be such an amazing person. So much more than the persona on TV!!! Buy this book!!! Then pass it on!

This book is an all time favorite that has touched me deeply. Tim Madigan writes his own very personal story in a way that impacts the universal longing we all have for significant relationships.

I've long since lost count of how many times I have passed a copy of this book on to friends or to counseling clients in my work as a professional therapist.

I grew up without much exposure to television and completely missed Mister Rogers' Neighborhood growing up. Thanks to my 22-month old, I am now a big fan of Mister Rogers and am so pleased that his legacy has endured. This book is for both admirers of Mister Rogers' work as well as those not so familiar with the wonderful man he was. The gifted author Tim Madigan captures the essence of Fred Rogers and shares the friendship they nurtured over several years. Marriage, friendship, family raising, life trials and death are all covered in this gold nugget of a book. Tim Madigan's reputation as an award-winning writer/reporter is once again confirmed! If you're prepared as a reader to embrace sensitive life topics and intermittent periods of laughter and weeping, this book is for you. I have purchased several copies of I'm Proud of You already. I am happy to report that all of my gift recipients have been moved by Tim Madigan's beautiful writing and so enriched by the story he tells.

As a big fan of DOA since the late seventies, I was really looking forward to reading this book. Joe gives you a great amount of background about one of the hardest working bands ever.
If you love punk music and the DIY attitude, this book is must read.

Anyone, and I do mean ANYONE, who is interested in the west coast punk scene needs to read this book. Keithley gives a fantastic first hand account of how he formed his band and all of the tests they endured going from relative nobodies to one of the biggest and best known punk bands in North America.

The book is also a mini how-to manual for anyone interested in starting up their own punk band. Keithley talks about the business side of the music industry, what it's like to play gigs to crowds of different sizes and interests, and above all, he gives a great first hand account of just what it takes to make it in the music business.

Finally, Keithley's writing style is very easy to digest. The book is written like the lyrics to many of his songs; straight ahead without and BS! What's more, the book contains many pictures and personal anecdotes about Vancouver and places beyond. In reading the book it easy to see yourself sitting at a bar with Keithley as he tells a couple tales over a couple of beers.

If you're a punk, or even think about calling yourself a punk, then you owe it to yourself to give this book a read.

Sit down at a kitchen table with Joe Keithley. Open a few beers, and hand him one, or two... Ask him to give you a crash course on himself and his legendary punk band, D.O.A., making sure not to gloss over the interesting bits.

If you can't arrange to do this with Joe, picking up a copy of this book would be your only alternative. It's 200+ pages of compelling reading, written by a man who helped define punk music both in and out of Canada, and who certainly put Canada at the roots of the punk historical tree.

Unlike a lot of books about punk bands, this is first-person stuff of the first order.

I will start by claiming 100% bias as I've known the author for well over 20 years and have greatly enjoyed his contributions to punk rock for over 25 years. DOA taught a lot of us how to go out and get it done, with "it" being spreading the music and message to the less than masses spread out among the world. Joe's book is simple, straightforward blast of history that will interest anyone into the punk rock way of existence. Essential reading, so get it and enjoy!

With the grace of a ballerina transposed to the page, Barbara Milberg Fisher's memoir, In Balanchine's Company, captures the ephemeral art and rigorous discipline of dance in the New York City Ballet during its early and formative years. From her childhood on a tree-lined street in Brooklyn leaping over mud puddles, when her Russian emigre parents told her to practice the piano to keep her out of mischief, and gave her ballet lessons as an antidote to her hoydenish exploits, to the afternoon when George Balanchine discovered her playing Schubert's C Minor sonata in an empty studio, she describes the education of an artist en route from Flatbush to the world's most glittering stages. In recounting her own journey, Ms. Fisher sheds light on the creative process of George Balanchine and the many extraordinary dancers, musicians, costume and set designers who worked with his fledgling company.

"Sometimes," she wrote, "it seemed as if the company was flowing out of his veins." But while Mr. Balanchine was the presiding genius, it was the passion and dedication of his dancers, their unquestioning sense of mission, long hours, and sweat that brought his dreams to fruition. Ms. Fisher takes us into the studios with the tinkling pianos where for hours each day the young dancers did barre exercises and floor work under the watchful eyes of their beloved ballet masters, and, later, practiced and critiqued each other over and over until their lungs were bursting and the dancing looked effortless. She describes the patient way Mr. Balanchine worked with individual dancers, keenly aware of the natural ways they moved, creating ballets that used their special talents and gifts, recreating the role of Firebird to fit Maria Tallchief's style of movement, "a brilliant whirling creature," restoring the candy cane hoop dance to the Nutcracker to fit Robert Barnet's tireless vitality. She gives us insight into the making of avant garde masterpieces such as Opus 34, in which she appeared as a bandaged corpse, and Agon, which opened with Melissa Hayden's high speed footwork, and in which Balanchine experimented with silent arm gestures invented by the dancers themselves (which were cut from the final version). She shows us the theatres they performed in throughout Europe and across America, dark, drafty stages and blinding spotlights, how they rehearsed to the point of exhaustion, and, how, undeterred by blisters and sprains, they danced their hearts out on ancient splintered floors, thin wood planks laid on concrete, "raked" stages that tilted downward, in splendid costumes, or in worn toe shoes stuffed with paper, dazzling audiences wherever they went.

Ms. Fisher weaves her personal story with that of Balanchine's company as she rose from the corps de ballet to soloist in works such as Illuminations and Afternoon of a Faun, traveled, made lasting friends, read voraciously and indiscriminately, and from time to time questioned Mr. Balanchine, on one occasion asking why the father in Prodigal doesn't help the boy in the end. She recalls her whirlwind courtship, marriage, touring with Jerome Robbins' company as a principal dancer after leaving the New York City Ballet, and performing at the White House. She retired at age thirty-one following the birth of her second child, and went on to become a Professor of English at City College, where her deep appreciation for poetry was an inspiration to her students. Written with lively and precise detail that is a pleasure to read, her memoir is a story with legs.

I highly recommend this book, which is beautifully written. When you finish "In Balanchine's Company," you'll be searching Amazon to see what other books Ms. Fisher has written. I look forward to reading more!

My ballet experience is limited to one class I took as a 5 year old and a handful of ballets that I have gone to see over the years. And yet I was captivated by the glimpse of the world of a professional ballerina, particularly since it seems that Barbara Milberg Fisher was a participant in an important era in the development of American ballet.

I have to admit that I do know Barbara personally as the mother of a college friend, but that had nothing to do with how much I enjoyed the book, except perhaps that it gave me new respect for her. Barbara's life as a young talented dancer seems so removed from the woman I knew as an English professor and the hard-working single mother of my friend. To be sure, her wit and quirky sense of humor are certainly recognizable in the book. And the "voice" is definitely hers. But it seemed incredible that the relatively modest woman I knew could have led such an exciting and impressive life as a young woman.

I very much like that the book is about her experiences and yet is not at all a self-centered book. I suppose I'm guilty of believing in stereotypes (or in press accounts of the actions of famous dancers), as I tend to think of ballerinas as being vain, demanding, and self-absorbed. And yet even when the story is about something that happened to her, Barbara's focus is often on the other people rather than on herself. And she is quite honest in divulging some of her own mistakes and embarrassing moments.

Her stories are humorous and even sometimes quite suspenseful (such as when she snuck into across the Berlin Wall). Her youthful exuberance, defiance, as well as dedication to ballet, are shown clearly in her vivid descriptions. I found that in reading the book, I learned about dance and dance history, world history, and even some lessons about dealing with people, all while being delightfully entertained.

Barbara Fisher is obviously a remarkable person who has a lot to tell us about the rigors of a life in dance as well as delightful stories about her interactions with Balanchine and many other key figures in the dance world, including Stravinsky. The book is a perfect gift for anyone who cares about the art of dance.

I absolutely loved the series, but this book really just confirms it. This is the first day I got it and I already read half. I'm very impressed. I was reading in front of my boyfriend and his friend and they heard me laughing. My response was "this is halarious." (reading shanes botwins part) Hmmm. My boyfriends friends response was "I didn't know reading was fun." LOSER! In the Weeds is fun!

My very first buy on Amazon and, still, one of my best purchases ever. If you love the show, this book should be part of your collection 'cause it's the ultimate guide to Weeds characters. Highly recommended.

The interviews are awesome--you really feel like you're getting behind the scenes of one of the best shows on TV. And the character breakdowns make you want to watch the first 2 seasons all over again! If you love the show, you have to get this book. And if you've ever wanted to start watching the show, this book is a good primer.

I was so excited to see that there's a book about my favorite TV show, and even more excited to see that it's as smart, thoughtful and funny as the show itself. Companion guides can sometimes be formulaic and boring, but this one brings a fresh and intelligent perspective to one of the best written (directed and acted) shows on cable today. If you aren't already a fan of the show (what's wrong with you???), this book will draw you in for sure!

Toward the end of his 1971 conversation with Richard Meryman, easily the best interview in this collection, Bergman says that "to make a film is to try to open up the roof--so we can breathe" (p. 112). This is as good a one-line characterization of Bergman's project as I know. Bergman's films defy easy analysis, sometimes because they're poorly conceived, as Bergman himself admits (he thinks, for example, that "Through a Glass Darkly" is a prime example), sometimes because even Bergman in retrospect isn't quite sure what he was trying to do, but sometimes because there's simply a great deal of depth to them. How, for example, to collapse the message of loneliness, despair, human nature, and hope conveyed in "The Silence" into a couple of sentences? But what Bergman at his best does succeed in doing is expanding us, opening up the roofs of our worldviews, inviting us--sometimes forcing us--to breathe in an atmosphere that's crisp and thin and heady.

Readers who pick up Raphael Shargel's collection of Bergman interviews in the hope that the master will explain what his films are about will be disappointed. Bergman tells us that he wants to elicit emotional experiences first and cerebral ones second in his films; that dreams have influenced his scripts and his director's eye; that he works best when his days are rigorously scheduled; that he thinks a film is "selected reality" (p. 106), which reminds me of Tarkovksy's beautiful characterization of film-making as "sculpting time"; that he thinks a certain "childishness"--a naivete, an openness to experience--is essential for good art. But what Bergman doesn't do, appropriately enough, is tell us how to interpret his films. So in many ways, his intervews are as mysterious as his artworks.

The interviews collected by Shargel vary in quality. As I've mentioned, Richard Meryman's is the best of the lot, closely followed by A. Alvarez's. The "Playboy" interview conducted by Cynthia Grenier is worse than worthless, and seems intent on focusing on little else than sex in "The Silence" (the interview was conducted shortly after the film's American debut). There are numerous typos in the text. "Feeling" is consistently spelled "felling," for example, and at one point Bergman is referred to as the "15 year old creator of 'The Silence'"! The only other book I've read by the University of Mississippi Press was also poorly proofed. Strange that an academic press is so careless in its copyediting.

Shargel's collection is a decent starting point for readers new to Bergman, but better ones include Bergman's memoirs, The Magic Lantern (2007) and Images (1995). Jesse Kalin's The Films of Ingmar Bergman (2003) is highly recommended for serious students.

This collection of interviews with Ingmar Bergman gives the reader almost a definitive view of not only the great director's vision, but of his constantly evolving artistry. As a teacher, I found the discussions of individual films invaluable.

No film critic could have approached Bergman with such passionate understanding and insight as Raphael Shargel. Following his film reviews in The New Leader for years, I am not surprised by his far reaching ability to grasp a life's work as he does his movies, always interested in their impact on society and us as individuals as well as the history that produced them in our time. When you get to it, your understanding of Bergman and appreciation for the value of interviews across a lifetime will be as rich as this book's index.

I'm a big fan of Bergman, and I was thrilled to see these interviews come back into print. They tell you so much about Bergman's life, films, and his personal opinions. Organized chronologically, this book reveals a development of Bergman both as an artist and as a person. I highly recommend this book to anyone who is interested in learning about Bergman's genius or film in general. The introduction offers terrific insight into the mind of an artist.

I have read many biographies, from Saint-Exupérie to Rockefeller, and thanks to the feedback system of Amazon and the editioral reviews, it is quite possible to filter out the good ones from the mediocre.
Needless to say this biography stands out from many others and I think it is one of my favourites I have read so far. I said in the title that it should have won the Pulitzer price, although I do not know whether biographies are eligible for this. But it shows why Peter Kurth, the author, needed 10 years to complete it.

What can my review add on the information available?
First of all, read the editiorials, they give good information on what this book, and what Isadora is about. Usually only the positive reviews are kept, but in this case, for a reason. This biography is indeed written as all biographies should be written; well researched, not confusing, as detailed as possible without getting boring, and intertwined with the times that in this case Isadora lived, and finally neutral in style yet intriguing.
Peter Kurth does all these things. Even the title does her life justice, for after reading this book, one can only conclude her life, as well as her death, truly was sensational. Especially for a woman in those days to achieve and do what she did is amazing. Even now, a Madonna would not make the grade in comparison to Isadora.
Isadora virtually created the 'natural' modern dance as opposed to the Russian ballet, which she considered merely as stiff and hysterical hopping that proved flying indeed was impossible for human beings. As some said, it was as if she gave something back to the people, something natural that was lost and found again.
She was probably as influential as Martha Graham was later in the century, but totally opposite style. Some said you should have seen her dance to die happily. We will never know, since apart from all the crowds she drew which no longer are with us, she was never caught on film. Maybe better that way, since it only adds more to the cachet of legend she has and had.
It is just wonderful to read a story on how some humans do it; rise from nothing to stardom, 'just' with hard work, perseverance, good ideas, and genius. Her life was a constant struggle to renew her art and to sell her idea to the world that often was not ready for it. Of course like all of us she needed love, and she knew how to get it. But just like Callas' tragedy, or Dalida's dictum `my life was a success, but what was it, really?', it also casts yet another light on that mystery called fame, and the Faustian bargain that somehow always comes with it. When Isadora met her mother years later, she asked herself; `We had set off to look for fame and fortune. Both had been found, so why the result was so tragic?'
The reason for this was that her life was not only full of the glamour of travel, intrigue, and meeting everyone from Steichen to Fairbanks to Valentino to Chaplin, but also because it was full of tragedy.
She never really found the right lover, or husband in her life. She never could keep a secure fortune, and like so many artists, she could not really cope with aging.
But perhaps her life is also a glorious proof of how wonderful life is, no matter the tragedy, and how she somehow was always driven to go on with her art and her glamorous lifestyle, despite even having lost all of her three children. In short; what a life, and apart from the tragedy, what fun she must have had! Her equally legendary death only adds to the thrill of this all!

Yes...save our souls. I realize that Morse Code is sadly no longer in use but for a perspective of women denied, degraded, diminished, deadened by cultures throughout history both metaphorically and literally insofar as their vast contribution to art, this book is simply divine! It is not only a page-turner, it is a classic and stellar contribution to understanding a complex soul, who sought dignity and got the back-of-the-hand from many in the world of her time. Her courage alone is worth reading about. I cannot judge her. I didn't know her! But this is a fine work and brings the reader into a realm of both this woman's glory and grief such that it really focuses the lense on how hard human beings can be with one another. Even with an "Isadora."

Here is an excellent biography of someone whose life combined artistic achievement with personal dysfunction. Arguably the creator of what we now refer to as "modern dance," Isadora Duncan certainly filled her "sensational" personal life with a series of adventures and misadventures while struggling to sustain a career during which so many of her knowledgeable contemporaries praised her artistic talents and achievements. Consider these comments:

"I got an impression of enormous grace, and enormous power in her dancing -- she was very serious, and held the audience and held them completely." (Frederick Ashton)

"She moved with those wonderful steps of hers with simplicity and detachment that could only come through the intuition of genius itself." (Tamara Karsavina)

"She incarnated music in her dance." (Serge Kousevitsky)

"The soul becomes drunk with this endless succession of beautiful lines and groupings [of movement]." (Ernest Newman)

"The greatest woman I have ever known....Sometimes I think she is the greatest woman the world has ever known." (Rodin)

Impressive accolades indeed which, for me, increase the poignancy (at times the tragedy) of her poor judgment and irresponsible behavior when not performing before an always adoring audience. Even for those who know little (if anything) about dance, Kurth has written an absorbing, at times compelling biography of a woman who (in the words of a contemporary, Janet Flanner) embodied "the grandeur of permanent ideals...[but was] too expansive for personal salvation."

By the time I approached the final chapter of Kurth's biography, I had observed a number of similarities between Isadora's life and the lives of Edna St. Vincent Millay and Sylvia Plath. For example, their original and substantial talent, their excessive self-indulgences, their passion for experiencing (both physically and emotionally) as much as possible each day, and their vulnerabilities which so many others exploited shamelessly. With Whitman in mind, Robert Gottlieb observes: "For Isadora there were no rules, there was only the Song of Herself; she lacked the discipline, the emotional and moral resources, to keep liberty from lapsing into license." Such is often the fate of a genius which, by most accounts, Isadora Duncan was. "Sensational" indeed.

Isadora Duncan was a larger than life figure of the first part of the century. Both her work and her lifestyle guaranteed her the attention of the world. Mr. Kurth's biography brings the innovative dancer back to life clarifying many details at the same time. Ms. Duncan tended to either gloss over or sensationalize various aspects of her history and this book separates fact from fantasy. The photographs are very good, as is the narrative.