France Books

This book was recommended to me in 1970 by Marshall McLuhan. He was greatly impressed by this book, as was I. Lusseyran's experience with the human voice was particularly intriguing. I tried to contact him at the university, but he had left. Does anyone know what happened to him?

Upon becoming blind at 8 years of age, Jacques Lusseyran discovered a deep inner joy that henceforth illuminated his entire life and never left him, not even in the horror and despair of Buchenwald. He was a daring, courageous French Resistance fighter who taught people not just to see but also to experience that life beyond all life and that joy that surpasses all human understanding. Even the evil of Nazism sweeping throughout France could not dim this ever-shining light. Jacques lived life to the fullest every moment of his waking hours with an enthusiasm that is astonishing, energizing, and almost unbelievable. To read this book is discover anew that light which the darkness has never been able to extinguish.

It shows that we all, by remaining open and without fear, can remain in touch with the Light within. I admire J L tremendously, as a writer, a poet, a spiritual person, an antinazi, and an all around good guy.

Startling in its intelligence, moral power, and sheer beauty, this text is a treasure for both the seasoned wise and the passionate young. Lusseyran was a man of rare talent and courage; his untimely death in 1971 saw the loss of one of Earth's freest and wisest souls. May our children and our children's children have the privilege of reading his remarkable story.

I would recommend this gem of a book to American Anglophiles.

I found this wonderful volume when I was shuffling through a used bookstore in Raleigh, NC, while my soon to be ex was pouring over the gardening section. I came upon "The Annals of London: A Year-by-Year Record of a Thousand Years of History" just by chance. I sat down and opened it up. I was transfixed for the next two hours. It is very compelling.

This book reads like a slow-motion history of English civilization: Every page (it's organized like a newspaper) has a tidbit.

It is a gripping tale. The inevitability of the English political system is striking. The people of London ignore their leaders with a very satisfying frequency.

Interesting tidbits: Henry VIII's coffin exploded while laying in Westminster, and his remains were eaten by dogs; an article on the demolition of the Globe and a less than popular playwright; lots of flatulent monarchs and mayors; and a glimpse at the origins of the English socialist movement that is still very influential today. This book is an incredible archive, and I would recommend it to any fellow American who has a fascination for mother England.

A bit wordy and condescending in that British sort of way, but like any good newspaper, you can skip the parts that don't interest you.

This is the perfect bathroom book. Short, concise vignettes. Pick it up. Put it down. Never lose your place. I'm mere pages from finishing, and I've been reading it for 2 1/2 years.

If you're interested in London history, this book is a great way to strengthen your understanding of that great city without burying yourself in a huge tome.

So why only 4 stars? (I'd have done 3.5 if it was an option.) The author slants very heavily toward two subjects. London theatrical history and architectural history. The former is mind-numbingly ubiquitous. The latter is much more integral to understanding London as it stands today. Both subjects are important and relevant, but in some parts of the book they seem to be the only topics covered at all.

Have this book on hand anytime you are reading history of London or books set in London. I have just read London: the Biography by Peter Ackroyd and London: the Novel by Edward Rutherford and am tempted to re-read both 1000 page books so that I can follow along in The Annals. Fascinating material!

At first glance, this book with its lists of events might appear a little dry, but as you begin reading the events' descriptions, you'll soon discover pages filled with interesting historical anecdotes.

Among the events covered are institutional foundings (such as churches, hospitals, schools, theatres and newspapers), technical and medical achievements, the various floodings and freezings of the Thames, bridge and tunnel collapses, executions, assassinations, hangings, murders, fires, and more.

Even the smallest events have interesting details... such as the blowing down of Fairlop Oak in Hainault Forest in 1820. The tree is described as having branches that spread 116 ft and it is noted: "Around it took place the annual Fairlop Fair -- an event which helped to shorten the tree's life, because visitors would use the inside of the trunk to light fires for cooking."

Another entry that appears earlier in 1741 mentions the opening of St. George's Chapel in Curzon Street by a Reverend Alexander Keith who "scandalized the clergy by his readiness to perform marriages without too many questions."

Many event descriptions run for a few paragraphs and some have illustrations. My only gripe with this book is that the font size for the print is very small. (The print would be much easier to read if it was just another 2 points larger.) Aside from that, I'm sure this book will appeal to anyone with an interest in London history.

This is a great book if you're planning a trip to India with children aged 4-11, or if you've been to India with them and you want to help them recapture the experience. (I'm not sure what children who have no other connection to India would make of it.)

My son is four and loves the book in spite of all the text. He's been to India, and so have his parents. The wonderful jumble of drawings (mostly quite accurate--must have been either on-site or from a good photo collection) and collage is captivating enough that I think most youngsters would be capable of sitting through the lengthy text, though the diary format is a little awkward for reading aloud. There are occasional minor inaccuracies (the library review above correctly points out the "puja" problem... but then, this book doesn't pose as an encyclopedia entry), but as children's books on India go, this one's on the more accurate side of the scale. What's most impressive is the girl's eagerness to meet children from another place, culture, and economic class. She makes friends in a way that seems genuinely non-judgemental. (She and her family chat with a poor pavement dweller in Calcutta, an incense worker in Mysore, a fruitseller on the beach in Goa...)

This is a great book! My son is 9 years old and went to India a couple of years ago. This book vividly brought back all his memories. What I liked best was that even though it is not written by an Indian, it is so authentic. The illustrations are just great! I highly recommend it.

India is a large and diverse country, the home of many ancient and interesting cultures. This book is the travel dialog of a young girl named Anni as she travels through India with her mom and dad. They travel by train, bus, camel and elephant. There are many illustrations and they illustrate the daily street life of India. You see people bathing in the Ganges River, carts being pulled by oxen, people cooking their food in the streets, street vendors hawking their wares, children at school under a tree, and the clothes that the Indians wear. What was most interesting were the pictures of products they encountered in India. Postage stamps, matches, cameras, railway tickets, lottery tickets, honey, fireworks, fabrics, hotel receipts and other products that I did not recognize.
An excellent introduction to India written for young people, this book demonstrates some of the variety and vitality of a country whose culture was old when the first white people landed in North America.

This is a great book! My son is 9 years old and went to India a couple of years ago. This book vividly brought back all his memories. What I liked best was that even though it is not written by an Indian, it is so authentic. The illustrations are just great! I highly recommend it.

A beautiful book that arrived in excellent condition...well packaged and in a very timely manner! Excellent service! Thank you! MW

This book is full of gorgeous pictures and well-written segments that provide information in easily digested and very informative pieces. It covers topics like geology, ancient and present day ecology, geography, flora and fauna, really everything you could ask for. It would make a good reference for schoolwork that doesn't need to be highly scientific or extremely detailed. If it had that kind of additional detail, I'd give it the last star, but then it would likely be twice as thick and much more difficult to read. For the person who just wants to learn more about antarctica, this is the book for you and probably a five star purchase!

This large format style book has excellent photographs, illustrations, and maps on virtually every page in addition to text and related detailed captions.

It is broken down into four parts - the Antarctic environment, regions, wildlife, and exploration history. Each of these four main parts are broken down further into smaller topics. For instance the wildlife section has several pages detailed to each animal type (whales, seals, penguins, seabirds, etc) and then broken down further into each specific species of them by seperate text section with stats and a map showing that specific animal location around Antarctica. The exploration section similiarly is broken down into smaller timeframes (three timeframes) of discovery and expeditions.

Ovearall a great overview of everything Antarctica. Great book for reading and also for just for browsing through.

Great book including history, geology and fauna of antarctica. Excellent photographs. Very recommendable book for a cheap price for everyone who is interested in the blue continent.

I had to read and review this book for a class, and I thought it was great. I had not read any of the books referenced by Ms. Marcus, so it was difficult to tell how sucessfully she represented the authors, but thats really my problem, not hers. I would say that I don't like such heavy use of literary sources in these types of books, but it is usually because I haven't read the books.

I'm happy I chose this book to review, between the nasty review and its mention on the board, (and Ms. Marcus's rebuttal) this will be an easy book review to write.

In Apartment Stories, Sharon Marcus takes the reader on a stunning tour of the interior spaces of the nineteenth century novel. The views that Marcus offers are always exciting. Following her from behind as she weaves her way through dark regions of apartment houses is often exhilirating. Particularly pleasurable is the way she bounces around London. And although sometimes she seems to bend over to make her point, even this rewarding

There has been a recent interest in theories that undermine the undertakings of the Enlightenment and Modernism toward presenting a world made up of clear definitions and distinctions. This trend has thrown light upon those cultures and periods of history previously dismissed as irrational, decadent, or retrogressive. Further, owing to Post-Structuralist interests in language, scholars have increasingly turned towards realist novels and literature from the period being studied to unearth peculiar social environments that have remained concealed in the purely formal analyses of historical accounts.

Sharon Marcus in Apartment Stories identifies the novel as a significant mirror of everyday life. Literary criticism and cultural history, for Marcus, are intertwined disciplines that feed on each other. In Apartment Stories she uses an analysis of the nineteenth-century realist novel to illuminate a discourse about (not `on') apartment houses of the time. Employing texts that she calls `atypical', as a heuristic device for exploring the range and complexity of nineteenth century debates on domesticity and urbanism, Marcus sets herself the ambitious task of questioning conventional conceptions of the distinctions of private and public, interior and exterior, as well as masculine and feminine. She probes the text not only in terms of seeking social and physical implications of the described spaces but also in terms of the manner in which the narration itself inscribes spatial relations and establishes zones as exterior and interior, private and public, mobile and fixed.

Apartment Stories is divided into three parts. The first part, "Open Houses", discusses the apartment house as a space that refutes readability as a private, opaque, and interior space. The second part, "The City and the Domestic Ideal", discusses the cultural preference for the single-family house over the lodging houses (that resembled apartment houses) of Londoners. The third and concluding part, "Interiorization and its Discontents", deals with Paris during the Second Empire. The author claims that Paris became interiorized after 1850 and thereby challenges the established interpretation of the Second Empire Paris as one of spectacle, flânerie, and circulation. She also questions the famous notion of the Goncourt brothers that "the interior is going to die. Life threatens to become more public". Marcus, in view of the Parisian apartment house, explicates the impossibility of ever fully interiorizing the home.

Sharon Marcus's Apartment Stories provides interesting insights into the world of the bourgeois in nineteenth century Paris- though her ideas are not always convincing and not always substantiated with documentation. Her elaborate endnotes that occupy 81 pages at the rear of the book fail to provide the convincing evidence that more architectural drawings and photographs might. The book leaves the readers constantly searching through the text for `real' images of the physical character of the apartment houses to which they may correspond the analysis of the novel. In the absence of such documentation, the author herself feels the need to stop every now and then in order to summarize and locate within the overall scheme of the book what she had just written (which is also what makes the writing of the book-review easier). These impediments that occlude the understanding of her new insights are further assisted by what could be considered a methodological oversight. Her structure of discussions of the interior and exterior space rest upon the individual descriptions of interior and exterior space. The discussion does not flow from one to the other and that, I feel, strengthens the distinction between the two. A discussion of the in-between transition spaces, apart from perhaps the character of the portière, between the street and the house, that one would expect in a discussion of interior and exterior spaces, is also absent.

Marcus works from an impressive bibliography, one that partially compensates for her deficiencies in documentation and illustration. Apart from a slight error in quoting the publication date of James Stevens Curl's The Victorian Celebration of Death as 1872 instead of 1972, the bibliography, along with the book, becomes a wonderful resource for any scholarly study of nineteenth century France and England in the fields of feminist theory and criticism, geography, urban studies, architectural history, literary criticism, and interdisciplinary research on everyday life.

In an elegantly written and persuasively argued volume, Sharon Marcus uses the idea of the apartment building as a tool to comb out two sets of terms that tend to clump together in discussions about the 19th century: man=city=public, woman=home=private. In a work made pleasurable to the general reader through her clear and careful writing and her judicious use of footnotes, Marcus proposes a world of 19th century men, women, homes, and cities, that interact in more messy and interesting ways than we've learned to expect. I enjoyed it thoroughly.

Louis Kahn would have loved this book. Silence and beauty permeate its pages. Intense.

Architecture of Silence is a finely wrought volume of exceptional interest and beauty. Its temporal actuality immediately evokes the devotional themes which are contained within its pages. The book feels like a sacred text which was printed and bound by hand, out of love.

Cistercian cenobites understood that interior spaces were at least as significant and meaningful in the natural order of things as surface manifestations. They believed that divinity resides in places that cannot necessarily be seen or immediately sensed. Architecture Of Silence conveys splendidly the essence of this belief as expressed through the physical monuments they created in worship.

Heald is head photographer for the Guggenheim Museum of New York. He is far more than an expert photographic technician, however. The book exemplifies uncompromisingly conscious, staggeringly sensitive image making. As he composed and developed these images, Heald must have had a vivifying rapport with the same extraordinary source of energy and insight that infused the psyches of the original builders of these Abbeys. Wonderful. Inspiring. Awesome. Excellent essay too.

I was on a spiritual pilgrimage in France in October 2000, and I toured most of the abbeys that are featured in this book. I did not see this book until after I returned from France, and I must admit that the photos in this text are the most impressive of all the books that I have viewed on Cistercian architecture. I love this book ! The photographer has been able to capture the peace, simplicity, and soul of these medieval monuments. How many photography books actually bring your spirit to a deeper level of tranquility? This one surely will. The introduction is beautifully written and was composed by The expert and scholar of Cistercian architecture. I also recommend another excellent book on this subject: Cistercians: Monks and Monasteries of Europe, by Stephen Tobin.

This book is an excellent summary of the holocaust and the controversies which have arisen around it in the past years. Everybody who has ever had any doubts about the holocaust should read this book to realize how dangerous is to deny a historical event for the collective memory of the people. Vidal-Naquet is brilliant in his sociological-discoursive method. A first-class historical treatise.

Great insights on the truth about the Holocaust

This book is an excellent summary of the holocaust and the controversies which have arisen around it in the past years. Everybody who has ever had any doubts about the holocaust should read this book to realize how dangerous is to deny a historical event for the collective memory of the people. Vidal-Naquet is brilliant in his sociological-discoursive method. A first-class historical treatise.

This is a commentary on our age as much as it is a series of essays about the people Vidal-Naquet calls assassins of memory. And a sad commentary it is. For it features some of our greatest minds and some of our most revered institutions.

Here is Chomsky, proudly proclaiming that "It is the responsibility of intellectuals to speak the truth and expose lies"... shortly before penning a preface to Robert Faurisson's book--a book that denied the Holocaust. (Chomsky later realized what he had done and frantically called the publisher to omit his preface).

Here is an institute that finances revisionis activities offering $50,000 to anyone who could prove the existence of a gas chamber. A gentleman who had seen his entire family murdered accepted only to find that the conditions of "proof" were set so high that only a person who HAD been gassed could, in fact, prove the existence of a gas chamber.

Here is Jean-Paul Sartre's report on genocide--a report which omits the Armenian genocide so as not to offend the Pakistani and Turkish authorities.

Here is the origin of the book's title for those who would deny the Holocaust, "chose their target well: they are intent at striking a community in the thousand painful fibers that continue to link itself to its own past."

Here is the French Court struggling with the concept of "crimes against humanity" on December 20, 1985.

And here is the state of the French libraries. "Neither at the Sorbonne nor at the Bibliotheque Nationale can one find fundamental documentation concerning Auschwitz, which has to be consulted, for the most part, at the Centre de Documentation Juive Contemporaire, which itself is far from possessing all that it should."

It seems Vidal-Naquet is amply justified in concluding "Will the truth have the last word? How one would like to be sure of it....."

I have made numerous trips to Paris, armed with several guidebooks, including a Frommers, a Lonely Planet and an Eyewitness, and this is by far my favorite. It's fun to browse through and it makes it easy to find something you want to run out and see. It's a relief to find a guide that's not trying to be an exhaustive list of every possible restaurant, museum or hotel. It has just the right amount of practical info to get you where you want to be and ready for the reality of it when you get there.
Until I used this guidebook I didn't realize that guidebooks are often jammed with too much (boring) information.

The graphics and photos are terrific -none of those grainy 80's pictures of people eating croissants under the Eiffel tower.

Without a doubt, the best travel guide I've ever used. I've been to Paris many, many times, and this guide led me to places I'd never even heard of. Particular strengths are in the areas of Clubs/Bars & Nightlife, Live Music & offbeat museums (who knew there was a Musee de l'Erotisme?) This book is a great choice for the fun-loving urban traveler. I'd highly recommend purchasing this in conjunction with "Time Out Paris", which is exceptionally good for restaurant recommendations.

Bon voyage!

I have an absolute infatuation with Paris. I travel there about once a year and now own over 40 travel guides on Paradise, err, I mean Paris. This book is my absolute favorite. Sure, the images and layout on the pages are totally hip, but more important so is the information. Anyone who's read a few travel books on Paris knows about FNAC music shop and Virgin Megastore, but through this book, I also learned about Boulinier, Crocodisc, Chez Sanchez, Monster Melodies, La Silence de la Rue, and Parallèles, which all specialize in a focused area of music. I discovered some incredible boutiques that I've never seen listed elsewhere. A few sights are mainstream (how can one visit Paris without seeing the Eiffel Tower or Arc de Triomphe?) but what makes this book unique is the listing of sights, restaurants, and shops that are totally cool that I haven't seen elsewhere. And if you want up-to-the-minute changes to the text, one simply travels no farther than their website. The book also has a "bite" -- raw, honest opinions. One problem with my book, however. I have read it and carried it around so often that my copy is getting quite tattered. For anyone with a true sense of adventure or who wants to explore some unique French spots where you won't encounter dozens of other tourists, this is your book.

I've read every kind of guidebook, from Let's Go in the 1980's to Lonely Planet in the 90's and this refreshing addition to the multitude is just the answer for the young (and not so young) adventurous traveller. The graphic design is fun and reveals a smart editor - hire a good graphic designer. The writing is witty and irreverant at times - perfect for those who seek a good experience without the hype. The maps are inadequate - but who travels with one guidebook these days anyway? That's what tourist maps are for.

I particularily liked the photographs, certainly not your average "Gee, here we are in front of the Eifel Tower" standard fare. They capture everything you dream Paris would be: classy, cutting edge and just plain gorgeous. The writing gets to the point quickly with all the necessary facts, yet does allow for some subjectivity that I found refreshing both before our trip and during our stay.

Buy this book if you're a repeat visitor to Paris and looking for another experience beyond the three day quickie when you have barely enough time to see the big league sites. The nightlife and eating sections are worth the price alone. Sure, we carried our Michelin Green Guide because we're architects and enjoy knowing the details, but for a cover to cover guidebook, this is the best yet.

As much as we tend to "tip-toe" around end-of-life matters with family and friends, Parker however takes the reader on a warm and touching journey with "loud and clear" steps about what she calls, "The Other Side of Through." Throughout the book, you can't help but reflect on your life situation wherever you may be on life's timeline. It is a must-read for those thousands of "baby boomers" like me because 1. We are entering that phase of our life where, quite frankly, we begin to seriously think about our own mortality and all that that means, and 2. Many of us have had to be, or will face the very likely possibility of being, a care-giver to a loved one. "Being Dead Right" answers so many questions on the issues of hospice care almost from A-Z and is told in a very readable, informative and humane way. In her book, Parker indeed lets full sun shine on a topic long lain hid. Excellent job.

Let's face it: Becoming Dead Right is a startling use of double entendre. It grew on me as a reader, since ultimately there's no time that straight talk is more required than at, and about, end of life. Placing judgement aside, "wrong" ways of dying have detrimental effects on patient-families; "right" ways of dying make end days as humane as can be, for both the dying and their survivors.

Humaneness is the critical quality that is often misplaced or absent from critical care. Parker's humanity is palpable. Every school principal must imbue it (even if half her kids may go to their own graves in denial of their school principal's humanity), so it's no surprise she would manifest it as a hospice worker and writer.

Yet I was surprised, and touched, and bolstered. As a writer on end-of-life matters, I expect others who write on dying and death to do so with great dignity, empathy, and poise. The subject requires it. So why my surprise? I think it stems from several directions.
- Poetry. If inuendo has no place in end-of-life conversations, and metaphor ignites understanding as it relieves duress, poetry occupies a middle ground. Parker's inclusion of personal poems throughout adds a a poignant, exploratory dimension to her narrative.
- Cultural mileu #1: Inside the Looking Glass. Reading messages that emanate from inside hospice differs from reading information about hospice. Parker gives us the real deal, distinct from intellectual abstraction (no matter how important the latter may be when the subject is end-of-life choices). Parker's "person-studies" help explain, in a very accessible manner, what hospice offers.
- Cultural mileu #2: Race. For those of us outside the black community, Becoming Dead Right offers a glimpse into the human fabric that makes Black America rich in ways that are intrinsic to their unique identity as a people. The glimpse arises naturally, through the telling. It's subtle, and probably unintentional--making this book all the more valuable.

And if Parker can help manifest her vision of Boomer Haven on a national scale, I'd queue up when it's my turn--even if I wasn't already predisposed.

-- Bart Windrum, author of Notes from the Waiting Room: Managing a Loved One's End-of-Life Hospitalization

This book was enlightning and a pleasure to read. I found it difficult to put down. Each of many patient related stories told was captivating and conveyed significant and often imperative messages. Comprehensive, insightful, empathetic, amusing, comforting and instructive are all applicable adjectives. Becoming Dead Right is a gift of sagacity to us all.

I really enjoyed the book, "Becoming Dead Right." The book was powerfully written and allowed the reader to feel the joys, frustrations, excitement and pain of the men and women in Hospice Care. My favorite part was the poems that were peppered in throughout the book that gave the book an extra special touch. I highly recommend this book to anyone who wants to read a book that puts a story and face with the people in Hospice Care.

An amazing biography. A work such as this will most likely appeal to only 1 out of 100,000 Amazon customers, but those who read it will never forget it, and once having read it will listen to Berlioz's music with a knowing insider's grin.

Cairns has done what is extremely difficult: he has created an easy-to-read, engaging, yet methodical and thorough modern biography in English of a composer who was born 200 years ago and whose paper trail was written entirely in French. The book has good humor but is not fawning or hagiographic.

A little note (pun intended): this is about Berlioz the man, and not about Berlioz as an ethnomusicologist's project. In other words, this is the study of a young man and how he came to know and create music, but not about that music per se.

Bonne lecture!

This is a wonderful book both for the lay reader and for the musically knowledgeable. It says a great deal about how well written this book is that someone like me who knows nothing about music could still enjoy the book so much. Mr. Cairns takes the tale from the birth of Berlioz in 1803 up until 1832, when he was in his late 20's. You learn about his relationship with his parents, who were opposed to his choice of composer for a career, and his sisters. We are very fortunate that this was a great age for letter writing. Mr. Cairns makes judicious use of the correspondence between Berlioz and his family and friends to the point where you almost feel yourself to be a friend or family member. You get inside the young composer's mind as he tries to convince his parents that his desire to write music is not just a "whim", but something that he is absolutely passionate about and must do. Berlioz was also extremely sensitive and romantic. After seeing the English actress Harriet Smithson perform on stage in several works by Shakespeare he developed an obsessive love for her, even though he had never met her. He had an apartment across the street from where she lived and would longingly watch her comings and goings. He eventually wrote her several notes expressing his feelings but she rebuffed him, quite understandably one would think! (She had also heard a rumor, which was untrue, that he was an epileptic.) Shortly after coming to the realization that Smithson was unattainable Berlioz met the virtuoso pianist Camille Moke and they fell in love with each other and eventually got engaged. Alas, when poor Hector had to go to Rome to live in order to receive grant money from winning the Prix de Rome, Camille dumped him and opted for security by marrying a wealthy man. This soured Hector on women for awhile but did not diminish his love for music, nature and life. Mr. Cairns has been a professional music critic and is also a scholar, so he understands and ably explains the technical aspects of Berlioz's music. I was totally lost in these sections but my ignorance did not diminish my enjoyment of this sympathetic and wonderfully written book.

David Cairns is a great Berlioz scholar. Like to meet him someday. His translation of "Memoirs" is much superior to Newmans.I bought the 1st volume of the biography some years ago when it first came out and the second a couple of years ago when it was first published. I revisit these volumes frequently. Berlioz was one of the really great romantics. At least 50 years before his time. Glad to see SF opera is planning on staging Cellini & B & B over the next few years. Sixtus Beckmesser

This really is one of the best biographies of any subject to come my way.I didn't know a lot of Berlioz's music before approaching this but it didn't actually matter.All the elements of a gripping novel are here only for they're true!-fighting paternal disapproval,living in poverty in Paris,eloping with a virtuoso pianist-it's all here and Cairns paints such an intimate picture that you can't but fail to admire Berlioz and his dogged determination to be a composer and write HIS music only to be continually rebuked in his native homeland.The efforts that the man had to go to just to hear his own music is truly heartbreaking.Biography doesn't get much better than this-especially if you're only even remotely interested in music or art.