Irish Books

The title of this decidedly anti-war play sets the stage for its theme: Asked about the looting of Baghdad, a glib Secretary of Defense, Donald Rumsfeld, remarks, "Stuff happens". In the play, a core group of presidential advisors gathers, discussing a strategy for unseating Iraq's Saddam Hussein, coupling this concept with the protection of America from further terrorist attacks, such as 9/11. Carefully weighing the advantages and disadvantages, paper warriors assemble behind closed doors in a series of clandestine meetings. The result will shock the world, the birth of the Doctrine of Preemptive Strike. Caught in the "lethal rhetoric of global wealth and privilege", the discussions yield a number of assumptions; right or wrong, these assumptions will remain a footnote to history, the cause taking on a life of its own.

An impressive cast of characters assembles: the Neo-cons, Paul Wolfowitz, Dick Cheney, Condoleezza Rice; the Brits: Tony Blair, Jack Straw, David Manning; the French, Jacques Chirac, Dominique de Villepin, Jean-David Levitte; the temporary voice of reason, Colin Powell; and the bit players, Hans Blix, Kofi Annan, Mohammed ElBaradei. The dialog goes on, endless ruminations broken only by short breaks for refreshment. Though nothing specific is articulated at this point in the play, events are set in motion, the majority of characters of the same mind. Adamant that military action is the method of last resort, the players perform a shadow dance, Kabuki Theater, their silence impregnable. Deals are made, Tony Blair mollified.

Secretary of State Powell is the singular voice of reason, given to practicality where the others imagine a more ambitious goal. But Powell capitulates and the great experiment grinds into high gear. The public demands action, reaction, desperate for a salve to heal a bleeding and humiliated psyche. America signs on for a war that promises quick, deadly efficiency, convinced we are in an untenable situation that can be alleviated by the invasion of Baghdad, that only a battle joined on foreign soil will forestall another domestic attack. Public debate is nominal and weighted in favor of a preventive strike, the media virtually silent; obscured by sturm and drang, the confident counselors of a war president wax eloquent in defense of their position.

David Hale brilliantly structures this great debacle, arrogant assumptions in pursuit of an idea, an ideal opportunity to change the face of the Arab world or "throw a match into the tinderbox and see what happens". Hare's characters prove that there are neither checks nor balances, the single voice of dissent importuned until even he assumes the cloak of expediency. All is achieved with a few key characters and a supporting cast, much of the language quoted verbatim. Rumsfeld and Cheney are avidly supported by a caustic Wolfowitz and fawning Rice, speaking for the President, who remains taciturn, if vigilant. Bush's quietude carries a weight of its own, as fearsome in his lack of participation as the apologists for war. History will ultimately judge this war, the country awakened by unimaginable violence, trusting its government for protection in a time of crisis. Mission accomplished. Luan Gaines/ 2005.

British playwright David Hare's play about the buildup for the invasion of Iraq by the United States, Britain and some token allies, centers on the public pronouncements of the major players, George W. Bush, Tony Blair, Dick Cheney, Donald Rumsfeld, Condoleezza Rice, Colin Powell and others. Hare simply quotes Bush, Blair, et al. while constructing dialogue for the meetings that were private. He writes in an Author's Note: "Nothing in the narrative is knowingly untrue."

The result is an easy to read, easy to imagine bit of theater that underscores the mendacity and stupidity of our highest officials. How this would look on stage is left pretty much up to those who produce the play which opened at the Olivier auditorium of the National Theatre September 1, 2004. Actors are used to introduce the player about to speak, often serving as a narrative chorus. Thus, opening Scene Eight, "An Actor" says, "On September 17th the President signs an executive order authorising attacks on Afghanistan. Three days later he addresses Congress:"

And then the actor playing Bush steps forward and speaks his line. Because the action moves between the White House and London, between Paris and the United Nations building in New York and elsewhere, the audience needs to be clued in some way that the scene and players have changed. Not having seen the play performed I imagine that part of the stage can be lighted while the rest is in darkness so that props indicating the next scene are set up. And then the lighting is switched, directing the audience's attention. Or in some cases players could just step forward into the spotlight to deliver their lines. The effect of this kind of play, in which the scenery and settings are minimal, is to increase the importance of the dialogue which makes the play easy to read since little in the way of visual imagination is required on the part of the reader.

Colin Powell comes across as the protagonist, the man who compromises himself because he is caught between doing what he knows is right and his loyalty to his country and its institutions, especially in the form of George W. Bush, the President. Bush, contrary to the popular understanding in which is he often seen as the dupe of Cheney, Rumsfeld, Wolfowitz, et al., in this play often seems to be a manipulator, off to the side observing the machinations of his cabinet, making sure they say what he wants to hear. This, I believe, is partly an artifice of play that results because Hare has so much dialogue from so many players, and partly because Bush is not especially articulate and so ends up listening a lot until he elects to make his decision about what is to be done. One can see that Bush imagines himself as someone taking careful counsel and then like superman becoming the man of action, as he terms himself, in the form of "the decider."

Tony Blair seems like a man who got himself into a difficult situation for no apparent reason. Condi Rice seems more like a servant to the president than a counselor. Dick Cheney is seen as totally Machiavellian, as an evil kind of man who cares nothing for the lives or feelings of other people. Rumsfeld is somewhat of an old bumbler who is caught up so much in his own mind with his own distorted view of reality that he continually tries to superimpose that reality onto others.

In the end the play does not depart much from the reality that we have experience in our newspapers, on television and in documentaries. The people responsible for the hugely expensive (both in terms of lives lost and moneys spent) fiasco in Iraq are seen as executive types carefully protecting their butts and crossing their t's and dotting their i's while at the same time blinding going over the precipice.

There are some exceptions. The French foreign minister Dominique de Villepin (now Prime Minister) is there to remind everybody of the folly about to happen while the arms inspector Hans Blix almost alone speaks frankly and realistically, and I might add, truthfully. Everybody else seems to look both ways politically-speaking before saying anything, and then often what they say is a falsehood, vacuous, or something stupid which will result in Rumsfeld eventually having to say (also stupidly), "Stuff happens."

The "stuff" here that happens is rather deadly, but Rumsfeld, et al. seem oblivious to that fact, alone in their deluded minds.

What fascinated me about this play is how easily it seems to have been composed from mostly public utterances. It is a kind of tragedy that seems to happen almost of its own accord given the character of the players.

This is an excellent play and a fascinating read. It puts all the threads of the buildup to the Iraq war in one place, and even offers insight into the possible reasons for British Priminister Tony Blair's complicity in the American administration's scheme. I highly recommend Stuff Happens.

I enjoyed David Hare's documentary play very much. Though I found it unusually disjointed, it is probably much more palatable when it is performed, and what still compelled me to give it my highest rating is the content, being the many outrageous and surreal statements made by W, Rumsfeld, Cheney, Powell, Blair, et al, as well as depictions of meetings and events, all gathered together in one place, which really helps you appreciate the systematic deception presented to the American and British people. In the Author's Note, Hare states that most events and quotes are authentic, and he thanks his sources. My guess is that he received a great deal of help/material/insight from Colin Powell, whose recollection of events is of interest. A quick but chilling read.

I really enjoyed reading this book. It was so real and heartfelt. It made me appreciate everyday of life and family.

This book is well written and easy for all ages to read. Very inspiring story to live life to the fullest and to love the special people in your life.

This is a very inspiring story of a young woman who lived a life full of joy and happiness despite a lifetime of serious chronic health problems. This book will be a source of encouragement to anyone facing any type of seemingly impossible or overwhelming situation. Tara is an example of how one can experience joy in their life despite troublesome circumstances, through faith in Jesus Christ.

This book takes you on an amazing tale of a young girls struggle to remain strong and dream big. Her life is a celebration of strength and love.

I HAVE LISTENED WITH GREAT INTEREST TO THE HISTORY OF THIS HEMISPHERE HAVING DROPPED THE SUBJECT AT SCHOOL THROUGH SHEER BOREDOM. SO MUCH ITS CONTENT HAS HAD ME AMAZED.

I was totally captivated! What an incredible, sweeping history, sumptuously written and produced; rich by far in audio than if it were produced on film. Bravo BBC! At one point I even briefly understood the English soccer hooligans - after all, rampaging around the Continent thumping foreigners is only what their predecessors have done for 1000 years! With an incredibly rich and diverse history and an incalculable contribution to the world's culture (hooliganism excepted!), Britons almost have the right to be admired and to be what they are not - arrogant and boastful. We must admire too, their charm, wit and self-effacing modesty. A tip of the hat from California!

I am almost ashamed to admit that the book version of this title sat on my bookshelf for a year, as I thought it would be a very cumbersome read. Recently I picked up a CD version, of the title, from my local library. (There are approximately 10 CD's, each covering approx. 200 years of history). Now I am devouring the book, wondering why I waited so long to read it. I have borrowed & re-borrowed the CD's from the library, & I listen to them at home over & over again. What I particularly like about this title is the way the author refers to contemporary documents relevant to the time in history being covered. Christopher Lee has taken a subject which, in other's hands, can sometimes be flat & 'dry', & he has created a masterpiece. If you have even the slighest interest in history I urge you to either read the print version of the title, or if you can't get your hands on that beg or borrow a copy, in either print, on tape, or on CD. You WON'T be disappointed. I only wish someone would produce a masterpiece of this calibre for 'other' history e.g. French, Italian etc Oh, & BTW, 'This Sceptred Isle - Twentieth Century' has just hit the shelves in Australia. I have already purchased my copy. I expect it will be every bit as good as '55BC - 1901'

Given sets of these tapes as a holiday gift, I was slowed in my enthusiasm toward the givers. Facing a long drive, with ample entertainment backup, I listened to the first of many tapes. Could history on tape possibly subvert popular culture and current events ? I have now listened to these tapes more than 6 times. The presentation, content, and most of all attitude of the material is addictive. The BBC should be commended again for their quality educational products, and their significant contributions toward restoring the positive reputation of the British people. I HIGHLY recommend purchasing these tapes for yourselves and your children's enlightenment.

The book was in excellent condition and arrived as promptly as one could expect. As of this date I really haven't had a bad experience with any of my book orders. Thanks so much.

Hardy had a life-long fascination with the paradox of memory: how people, events, and even isolated feelings can be buried by time and later resurrected in the fullness of emotional memory. His central aesthetic principle is that of `the exhumed emotion,' which one can wryly interpret as a graveyard variant of Wordsworth's "emotion recollected in tranquillity." But for Hardy, it was a mysterious capability, like his comment that "I am cut out by nature for a ghost-seer." Hardy's aesthetic of the "grotesque" frequently features past lovers as ghosts or elusive phantoms.

In "She, to Him III" he muses on the "souls of Now" who would disjoint / The mind from memory, making Life all aim, / And nothing left for Love to look upon." In this brief phrase, from the start of his career, can be found four of the major themes of his entire life and work: the present ("Now"), memory (past), Life, and Love, all in tension with one another.

The volume contains innumerable poems of unrequited love, regretted love, guilty love, repentant love, etc. etc. One of the great English poets of the 20th century. Ranks with Yeats and above Heaney.

Perfect! What more needs to be said? This collection was delicious and is a treasure for any Hardy fan. Enjoy every bite!!

Considering how depressing Hardy's novels can be, his poems are curiously uplifting, full of descriptive power and a love of rural England. Among his classics are "The Darkling Thrush", "Channel Firing" (great World War I poem), and "The Oxen" (beautiful Christmas poem about nostalgia and faith).

Like his novels, the poems illustrate Hardy's capturing of the past and his sense of something greater than us shaping our lives and our feelings. These are apparent in "Last Words to a Dumb Friend", his lament for his deceased cat. In this, the very home where the cat lived seems to resonate with the cat once he has passed to "the Dim" (i.e., beyond Death):

"And this house, which scarcely took
Impress from his little look,
By his faring to the Dim (NOTE: faring = travelling)
Grows all eloquent of him."

This is an excellent appraisal of Tolkien's work and its reverberance throughout contemporary culture. Just as remarkably, it is very distinct from the growing body of Tolkien scholarship, offering an original perspective and context for the evaluation Tolkien's complex and beloved works. That said, there are only two points I can add to the reviews already here, and they both might easily be worthless.

First, Rosebury expends a good deal of thought and energy articulating the manner in which the literary establishment categorizes, accepts or rejects "The Lord of the Rings". As in a similar attempt by Marjorie Burns, this opening chapter is excellent in its linearity, breadth of information and depth of context. But in the end it shapes up as either preaching to the choir or another apologia to the critics who refuse to apply their own attention to the work. I'm happy that Rosebury seems unable to admit that the only threshold to cross in accepting or rejecting Tolkien is, right or wrong, simply one of taste -- even though such acknowledgment does nothing to diminish Tolkien's accomplishment. And to be fair to those critics who do not grasp what a singular accomplishment The Lord of the Rings is, I have to confess that despite the esteem I have for that work it is possible to see the opposition's point. The analogy might be this: while much of 20th Century literature is safely viewed as the work of artists, Tolkien's work -- implicated as it is with his professorial status in language -- can be seen from that vantage as the accomplishment of a highly gifted engineer.

Just as some self-taught painters are categorized as "outsider artists" there is no shame in leaving Tolkien --to his credit -- an outsider. Take into account his late-in-life doubts about "creativity" (not to mention his willful addition of the prefix "sub") and we see a very Catholic doubt that was most recently repackaged and forcibly dragged into the 21st Century by no less a figure than Pope Ratzinger in his 2006 screed against this innately human pursuit. And I doubt the distinction would mean much to Tolkien personally -- we owe at least as much to the brilliance and creativity of engineers as we do artists and often the distinction can be artificial.

Second, Rosebury is manifestly at his best in evaluating the Jackson film version of the book. But there is another nagging nit here, and that is Rosebury's willingness to chime in with the conventional wisdom claiming dramatic necessity concerning some of Jackson's less questionable indiscretions with the text. Perhaps we all need to understand that the more questionable indiscretions were decided purely for reasons of commerce, not for drama. The amount of money involved in the production of Jackson's three films -- and the volumes of profit they were designed to generate -- is all you need to know about what shaped such decisions in making the film version of the book. There is certainly no legitimate cinematic reason for the distortions: you need look no further than the films which comprise the art house canon to see that cinematic form is more pliable than Hollywoodland would have you think. Resorting as Jackson's films do to overt and routine cliff-hangerism, the only explanation remains this: neither cinematic nor dramatic concerns but Popular Cinema and Commercial concerns were the guideposts. A book as eccentric and disdainful of contemporary forms as "The Lord of the Rings" does not demand to be made into a film of such nakedly conventional form. Place that in the context of Tolkien's own views on matters of either commerce or form and you can reasonably conclude that the only "Return" of importance here was good ol' ROI -- "Return on Investment" safely remains King.

Don't get me wrong: I love the books and I appreciate and enjoy the films. Rosebury makes a good argument in support of the idea that the film versions will not ultimately subsume the text, as has been the outcome in other cases where movies dumb down their sources. In the end, "Tolkien: A Cultural Phenomenon", is one of the clearest and most contemporary assessments of the works and their influence: highly recommended to anyone wishing to delve into the text and the cultural interactions with it.

Tolkein: A Cultural Phenomenon is a unique offering of literary criticism of Tolkein in that it includes and integrates recent cinematic and other media related criticism in its analysis.Even more intriguing to the game oriented youth set of Tolkein enthusiasts, Tolkein: A Cultural Phenomenon contains an exhaustive sampling and review of many Tolkein based computer and video games, as well as card and role playing games. These he categorizes under relabeling assimilation, imitation, and adaptation, and his reduction and analysis of the game phenomena is riveting, insightful, and direct. Rosebury's view at times seems almost hyperfocussed, not that this is a bad thing. Of very great interest to me and many other readers is his review of the Peter Jackson "Lord of The Rings" award-winning movie series. I would say his criticism is not all positive, but also not unjustified. He tends to give full credit for the work presented in the media itself, rather than only seeing it as a pale or incomplete version of the much richer literature upon which it is based.

However, I was also very interested in Rosebury's section on Tolkein in the History of Ideas (chapter 5, pp.158-192). In it he compares many other Tolkein critics' views, muses about his own previous analyses, and draws a pervasive conclusion that is only partially summarized by the following quotation:

'"Through all the crannies of the world we filled with elves and goblins, though we dared to build gods and their houses out of dark and light, and sowed the seed of dragons, 'twas our right (used or misused). The right has not decayed. We make still by the law in which we're made (from Tolkein's 'Mythopoeia')."'

'For Tolkein the fundamental derived human right is the right to create. The idea, with its romantic exaltation of the creative artist, its implied rejection of the classical notion of art as imitation, has its immediate roots in Coleridge, whose celebrated but cumbrous jargon of Fancy and Imagination Tolkein makes a bold attempt to improve upon in 'On Fairy Stories.'58 But Tolkein saw perhaps more clearly than Coleridge that creative power was as capable of corrupting its owner as any other gift. his view of artistic 'subcreation', both as a self-conscious artist himself and as a depictor of artists in his work, is at once a continuation of the romantic tradition and a critique of it. (page 191)." Rosebury then goes on to state he had changed his earlier view on Tokein's 'anarchist' element and was somewhat more sympathetic, understanding that Tolkein's "anti-political stance, like Tolstoy's, rests on a considered and consistent metaphysic, and is more than just the indulgence of a pious wish that everyone would act rightly without any need of politics (pages 191-192)"

There is obviously much more, the prose of Rosebury is challenging and relentlessly dense, but quite rewarding to take the effort to understand. Although Tolkein: A Cultural Phenomenon is definitely a scholarly work, it will translate well and appeal to a wider audience than purist Tolkein scholars and graduate students. Clearly it has its deserved place among these, but in this era of self educated internet students or non-students alike, works such as Tolkein: A Cultural Phenomenon have doubly lasting impact and educational value. Perhaps parallel to the impact of Peter Jackson's movie adaptation, Rosebury's work will send the serious reader to other possibly original sources and experiences for further education.

I read this book in its previous incarnation (from the early 90's) and was put off by its sneering attitude toward the legions of fans who had embraced all things Middle-earth, assuming somehow that their devotion was lowering the standards by which Tolkien would or should be judged by those with higher taste and academic credentials. Anyway, some of that attitude is gone in this edition.

What I thought was a strength of Rosebury's study is still there and in some places elaborated on, namely, an actual study of Tolkien's writing style (as opposed to a study of his sources). Rosebury's discussion of the "high style" found in The Silmarillion and some passage of The Lord of the Rings is thought-provoking. I agree with his assessment of the writing in the story "The Fall of Gondolin" from The Book of Lost Tales, that Tolkien writes with "ruthless energy" and a strength that evokes "panic and disorder while maintaining narrative coherence."

I also found his chapter on the films interesting. I have to totally agree with his assessment of Galadriel's temptation scene - her transformation resembles a "roaring seagreen hellhag." Exactly my feeling about that not-so-special effect!

This new edition improves an already worthwhile book, but could have used one final proofing polish. You expect to find a few typos in any book on Tolkien because of the complicated spellings and names, but this edition seemes to have a bit more than its share.

Anyway, I do recommend this edition of Rosebury's book.

A lucid, insightful, sympathetic discussion of Tolkien's "Lord of the Rings" as a 20th-century novel with the values appropriate to canonical 20th-century novels. To Rosebury, Tolkien has flaws but is a significant, though not great, literary figure with much to offer. His other work is also discussed, as is his place in literature.

Most of his argument is that there is no excuse for critics to dismiss "Lord of the Rings" as a bestseller and therefore bad: it has the literary qualities in conception and narrative that these critics should be looking for and appreciating.

Tom Shippey says much the same in "J.R.R. Tolkien: Author of the Century." But the books differ: Shippey is more concerned with broad cultural context, while Rosebury focuses more narrowly on the text as an object of literary art. He writes a cool analysis with only occasional touches of exasperation at wrong-headed criticism, where Shippey is a polemicist.

Rosebury is equipped to tell critics why they should be reading Tolkien. Ane he does his telling in plain English, so we may all follow him and learn a great deal.

This is a great collection of Tom Stoppard plays, and includes some of his best works.

Arcadia is one of Stoppard's greatest plays - a bizarre combination of physics, mathematics, poetry, a good old-fashioned academic stoush and romance (or lust) to boot. A fantastic play to see, but very good to read also.

The Real Thing, Hapgood and Indian Ink are also among Stoppard's more mature and better plays, and nicely round out this collection. These are some of Stoppard's better known plays (and you can read reviews of them on their own pages) but I'll just summarise by saying that I think they are fantastic.

Night and Day is an earlier Stoppard play and maybe not quite as good - it is concerned with journalism in war-torn Africa and does take a deep look at issues faced by a journalist in that situation. However, in comparison to the other plays in this volume, it just doesn't seem quite as good - however it is still a fine play in its own right and does make for interesting reading nonetheless.

Overall, I definitely reccomend this volume, particularly since it's cheaper than buying each of the plays individually.

Tom Stoppard is arguably one of the greatest playwrights of all time (and I do say arguably), and this collection only proves it. I am currently away at college while I write this review, and have pitifully forgotten my battered, dog-eared copy of this book at home, and so I'm pining away because it really is such a staple in my life - I cannot count the amount of times I've pulled out the book and read "The Real Thing", but I'm nearly sure it runs toward the hundred mark. All the plays are exceptional, although the aforementioned "The Real Thing" stands out, along with "Aracadia" and the wonderfully underrated "Indian Ink."

Every time I pick up this collection, I find myself sitting and reading for hours. Something about Stoppard's command of the language, his own personal calling card, is undeniably riveting.

And though there are times (especially in Day & Night) where it seems that characters are too clever for their own good, his sense of timing and his love for delivering a smart, believable group of people amazes me.

This collection is wonderful in its scope, including everything from the frequently produced "Hapgood" to the more recent treasure "Indian Ink." It's a must-have.

After seeing Stoppard's "The Real Thing" in London, I was blown away. I purchased this collection to have "The Real Thing," and was blown away but all 5 of Stoppard's masterpieces. He writes convincingly of love, redemption and what it means to exist and to live. I cannot recommend this collection (or anything by Stoppard) enough.

This book is about real people. People who will do whatever they feel. Revenge, stealing, and death are a part of life. and this book covers it. Welsh is an author with a strong understanding of real life. His characters are genuine. It is not hard to think this book could be about real life.

Read the book it far outclasses the film which in itself was very good. END

Before I discuss, I would like to note for those who are looking for Trainspotting the novel... this is not it. Irvine Welsh adapted his wonderful novel for the stage and this is the result. Along with another play, Headstate, you can enjoy some of the great drama coming out of contemporary Scotland. The play is significantly different from the novel (and the film as well) - different enough that I would call them variations on a theme, but not truly the same story. There is a lot of role-doubling, so if you are not used to non-realist theatre styles, you might not find this work overly palatable. For those theatre buffs out there, it's a great read, and a fun choice for regional theatre companies looking for something new (but you will need actors with solid Scottish accents).

I read that half the people who bought the novel "Trainspotting" have never bought a book before! I fall into that category, with the exception of non-fiction. I bought Filth for the flight home from Edinburgh to New Jersey because I had enjoyed "Trainspotting" the movie. Once I started reading it (slowly!) I could'nt put it down. It was absolutely amazing. It helps that I'm originally from around the area I suppose but the fact remains that "Filth" is an amazing book. Bruce Robertson is a thoroughly despicable person (soccer fans will note that Welsh is a Hibernian fan and made Bruce a Hearts fan!). We are supposed to be following Bruce along as he solves a politically sensitive murder case when in fact all we're doing is following his total and complete degeneration. This book is incredibly funny and will test your stomach at times, but for a "non-reader", this will get you into reading, especially Irvine Welsh books of which, this is the best.

A remarkable feature of this book is unusual combination of depth and breadth. Long-term social, political and economic dynamics consistently remains in the limelight of analysis: suffice it to recall names of Tocqueville, Toynbee, Drucker, and Bell. Yet even against such illustrious benchmarks, the book is fresh, original, and - as a pleasant surprise - engaging to read.

The depth of the book is in exploration of why some institutions are more amenable and adaptable to change than others. The main hypothesis is simple yet plausible: The less hierarchical and more horizontal are society' institutions, the more adaptable and productive is the society. Take, the problem of alcoholism, for instance. Sweden is consistently more efficient in dealing with it than most other countries because it is largely non-state activity (although the government does provide a conducive framework for it), organized through a variety of horizontal and voluntary associations. Going from mundane to more dramatic, take a phenomenon of revolution. From the perspective of the book, any revolution is a sign of inflexibility. The deepness of the book is analysis (although such analysis is in its infancy) of organizational structures which institutionalize horizontal and network architecture of society. Network is easily the most frequently used terms of the literature but all too often networks are discussed as inherently informal, as emerging in addition to formal principal- agent institutions. The breadth of the book makes it an engaging read. The author juxtaposes, for instance, Stalinist Soviet Union and fascist Germany without falling into simplification. Again, a skeptic would say that after H. Arendt such juxtapositions are not new, but the author does add fresh features.

The author is not your typical academics. He has been an official in the World Bank and Minister of Finance of his native el Salvador. He is a `thinking doer': his interest in analytics and theory is eminently practical. This `thinking doer'' perspective in Latin America proved eclectic and, for that reason, eminently insightful. Suffice is to recall Albert Hirschman' refreshingly original contributions or more recently Carlota Perez' (who is from Venezuela) 2004 book on how long-term co-evolution of financial and technological structures opens up opportunities for leapfrogging.

I enjoyed thoroughly this book and, more importantly, I learned allot.

The Triumph of the Flexible Society is essential reading for: national or international policy decision makers, for policy thinkers and designers, and for anyone who wants to understand what is happening in the world today. This really includes everyone.

The book does many things to help us cope better with the world of today.

Manuel Hinds provides a strong and clear conceptual framework to understand why, extremely rapid change in societies leads them to become defensive -- protecting rents and privilege -- and autocratic. In cases of extremely large and fast change, like the industrial revolution, many countries were unable to cope and ended up in bloody totalitarian regimes. The stresses of change caused by the industrial revolution led France to go from the enthusiasm of the 1789 revolution to the bloody vertical autocracy of Napoleon. The same thing happened in Russia; it went from the energy of the Bolshevik revolution in 1917, to the long Stalin tyranny, one of the most autocratic and bloody periods in Russian history. In Germany, the same forces of change started to open the society in the Weimar governments of the 1930s, only to end up in the horror of the the Nazi regime a few years later.

Manuel Hinds lucidly explains what is happening today by analyzing what the connectivity revolution is doing and why its embarking all of us into a new period of "mega" change. Then he elucidates us as to the large risks that history can repeat itself --again. We may be now in a paradise of openness, competitive markets, individual rights and democracy, but the stresses of defensiveness and reaction are brewing all over the world. In its rapid and increasingly ubiquitous unfolding -- affecting everyone, in their work, culture and identity -- the connectivity revolution is leading many individuals and countries to unleash the same autocratic reflexes that we suffered in the past processes of massive change.

If there is one book you read thus year , I suggest you read The Triumph of the Flexible Society.

Manuel Hinds' book "The Triumph of the Flexible Society" may not only change the way you think about the world, it may change what you "do" about the world. Hinds has written a profound analysis of the way in which different societies deal with the forces of change. Hinds focuses on two major changes in technology-the industrial revolution and the revolution in connectivity. The connectivity revolution, now only in its early stages, includes, but is much broader than, globalization. Revolutions of this magnitude create opportunities, but at the same time they destroy imbedded capital and existing labor skills. Losers in this revolution may seek to maintain their positions in society by impeding change and many will want to restore the order of the past by seeking refuge in one or another form of fundamentalism. Countries that have strong, flexible and horizontal institutions will reap the benefits but countries with vertical, authoritarian structures are more rigid and more likely to attempt to protect the established order. The open, liberal society will be threatened by forces from without, but, more importantly, from forces within. Hinds use his framework to analyze the destructive regimes of the 20th century, Nazism and Communism, and the plight of the developing countries. He also seeks to provide us with the understanding we shall need to cope with the coming revolution in connectivity. This is a "must read" for anyone attempting to understand and deal with the forces behind past and present social, political and economic developments. - Millard Long

In my view, this book contains remarkable analysis and insights into how contemporary industrial culture and society is evolving in response to the world economic and political situation. While some of the earlier chapters are not easy to read, one of the later chapters contains a highly original analysis of recent changes in American culture and society and what has caused these changes that I have not seen presented elsewhere and which I think are right on! I think, while Manuel's conclusions are valid, some are troubling in their implications with respect to the future health of American culture and society. The book also addresses changes in other countries in response to the same stimuli. I highly recommend this book to anyone who is interested in understanding how contemporary American culture and society are evolving and why.

When I read Kristen Dabrowski's Twenty 10-Minute Plays for Teens it made me wish I was a teenager again.

The writing is extremely witty and as every good actor knows, you need to have a character that goes on a journey, a character that changes through the course of the play. Some playwrights find this a hard graft when they have an hour and a half to prove their point, so it amazes me that Kristen Dabrowski can do this in ten minutes.

Teens won't be disappointed.

I purchased this book for my sister who teaches drama to teenagers. She loves this work. It's funny, touching and speaks directly to the kids. I would recommend Dabrowski's books to anyone who wants to introduce quality material to young performers.

After reading Ms. Dabrowski's first book, I was intrigued to see what else she could produce, especially for an age group that's difficult to please when it comes to finding material that both they like and that adults can appreciate too. While many kids are starting to read Shakespeare, Arthur Miller, Tennessee Williams and the like at this age, it's hard for them to associate completely with those works. Having short plays, on subjects that are close to home and that they can relate to, makes more of an impact, and Ms. Dabrowski doesn't disappoint with this latest installment. She hits a lot of home runs - 20 of them, in fact, with this book. I highly recommend reading-- and acting -- the plays in this book.

A lot of the plays are about about trying out for plays and seeing if you got the part, etc. That made it easy to get into the parts and a lot of characters are like people you already know. I liked the plays that were more dramatic, that are harder to do but more rewarding. I think high school students will like the book for these plays especially since they have more serious themes. Not all of them are dramatic -- the comedy plays are good for aspiring actors and actresses because the dialog is fast and the timing is really important to get down.

This is a slight revision of my review of the hardcover version. Such a good book should be affordable. Hiram Morgan's monograph is an excellent study for any reader interested in early modern British or Irish history. One cannot understand the contemporary Protestant versus Roman Catholic distrust, animosity, and cultural divide in Northern Ireland without understanding the English Tudor's racist Irish policy of colonization.

One of Morgan's major contributions is to put the causes of Tyrone's Rebellion into the even broader context of late 16th century Europe, where the Protestant-Catholic religious divide, intensified by the Catholic Counter-Reformation, shaped national and international politics, while at the same time, the centralizing tendencies of nations like England conflicted with the lordships of Ireland. Morgan places the England-Ireland conflict within the same overarching political and religious context as the Spanish war in the Netherlands. Catholic Spain supported the Irish rebellion.

The author is no polemicist. He has grounded his study in English and Irish manuscript sources and Spanish archives and supplied readers with decent maps, and an important revisionist interpretation of this crucial but strangely overlooked rebellion.

Tyrone's Rebellion was led by the controversial Hugh O'Neil, the earl of Tyrone. This outbreak was the culmination of growing Irish animosity towards intrusive Tudor policy, but as mentioned above, according to Morgan it was not mere "Tudor rebellion." Despite the Tudor's usually successful strategy of divide-and-conquer, the ignorance and heavy-handed tactics of Elizabeth I's English administrators managed to unite the Gaelic chieftans with the Anglo-Irish (English or Norman expatriates who had become "more Irish than the Irish themselves") in opposition to English plantation and pacification under the leadership of O'Neil. O'Neil was his own man, and Morgan refutes the old steretype that O'Neil was the "creature" of Elizabeth's court. The rebellion was fomented in 1593-94, broke out in 1598 Battle of Yellow Ford), and lasted until 1607 (after Elizabeth I had died, and been succeeded by James I).

Tyrone, the "arch rebel," ultimately came to terms days after Elizabeth's death, and went into exile (the famous "flight of the earls"). Robert Devereaux, the earl of Essex, and one of the queen's favorites, was not so fortunate. His personal ambition, military incompetence, and defiance of his majesty's orders cost him his life. While the fate of such elite persons (along with the great apologist of English policy - poet Edmund Spenser) is well known, one of Morgan's minor oversights, which is common in most books about this era, is a lack of attention to the appalling fate of the masses of English and Irish who were slaughtered on both sides of this early version of total war. Half of Ireland was destroyed. The result was famine, disease, and anarchy. The war cost the stingy Tudors a fortune in expenditures and debts. But England prevailed and secured Ireland from being a threatening base of operations for Catholic Spain or France. The "flight of the earls" - the "wild geese" - scattered throughout continental Europe, signaling the decline - but not the end - of Gaelic Ireland.

Hiram Morgan's monograph is an excellent study for any reader interested in early modern British or Irish history. One cannot understand the contemporary Protestant versus Roman Catholic distrust, animosity, and cultural divide in Northern Ireland without understanding the English Tudor's racist Irish policy of colonization. One of Morgan's major contributions is to put the causes of Tyrone's Rebellion into the even broader context of late 16th century Europe where the Protestant-Catholic religious divide shaped national and international politics. The author is no polemicist. He has grounded his study in manuscript sources and Spanish archives (Catholic Spain supported the Irish rebellion).

Tyrone's Rebellion was led by the controversial Hugh O'Neil, the earl of Tyrone. This outbreak was the culmination of growing Irish animosity towards intrusive Tudor policy. Despite the Tudor's usually successful strategy of divide-and-conquer, the ignorance and heavy-handed tactics of Elizabeth I's English administrators managed to unite the Gaelic chieftans with the Anglo-Irish (English or Norman expatriates who had become "more Irish than the Irish themselves") in opposition to English plantation and pacification under the leadership of O'Neil. The rebellion was fomented in 1593-94, broke out in 1598 (Battle of Yellow Ford), and lasted until 1607 (after Elizabeth I had died, and been succeeded by James I).

Tyrone, the "arch rebel," ultimately came to terms days after Elizabeth's death, and went into exile (the famous "flight of the earls"). Robert Devereaux, the earl of Essex, and one of the queen's favorites, was not so fortunate. His personal ambition, military incompetence, and defiance of his majesty's orders cost him his life. While the fate of such elite persons (along with the great apologist of English policy - poet Edmund Spenser) is well known, one of Morgan's minor oversights, which is common in most books about this era, is a lack of attention to the appalling fate of the masses of English and Irish who were slaughtered on both sides of this early version of total war. Half of Ireland was destroyed. The result was famine, disease, and anarchy. The war cost the stingy Tudors a fortune in expenditures and debts. But England prevailed and secured Ireland from being a threatening base of operations for Spain or France. The "flight of the earls" - the "wild geese" - scattered throughout continental Europe, signaling the decline - but not the end - of Gaelic Ireland.

A study on the influencing factors of key decisions made by Hugh O'Neill, Earl of Tyrone and events leading up to the 'Nine Years War" with England. Unlike many other works, there are references to key players in these events including the Earl's brothers Cormac and Airt as well as Hugh Maguire, Red Hugh O'Donnell, and others.
Hugh O'Neill, an Irishman who was taken into custody as a child and trained in the English manner, returns to Ireland. His eldest brother Brian dies leaving him taniste to the title of 'The O'Neill'. Political intrigue ensues when a rival family member claims the title for himself. Meanwhile, the English crown seeks to plant more settlers in Ireland. O'Neill takes the sword for England and earns his title 'Earl of Tyrone'
The temperament and willpower of a man largely ignored by the Crown comes into question as he is dogged by enemies and harrassed by the state. Further problems arise when English troops establish fortifications on his land.
The book becomes a study of the events and circumstances surrounding O'Neills decision to seek aid from the Catholic King Phillip of Spain and turn his back on the tyrannical and genocidal Tudor advance.
The tactics used by O'Neill while negotiating and fighting are the roots of 'guerilla warfare'. The successes at Clontibret, Enniskillen, and the Yellow Ford are mirrored by the Irish failure to win the disasterous battle of Kinsale.
As evidence for the author's conclusions, he includes a letter written by Cormac O'Neill, the Earl's brother, requesting aid from King Phillip II of Spain.
As the author is a historian, all references are cited.
2001 marks the 400th Anniversary of the Battle of Kinsale. This work is a must have for any serious student of Irish history.

A 'must read' for any serious student of Irish history. To fully understand why Ireland is in the political conundrum it is you must first understand where the divisions between religion and politics began. The Geraldine and Butler leagues implemented by Sir Henry Sidney are merely the start, the ineptitude of Tudor officials the catalyst, and the rising power of Hugh O'Neill and his confederacy of Irish Lords and Cheiftans who had been wronged by English policy the vehicle. This book paints the most vivid picture of the people and the events responsible for the conflict. A look at a rare letter written by Cormac Mac Baron to King Phillip II of Spain is used to re-enforce the arguments propounded within the text. The authour, a historian, has clearly done more in-depth research on the subject than any other author to date and accurately describes (for the first time ever) the true story of The O'Neill.