California Books

Beautiful book! Author does a lovely, sensitive job profiling Morgan, and her career as the first licensed female architect in the US. I also really enjoyed the socio-cultural, and artistic context of the early 20th Century. The extensive photographs are a wonderful addition - imperative in a book dealing with a visual art. One of the very richest architectual books I've seen in a long time, and a great addition to anyone's collection.

A wonderful survey of a truly great Architect. Great photos. Original drawings. A detailed career history & biography. Most of the better known masters haven't gotten this kind of treatment; Ms. Morgan deserves it. GREAT book.

This is an outstanding book on Morgan's life and work. Well written text, detailed history, biographical information, and quality photos of the many buildings are just of few of the book's strong points. Morgan designed hundreds of buildings during her over 50-year career, and the author deserves credit for covering so many of them. Of course, she is most famous for the projects she did for Hearst, such as the "Castle" and Wyntoon, the Austrian/Bavarian style estate near Mt. Shasta in northern California, but she created many other important buildings also, which get discussed in detail in this fine volume. Also included are scans of the original plans. Out of all the books on Morgan, this one is by far the best, and well worth your time and money.

A little side note here, I've done five different tours of the Hearst Castle over the years, so have had an opportunity personally to view one of her most important works. During one of the tours, the guide said that a few years ago they had a 6.4 magnitude earthquake there, but except for a few tiles that came off here and there, the castle sustained no damage. That's because despite the delicate looking surface ornamentation, underneath the building is steel reinforced concrete, with even thicker walls than necessary. As a result, the entire Hearst Castle sustained almost no damage during the quake, and no structural damage, and the only really dramatic thing that happened was the guide said that the quake shook things violently enough so that a lot of water sloshed out of the big Neptune pool. :-)

One of the guides said some interesting things about Hearst's wealth. By the standards of the time, he was certainly very wealthy, earning $50,000 a day back in the early 30s. But compared to the most wealthy people of the day, such as Rockefeller, who made one million dollars a day, this was relatively modest. Hearst was the 42nd wealthiest man in the U.S. at the time, his father, George Hearst, being 32nd, if I remember right. He spent 9 million dollars on the Castle, approximately one half a year's earnings, so percentage-wise, it was not that much money for him. But compared to the super-wealthy of the day, such as the Morgans, Rockefellers, Vanderbilts, etc, apparently it wasn't much. :-)

Back in the financial panic of 1905, J.P. Morgan, one of the wealthiest men of his time, lent the U.S. government 20 million dollars of his own money, back when that was a lot more, so it could temporarily keep operating. When Morgan died, Rockefeller commented, "He accomplished a lot for a man who wasn't that wealthy."

Anyway, just a few perhaps irrelevant comments on some of the history of the wealthiest individuals of the time. :-)

I have always been interested in Julia Morgan's work but I have never been able to find enough solid and valuable information about her and her work. I own all of the Julia Morgan books, that is every book written about Julia Morgan. This, by far, is the best composition of the true character of Julia Morgan. Not only do you get an entire biography with incredible detail but you also get insight from hundreds of pictures, scans of actual plans Julia Morgan drafted and entires from other important persons. This book is a must have if you are looking for "the" book covering everything in Julia Morgan's life. This book stands alone among all the other Julia Morgan reads. I suggest that if you are looking for a book about Ms. Morgan, this is the best book, brings the greatest attention to detail that you will ever find about Julia Morgan.

Comprehensive with great photographs, this is a good place to start learning about Morgan's career.

This book is an outline for how to recreate the late June Jordan's revolutionary poetry class at UC Berkeley. From how to organize, to how to pick a curriculum and run a workshop, to how to kick off a reading and publish a class chapbook, this volume recreates the process that will allow you to teach poetry to a broad cross-section of the population. And not just at a university, either: the book describes how this same process, with minor amendments, was used in public schools and in an area church. I can imagine this same blueprint being used to teach poetry in a community center, a long-term care home, or a prison with similar good effect.

And even if you're not inclined to teach, there is a great deal of information in this book that will help you learn how to write. Jordan inserts her guidelines for revision, self-critique, self-publicity, and other skills a working poet will need. Whether you want to work with others or alone, this book will open your eyes to the ways poets improve their art.

There is even a healthy selection of poetry that poets and teachers of poetry should take a look at. Categorized according to racial, social, sexual, and other lines, it will allow you to build a library that represents a cross-section of verse as it is written in America today. The list is a little out of date, having been written in 1995, but if you have access to a good library, or even time to look around Amazon.com, you should be able to bring the selection up to date for your own writing.

The book isn't without problems. In the reading selection, the "White Male" section seems to stop with the death of Robert Frost, as though no white men have written poetry, or none worth mentioning, for the last 45 years. Some of the poetry from the class is very confessional, sometimes at the expense of quality, so there are poems which seem less like poetry amd more like airing dirty laundry in public. And the social outlook of the book is very urban-centered, as though if you don't live in a world surrounded by urban sprawl and drenched in media, you can't write or perform poetry.

But on balance, even a rural white male poet with nothing to confess will have a great deal to gain from this book. From how to edit yourself to how to organize with other poets to how to publish and publicize, there is a great deal you'll be able to take away and apply to your own poetry and your own community. A must-have for all poets who aspire to work in a serious and committed manner, and for poetry teachers who want to do more than just copy-edit their students' work.

This book, based on the experience of students and poets involved with June Jordan's popular UCal/Berkeley poetry courses, is a handbook for people who want to put poetry in the mouths and pens of "The People," everybody -- whether in the university or in a community setting such as a coffeehouse or church. The "white male" poetry of the "canon" is here put in its rightful place as but one of the several American poetry traditions, which also include African American, Caribbean, Native American, Asian American, Chicano/a, gay and lesbian, women's, and Irish American poetry, for which beginning bibliographies are supplied, as is a sample syllabus and an anthology of student poetry.

I stumbled on this book when I was looking for new resources for good poems to read for Black History Month. Flipping through it, I found it instantly engaging, so I had no problem buying it on the spot.

It went on the stack of 'next time you're looking for something interesting to read' and had to wait for me to finish a few books of poetry, as well as Ted Kooser's Poetry Home Repair Manual. I felt some sort of irrational loyalty to the new Poet Laureate. But Kooser is good; very good. He made me think through everything that I write -- carefully, critically -- and my spirit was quickly wilting. I needed an antidote; or, more precisely, a complement, a little yin to counterbalance the substantial yang of Kooser's superb book. June Jordan was the very thing.

Reading it is a joy. Thinking through how to teach people to write poetry that speaks to the truth of their world, their experience, and how to bring it to the public -- all the grub with the glory, so to speak -- with June Jordan and her students was pure pleasure. And I couldn't argue with the results -- which are generously sprinkled throughout the book, with an extra dollop at the end. Poetry, the craft and how to sell it.

I have to mention that one thing that initially attracted me to Poetry for the People was the memory that Jordan had recently died (in 2002, I believe). I'm in the habit of reading a book by an author when they die as a sort of memorial, an extended meditation on their contribution and general mutability, if you will. We lost a great one when we lost June Jordan; but she was responsible enough to leave a substantial legacy, so the net loss is negligible. It's ours because she wanted it to be.

Even if you don't teach poetry writing, you will love this book if you're a writer of politically conscious poetry or if you care about how good poetry gets written. With the popularity of Slam poetry these days, this is a very useful primer. It includes poems from different cultural backgrounds about a range of racial, social, and gender issues. It also provides lists of suggested readings that go beyond the narrow range of poetry books found in mainstream bookstores.

Lauren Muller, editor, gently persuades a talented crew from June Jordan's Poetry for the People classes at UC Berkely, to tell the rest of us how they do it--run poetry workshops and readings that literally transform their participants and audiences. The book provides college and communityteachers with an accessible plan for poetry workshops, including syllabii, bibliographies, thoughtful meditations on the teaching and writingof poetry, and a rich sampling of poems. It's a tribute not only to the power of the word but also to the solid principle that teaching, like popular theater, is one of the democratic art forms that can revolutionize the way we think and how we live in community.

Haven't finished reading the book but I found it to be very ineresting and worth my time. It takes an in-depth look at the Manchu imperial family, something that is oftentimes glossed over or ignored in history classes.
When Evelyn Rawski wrote about the Forbidden City- literally and figuratively, it is forbidden to outsiders- a real wonderland populated with characters that might eerily remind one of Alice's adventures in wonderland.

This is a great book the let people to know that Manchu still exists, because most of people had been unknown about China was named Manchu, it really named Manchu. It shows the social life style of the Manchus, the power of kingdom, which is never going to forget about the wealthy lives in Manchu, what is forbidden city really means. Forbidden City is a heaven, it is the most beautiful place to live in. It is magnificent, no where could compare with Forbidden City. Kingdom life is the best!

China should changed the name back to "Manchu" Qing Dynatsy is great!!!

This book beautifully describes the social fabric of life during the Qing Dynasty. As the author claims, she was privy to previously undisclosed Imperial records and has unearthed new insights into Qing customs.
I was introduced to this book after reading Jonathan Spence's "Treason by the book". Mr Spence, perhaps the foremost sinologist writing in a Western vein, has himself praised this book for its fount of new information on the Qing period.
I couldn't agree more and can also add that it is highly readable.

I had been taught in my high school history that "Manchus conquered China on horseback but eventually they were assimilated by the Chinese, becoming more Chinese than the Chinese". After reading E.Rawski's book, I'm beginning to question what my history teachers taught me.

E.Rawski's concentrated research on the Manchu royal family shows that the Manchus, particularly the elite did not lose their cultural heritage but in fact strove to maintain it.

The book explains how the Manchu royal family differed from the Chinese dynasties in their various aspects of social life. As the book is divided in chapters, it's easy to follow and read.

In my humble opinion, this book is for those who wish to study the Manchu monarchy in more detail.

In this work Dr. Rawski argues convincingly for her side of the sinicization debate regarding the Manchu conquest dynasty, the Qing (1644-1911). For those of you who are new to the field of modern Chinese history you may be interested in reading the articles of Rawski and Ho Ping-ti (He Pingdi) found in the Journal of Asian Studies, published in the mid-90's. The debate that was started by those articles is still of great importance to modern Chinese history, and it seems that although Rawski and others have presented a very strong case no one as of yet has been victorious. Many scholars still hold the views of Ho Ping-ti (or some version there of). Although, I suspect that over time Rawski's views will triumph. The argument, simply stated, is the question - to what extent where the "conquest dynasties," especially the Qing (Manchu) Dynasty, sinicized? In the past, scholars (perhaps dominated by the sino-centric Chinese interpretation) have agreed that foreign powers who dominated the Chinese empire forsook their own cultures in favor of a Chinese identity. This included the adoption of the Confucian civil service tradition as well as the Chinese language and many other Chinese cultural traits and behavior patterns. In recent years however, scholars have given evidence to support a very different view of dynasties like the Qing. A certain level of sinicization is undeniable, and no one challenges the fact that the Manchu banner-elite adopted a very Chinese approach to governance and cultural issues, however they also held on tightly to their own culture and went to great efforts to distinguish themselves from the Han Chinese as a ruling elite. The Manchu language, which many scholars had previously considered irrelevant (when studying modern Chinese history) has here become increasingly important. Rawski goes to great lengths to demonstrate the ways in which the ruling elite of China did not adopt 'Chinese' cultural practices but instead tried to be all things to all people. For the Tibetans and the Mongols they adopted the identity of a ruling clergy of Tibetan Buddhism, for the Chinese they adopted the Confucian model of governance, and for the Manchus they held on to various animistic traditions of sacrifice and deity worship.
This book is well written, except for a few minor stylistically uncomfortable passages, and really proves her point. Unfortunately, it does drag on a bit at times. Rawski gives an extremely detailed account of life in the upper echelons of Qing society focusing on the imperial household. There is a large body of work here and it will take several readings to truly imbibe all this book has to offer.
If you are looking to deepen your knowledge of the field I recommend "Manchus & Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928 " by Edward Rhoads. It is a bit shorter and focuses on the ethnic and political divides between the ruling elite and the Han Chinese.

As a graduate student in cultural anthropology, I find Goldstein's book to be an important contribution to modern-day anthropology. As a good example of "on the ground" anthropology, this ethnography's greatest strength lies in the material itself, specifically those social issues that CANNOT and MUST NOT be classified as social phenomena (i.e. racism, class conflict, and structural and everyday forms of violence) attributable of a bygone era. By focusing specifically on the social, familial, and economic relationships of her main informant (Glória), Goldstein illustrates how Glória's experiences-as well as her friends' and family members'-are microcosmic examples of how the lives of Rio's urban poor continue to be characterized by these very real and contemporary issues. Often relegated to favelas in the Rio's Zona Norte, members of Brazil's enormous lower class encounter social and economic hardships that most-if not all-of us will only experience through ethnographic description. In my opinion, "Laughter Out of Place" is one ethnography that successfully and sensitively sheds some light-however depressing-on these realities.

I believe that "Laughter Out of Place" successfully interweaves both theory and ethnographic data in what is a cohesive and coherent final product. In reference to theory, Goldstein's explicit theoretical discussions are not only interesting, but also helpful in trying to wrap your brain around such difficult subjects as rape, police violence, and extreme poverty. For example, she utilizes theories of political economy, cultural capital, and Freyre's "myth of racial democracy" to better understand-and best convey-the complexity of the situations she witnessed in the early 1990s. Additionally, the ethnographic content is well proportioned to the amount of theoretical material included in the book. At times, the `thickness' of the ethnographic material is overwhelming, but this is necessary when writing of extremely depressing scenarios like those so prevalent in the culture of Rio's favelas.

One of the most endearing and unique aspects of "Laughter Out of Place" is at the heart of the ethnography: the examination of how a particular cultural group comes to use a specific coping mechanism (`black humor') to confront their lived realities and hardships. Goldstein skillfully shows that this adaptation is undoubtedly culturally constructed and culturally specific to life in Rio's favelas, particularly Felicidade Eterna. For as Nancy Scheper-Hughes and Philippe Bourgois suggest in the Forward, Goldstein clearly reveals "the layers of bravado, anger, defiance, and deep sadness that are built into each complex joke."

Lastly, I should mention that I reflected on my own coping mechanisms while contemplating Goldstein's detailed discussion of laughter `out of place.' As a result, I ask myself: How do I deal with pain, stress, and death in my own life? How do we in our own subcultures choose to cope collectively with our own economic, social, and political situations? The very fact that I reflect in such a personal-as well as anthropological-way makes me appreciate "Laughter Out of Place" that much more.

Donna Goldstein, a professor at the University of Colorado at Boulder, has written a true anthropological/ethnographic masterpiece. After many years of field work and manuscript writing, Goldstein's book should be added to nationwide anthro department reading lists. Each chapter deals with the core issues that any cultural anthropologist must come to terms with: gender, race, class, and violence. Black humor is also an underlying theme.

As a student of anthropology, this book changed my perspective regarding my area of study. After reading many of the required ethnographies and anthropological works for my major, Laughter out of Place was like a breath of fresh air. Goldstein's style is truly beautiful and poignant. Her storytelling style and descriptions of poverty, racism, rape, and violence cut to the core. Furthermore, the explanations of various cultural and social theories are not dry-- they flow with the rest of the book (thus making it accessible to those who are not students of anthropology).

Goldstein also does a fine job of demonstrating to the reader that although her book reflects upon her experiences in Brazil, it also stands as a symbol for any people in any country who suffer from having been "colonized".

I highly recommend this book to anyone. However, I would especially emphasize its importance for students of anthropology. This is definitely the book that will remind you of why we study anthropology: to come to an understanding of other cultures and why injustices exist in this world.

Laughter Out of Place is a wonderful ethnography in a number of ways. It captures an incredible depth of understanding of lives of the urban poor women and their families in a favela. It reveals the complexity of their predicaments, and their predicaments are many:
How can one try to move up in the society without reproducing the beliefs about black female sexual allure?
How can Gloria keep her children in line, out of prison and alive but also how can she prevent them from joining a gang?
How can she inflict harsh punishments on her children and at the same time witness the perpetual pampering of the middle and upper class children?
How can young men in the favela stay out of gangs in a situation where there are virtually no economic opportunities for them and they are constantly criminalized by the elite?
How can middle and upper classes stop their dependence on domestic workers without lowering their own class standing?
How can the women in the favela break the cycle of domination and refuse domestic work when sex work is one of the only other viable alternatives for them?
How can a black consciousness movement develop among people who believe that calling someone 'black' is an insult?
These are just a few of very complex predicaments that Laughter Out of Place reveals to the reader through a great depth of analysis and wonderful story-telling.
What might be most interesting, however, is that even though so much of the book is about violence -- either actual or symbolic -- Goldstein chose the lens of humor through which to cast the story. This choice might seem odd at the first glance but at the end of the book it is clear that the framework of humor as a survivalist strategy and also as a place of disjunction between aesthetics of the poor and aesthetics of the middle and upper classes brings all aspects of Goldstein?s work together. This book is also written with a clarity of thought that I believe will draw both academic and non-academic audiences.

Within the first few pages of Laughter Out of Place, I realized that Dr. Goldstein was going to embark on ethnographic analysis in a more personal vein. The introduction reads like a personal reflection of her time spent in "Felicidade Eterna," folding in memories of the people she met into a journal-styled ethnography, of the kind introduced to us by Ruth Behar. I found Donna's approach refreshing: a reader knew where she stood on issues, and there were no concealed objectivities in her observations. Donna's personality comes through in her writing in her style -which does not back away from harsh realities, nor delve into idealized or romanticized metaphors for Brazilian music, sex, or style. I found large scale conclusions were lacking, but her small conclusions peppered within her dialogue were cogent: clearly understood and explained by her observations.

Looking at the book's format in an overall construction, I thought she made an interesting and deliberate choice in segmenting the book around particular phenomena of favela culture. The overarching concept - of laughter in the favelas that seemed to be out of place - ran through the book, but other subjects like the aesthetics of domination, black cinderelllas, short-term childhoods, gangs and violence, and the carnivalization of desire focused the book into themes particularized to the society of the favela. The choice of these themes and I can guess were synthesized from coded observations. The phenomena addressed were concrete and drew Donna's discursive writing style along into interesting, relevant, and "involving" territory. She used theory to bolster her arguments, but didn't saddle the story with overwhelming treatises. The choice of ethnographic writing - employing themes - makes me curious though. Does the use of themes artificially differentiate the life in the favela from our own, or other social conditions where poverty subjugates its population? Are we getting a picture of what life is like there, or rather of what particularizes life in the favela from our existences?

Admittedly though the book is seductive in drawing the reader into the discussion. And issues touched upon in the book can be applied to many other geographies. Donna does not try to ingratiate herself in pure relativism, as she says, she is often shocked by the ironic attitudes of the people who seem to accept their fate much more humorously than Donna imagined prior to her experience in Felicidade. She takes issue with some theortists, including Foucault, presenting and then unraveling their theoretical positioning. She also disparages the study of elites, or "cosmopolitan intellectuals, or transnational social movements" as a form of "ethnographic refusal," and a condition "that would fail to provide density to our representations, sanitize politics," or produce "thin version of culture with a set of dissolving actors" (43). Donna does not hold back.

In her review of Donna Goldstein's book, Nancy Shepar-Hughes mentions that Golstein's book will not come without controversy because it may be painted in a "culture-of-poverty" conceptual framework. But I don't see that happening in this case because Goldstein concentrates on the conditions of life and the subsequent actions of people mired in a difficult situation and in the fragile structure of the favela. Donna is also quick to point out that she herself does not understand - at all times - the social structures in place. For example, out of generosity Donna sets aside some money for Soneca to attend a computer institute. The idea does not succeed and Gloria, the main informant of the book, is annoyed by the waste of valuable resources.

Donna also employs modern electronic resources to make her point, and bring the reader directly into current attitudes and stereotyping concerning "Brazilian Mulatas." She enters a search engine with those exact two words and finds dozens of porn sites exemplifying popular viewpoints related to sexuality in Brazil. She points out many of the inconsistentsies and ironic attitudes present in the favelas regarding sexuality and race. Gloria, for instance, views the white coroa taking on a dark skinned lover as evidence for a "reluctance of Afro-Brazilian women to interpret certain kinds of interactions as racist" (124).

While all of the discussion in Laughter Out of Place is interesting, for me the discussions on violence and gangs are/were most relevant in a changing second and third world. One can imagine the "trajectory into criminality by young men as a form of local knowledge (and as a vehicle for advancement)..." (203). Indeed, after the descriptions given of the lifestyle, poverty, abuse, and of course humor that saturate the favela, one can clearly see the seductive link of falling into gang violence and criminality. Donna also clearly demonstrates the functionality of bandit existence, quoting and borrowing from Hobsbawm the reasoning behind the formation of "primitive rebels:" "Social banditry becomes a form of self-help in the context of economic crises and social tension" (209).

In Donna's short but cogent conclusion she does not try to offer monumental solutions to the problems she sees, but nevertheless her astute observations and solutions provided are idealistic and perhaps unrealistic. She points to endemic problems in the favela such as the "differential application of the rule of law," and the need to "reform policing forces" bringing an end to corruption and abuse" (273). She points out that in order for drug traffickers and gangs to be removed from the favela, "'good faith' social services need to be put in place to treat the everyday private injustices that are currently being handled by such organizations" (274). Like so many impoverished societies, an infrastructure or support girdle of municipal services needs to be put in place (or reformed) to aid all segments of the society of Rio. This remains a common need for societies battling poverty. Great ethnography and seductive reading examining a micro-world of global inequality.

Carlos Torres, Ph.D. student

Laughter out of Place is crucial reading for those interested in exploring the hardships of Brazil and the spunk that keeps a population of oppressed and impoverished people dancing, singing, and always eager to laugh. Goldstein takes the reader through the gutters and alleys of a Rio shantytown, sharing years of experience as both a fieldworker, and a personal friend to many of the book's feisty characters. Laughter portrays the unbearableness of shantytown life and how it is expressed through laughter, ridicule, and trickery that seem inappropriate to outsiders.

From my own experience of living and working in a Brazilian shantytown, I can with say confidence that Laughter out of Place is an authentic and well-researched exploration of shantytown survival tactics in Brazil. For any person interested in learning about the Brazil that lies outside of Carnival and beautiful beaches, this book is your transport.

Annie Eastman
director of (a room of an hour) an excerpt of Brazil
floorsleepers'productions@hotmail.com

I thought that the book was very well written and engaging. Ms. Mints writes very well and draws you in from the beginning. It is one of the better books that I have read as it is real and powerful...showing the side of mental illness that so many of us fear and rarely talk about.

Legacy of Courage was a book that wrapped itself around my heart and made me feel the emotions of a family and their painful challenges of watching the woman in the center of it all struggle for survival. It gave me insight on the horrific bad luck of being genetically challenged w/schizophrenic genes. How a woman vacilated between living her life in a drug induced state that allowed her to function in society and just wanting to be. I can't imagine being controlled by voices that inhabit your every thought. This book allowed me to appreciate my own blessings and left me feeling empathetic to the author who no doubt painfully poured out her heart and soul so that other's could learn and understand through her mother's story, thereby allowing the legacy of her mother to live on, while putting to rest so many of her own struggles. A truly moving book, with inspiration for anyone dealing with a challenge in their life.

Paula's story is a must for anyone working in the mental health field. Reading about what it is like to have a mother who is schizophrenic is something one does not get in classroom texts. I was deeply moved by both the book as well as seeing her last night at a book reading in Campbell, California. Everyone will be affected by this cogent narrative.

Paula Mints's mother, Elaine Rothwell, suffered from schizophrenia. Legacy of Courage is the story of Elaine's life and her brutal death, as seen through Mints's eyes. It's also the story of how one daughter discovered her mother and the love they had for each other.

Mints's childhood was tumultuous and unhappy. She treasures a few early memories of her happpy and pretty mother teaching her to curl her hair, comforting her, or listening to her stories. But Mints also remembers seeing her mother hitting her head against the wall to quiet the voices tormenting her, and she remembers the subdued, but not healed, woman who returned from a series of electric shock treatments.

What Mints remembers most is the day her mother disappeared, and the phone call she got three years later asking her to come to the morgue and identify Elaine's body. She began a search then for the man who had raped and murdered a homeless insane woman. Working by herself, she found enough evidence for the police to make an arrest. She then endured an eight-year wait for that man to be brought to trial, "determined to prove that the murderer's victim was more than just another crazy homeless person, but someone once loved and treasured who deserves vindication."

One of the most moving and powerful books I've read in a long time, Legacy of Courage not only details a fight for justice and the effects of the fight on the victim's family, it's also "ultimately the chronicle of one woman's cathartic journey to the roots of forgiveness and the flowering of peace." Devoid of pretensions and permeated with truth, it's a book that can't be put down once started.

Legacy Of Courage is the true and riveting story of Paula Mints' search for her mother's killer and her own identity. Lucia Elaine Rothwell had been homeless, living in a cardboard box, and ended up savaged and brutally murdered. Paula, as a young girl, barely survived her childhood years when her mother's mental condition distorted reality. Paula describes the harrowing days of her mother's decent into schizophrenia and her father's ultimate abandonment, of trying to care for her mother whose condition was worsening. But when authorities failed to commit her mother to a psychiatric hospital, Lucia disappeared -- until the day the Coroner's office contacted Paula with the devastating news of her mothers homicide. Legacy Of Courage is the story of how Paula came to terms with the death of her mother, the pain of her own past, and the guilt she felt for losing touch. It's also the story of a justice system apathetic to the plight of the homeless and Paula's becoming adamant in proving that the murderer's victim was not some anonymous homeless person, but a human being once loved and part of a family. Paula sets out to bring her mother's murderer to justice. Legacy Of Courage is a true story that compels the reader with a real-life drama that exceeds anything thought up by some Hollywood scriptwriter.

Have you ever wondered about some creature washed ashore in Monterey, or sat fascinated while intently watching the teeming life of a tide pool? This book will satisfy your curiosity, opening you to worlds you never imagined existed. In one example, the book describes the complex life cycle of Velella, from deep sea denizen to the pelagic blue sails seen awash on beaches. Throughout, A Living Bay shares a fascinating story of Monterey sea life, from towering kelp forests to miniscule colonies of byrozoans--with beautiful photos, detailed and passionate writing that keeps you reading.
This is my favorite book on sea life: a must-have supplement for lovers of Monterey bay, aquarium visitors, and all curious minds.

The authors' love of their subject and the depth of their knowledge shines out from the pages of this beautiful, fact-packed book, which overflows with spectacular photos and lively, interesting text. Instead of dry and technical captions, each photo is accompanied by a mini-essay filled with wonderful information. What makes this book truly marvelous to me is that as you read it, you forget that many of their subjects are only millimeters in size; they are the kind of thing we overlook until a book like this does them justice.

An exceptional book. Those tar spots on the beach, those yucky lumps of rotting kelp, those minor shellfish will all become fascinating interacting worlds for you. Beautiful photos that excite and succinct explanations that educate in a package that could well be an excellent coffee table book. We should all hope that this is what all nature books would become. I recommend this book to anyone interested in ocean life (not just Monterey Bay).

I am giving this book out as gifts to friends and relatives.

I'm an avid Monterey Area scuba diver who was on the verge of thinking I knew something about Monterey marine life. That was before I read this book. Despite my many hundreds of dives and many hours of time spent studying the things I'd seen this book opened my eyes to all sorts of things I'd never noticed before. Anybody interested in west coast marine life simply must have this book.

One of it's best features is the novel organization. It's broken up into habitat areas rather than by Phylum/Genus/Species etc. This really helps the reader understand the relationships between the various organisms. Also the photographs are truly exceptional.

Overall a real gem.

This book provides many many photographs of marine organisms found in Monterey Bay (California coast). The photographs are clear, well-reproduced, and organisms are identified by common and Latin name. This alone would be a good reason to buy the book. However, the authors went beyond excellent photography into detailed marine biology. For every organism, they provide fascinating details from the biology of the organism, often supplemented with additional photographs illustrating the phenomenon being described. I have taught chemistry, biology, and marine biology at the high school level, as well as being a SCUBA diver; I found this book to be full of new and fascinating information, well presented and carefully documented, with scientific sources cited (but not obnoxiously). I loaned this book to two high school students, one fascinated with marine biology, one not so fascinated, and they were both enthralled: "that book is so cool!" "did you know anemones fight?" One of the best books on the ocean environment I've ever seen; clearly a labor of love on the part of the authors.

Totally agree about the locals comment. I just moved here from San Francisco and found great stuff in the book to make me feel like a native. Well-written, funny, entertaining, and a great resource for anyone visiting or living here!

This guidebook is witty, useful, and trail-breaking.
Mary Herczog takes Los Angeles and somehow makes it fun, organized, and not scary. What I liked best about it, she focuses on things most people miss, the sort of thing that you absolutely want to know about if you're going there without any kind of inside knowledge or friends in town, and she makes it all so fascinating and entertaining to read about. You can have a good read here even if you're not going to LA anytime in the foreseeable future.

Also she knows where all the really cool places are. And I know the title says "For Dummies" but obviously she's not, and she doesnt' treat her readers as dummies either. A terrific book.
Highly recommended.

My husband travels to Los Angeles often for business
so he knows a lot about the city but I went for the
first time on his last trip. Since he was going to be
in meetings a lot I was worried about being on my own
so I bought this LA for Dummies guide and I'm so glad
I did! It was fun to read and so informative - it
even showed my husband the "LA expert" a few tricks.
I totally recommend it!

We visited Los Angeles for the first time recently and were worried about what we had heard - that the city is a big sprawling mess, difficult to get around, etc. All of which is true, but this book made it less intimidating and actually a lot of fun. We took the author's advice to heart and wound up not feeling like dummies at all! This is a great book for the first time visitor.

Some friends of mine from high school were coming to visit me here in LA and bought this book and had a great vacation, largely due to the terrific advice given in it. LA is a big sprawling mess of a city and the book helps narrow it down to a manageable size, especially for first time visitors. The surprising part was when I looked at the book while they were here - the stuff I learned on restaurants, attractions, and more that I never knew existed was amazing. It's opened my eyes to a whole new LA. Excellent all the way around.

Overall I was pleased with Roszak's book. Most of the pieces i've read about the sixties and the "hippie" era focus only on the sex, the drugs, and the music. While Roszak did dicuss this, his book was quite different because it focused mainly on the politcal and social issues of the time. Roszak include everything from the Vietnam War to how the counter culture has affected the lifestyles of the typical American family. Although Roszk is clearly on the far left side of the political spectrum, it is obvious that he tries his best to be objective and is sure to back up most of his points and information with credible sources. What I admire most about Roszak's book is the tone he takes. In my experience, many adult pieces concerning this era in history and the taboo, radical things that went on are often full of criticism towards that particular generation. Roszak did not criticize the protestors or the acid droppers, like most do. In his book, he carefully explained and supported the motives for these people, suggestng his approval and admiration for those who weren't afraid to stand up for what they believed in, no matter how much society frowned upon it.

This book offers a highly detailed examination of the relationship of the late 1960's counterculture to cutting-edge intellectual ideas of the same era; Roszak discusses Herbert Marcuse and Norman Brown, among others, in great detail and shows very lucidly how their ideas influenced intellectual and political movements on college campuses in both America and Europe. Roszak's prescience here is amazing, considering that he wrote this book in 1967-68, while the phonemena he discusses were still unfolding! It would be interesting if Roszak were to write a response to his own book today, considering how the counterculture of the early 1990's has been so rapidly devoured by the mainstream--Roszak foresaw the possibility of this happening to the 1960's counterculture, but it took far longer then than it has now. Roszak's ruminations on the absurdity of the Alternative Nation would be welcome with this reader!

Roszak's "Making of a Counter Culture" defined an era and the youth society that composed it. A thrilling expose' of Counter Culture Philosophy and oreintation, this is where the discussion all began. His bent on analysis of cultural differences and tendency to omit much of the political implications necessitated the need for a library of text thereafter.
Timothy Fitzgerald

read this still inspiring report on the counterculture and own its potential for self-transformation in your own life and the life of our global society.

I read this book in 1979 and it helped me to make sense of the 60s landslide in my own life. Re-reading it many times over the years, together with Roszak's other very insightful work (Unfinished Animal, 1975) is always an inspiring reminder of the counterculture's deep potential for cultural renewal. Forty years after the Summer of Love, Roszak's insights are still right on.

This book is by far the most seminal book one can read in attempting to get an accurate and unvarnished understanding of the sixties counterculture; the social and historical reasons for its rise, its intellectual underpinnings, and the way in which its actions were informed and indeed propelled by its unique constellation of integrating values into a cultural ethos.

Recently the counterculture has been viciously attacked, intellectually trashed and intentionally trivialized by a series of books and articles by mainstream neoconservatives who wish to discredit the counterculture once and for all by blaming it and the "permissiveness" it spawned for the manifest ills the mainstream society has actually engendered through the evolution of its own corrupted, nonrepresentative, and nondemocratic political process. Many ignorant youthful authors have succumbed to attributing fallacious ideas and notions of this ethos in a way that is not only inaccurate and disingenuous, but which serves to trivialize the quite serious cultural critique it comprised.

All that is set aside here. Remember, this book was written more than 30 years ago, even as the counterculture was rising, so it is very much a observational history, one done at ground zero of the demonstrations, sit-ins, when the tumult and strident calls for radical new solutions rang clear, and the heady air of nascent social and intellectual revolution was in the air.

Here one finds the counterculture placed in its proper context, and not just discussed 'en passant' as the demonized triage of sex, drugs, and rock and roll'. One can hardly understand the sixties in such simplistic terms, and Roszak helps one to understand the complex welter of social, economic, and political factors that led to its emergence. In its essence the counterculture was a social and political reaction to the hypocrisy of the mainstream materialistic culture from which it sprang, and as sociologist Philp Slater has commented elsewhere, most of the individual elements of the value system of the counterculture stem from values the mainstream culture in fact claims to hold but actually does not practice and employ.

This, then, is book with remarkable insight, perspective, and historical verve. Rosazak nails quite accurately the tensions, problems and contradictions associated with the rise of the counterculture and the innate problems its continued existence eventually portended for the materialistic mainstream culture. Of course, as history shows us, the sixties ethos was flattened by the overwhelming onslaught of the establishment and the Ohio National Guard, and the political and social ethos of the counterculture melded into the domain of increasingly isolated private and personal philosphies of hippies being assimilated into the mainstream.

The fact that its ethos is now blamed for much of the discontent and confusion of contemporary America is a likely result of what happens when one tries to merge antagonistic ideas and notions into a cultural system that is inconsistent with its own. This is a wonderful book, and one needs to read before the victors of those fractious times so revise the official version of the history of the 1960s that those of us who were there will no longer recognize it.

An outstanding book covering the founding and development of one of the great ski and resort areas in the country. .

The photographs alone are worthy of buying this book. There are plenty of rare b&w shots of mammoth from the turn of the 20th century on up and prime photos of the Mccoy legend. One of my favorite shots is Dave's Harley with skis strapped to it--circa late '30's! In addition, the text is nicely written giving you a sense of the key players in the development of mammoth as a ski town, mammoth in the world of ski racing, and nice vignettes on some unique things to the eastern sierra--from Schat's Bakkery to big horn sheep.

This book is awesome! The pictures are excelent and the information is great. Nice to know what Mammoth used to look like before it became the famous place that it is today.

Absolutely the most beautiful collection of photos of Mammoth and the surrounding area can be found in this book! It provides a wonderful history and insight into the creation and life of this skiing Mecca. This is a must have for any Mammoth lover!

Anyone who likes skiing will love this book. Forstenzer's familiarity with the Sierra makes it one that won't just sit around on the coffee table. He writes engagingly and tells great stories about the early days of skiing in Mammoth and its culture, how the ski area was built and some of the people involved. The photographs are astonishing and well worth the price alone, but in combination with the writing Forstenzer lets us glimpse what made Mammoth Mountain the great ski resort it has become. This is a terrific book about past and present skiing days at Mammoth. Like most any ski item associated with Warren Miller - breathtaking!

Unlike many works that Alan Lomax had has hand in, this book is great reading, if nothing more. I am not known to be a fan of Alan Lomax and his father as my review of _The Land Where the Blues Began_ attests, but at least Lomax realized what a treasure Jelly Roll Morton was and interviewed him and also had Morton create hours and hours of singing and piano music.


This book offers a digest of hours and hours of interviews with Morton in the late 1930s when Morton was living in Washington. It is supplemented by some very useful interviews Lomax did with New Orleans musicians and their families in the late 1940s. The New Orleans interviews provide very useful direct source material about the social and culture and professional milieu that both Creole and Black musicians in New Orleans Sprang from. A recently written criticial review by a real scholar at the close of the book explains the great limitations of Lomax's selections and writngs here.


Lomax apparently knew little about the real history and processes of New Orleans jazz and life, so that a lot of questions that someone interest in Morton's impact on music are not asked, not just in what Lomax selected to put in this book, but in the larger transcripts of Lomax's interviews and in the monologues Morton dictated to a stenographer as part of this project. Lomax's tendency is to seek out non-musical issue his stereotypical images of Blues and Jazz musicians call forth. This is quite unfortunate because to the end of his life, Morton had a very sophsiticated and articulate understanding of music and was capable of serious discussion of jazz and blues in formal musical terminology. He was a person who seriously thought about music most of the time when he was not playing it.

Recently scholars with new information drawn from new discoveries of Morton's personal archives, correspondence, and musical library as well as the range of interviews with other musicians tend to verify much of what as thought of after these intervews as bragadoccio. Morton probably was the first person to produce written compositions that were Jazz as opposed to rag time. He was certainly playing and writing down blues compositions before Handy. Even the greatest of early Jazz Pianists like James P. Johnson affirmed that both in the days before WWI and in the 1920s Morton outplayed all the great Jazz Pianists.

The examination and performance of the music that Morton wrote in the late 1930s indicates that Morton had not only mastered composition and band arrangement in a style that would have surpassed the most surpassed swing of his day but had written orchestral pieces that prefigured the modal Jazz that Coltrane and others presented in the 1950s. These and other compositions indicate that whatever the fortunes of his public performances, Morton was a serious composer whose skills continued to advance even in his last years when his health collapsed.

Yet flagged by failing health, Morton was never able to organize an orchestra that could have played these pieces. He had been told that he could have lived ten or fifteen more years had he given up performing music, but he wanted to make his music more than he wanted to live.

Finally, Morton WAS cheated out of millions of dollars in royalties by the music industry, especially by the Melrose Brothers and by ASCAP. He was one of the first musicians to challange the way the Mafia-connected music publishers simply robbed musicians of their compositions or did not pay them. Unlike some musicians who suffered quietly or WC Handy who was one of the token Blacks ASCAP paraded around to hide its racism, Morton launched a public campaign in Downbeat and other Jazz magazines that exposed the crimes of ASCAP and music publishers like Melrose.

Until the mid 1940s, ASCAP which collected royalties for compositions from record producers, radio, night clubs, and other places where music was played had a racist setup. Few Black members were admitted although royalties were collected for their music. Morton carried out a public and legal campaign for years to be admitted to ASCAP even though it was collecting millions for the large number of his compositions that had become great hits in the swing era, like the King Porter Stomp that became a standard that any competent string band cut its teeth on.

Once inside ASCAP, he found ASCAP distributed its royalties not based on the money different songs brought royalties but on what a board of ASCAP leaders decided was the cultural worth of different kinds of music. Thus while Broadway and classical writers were getting hundreds of thousands of dollars in royalty payments, Morton received under 200 dollars each of the two years he was living and a member of ASCAP. Morton protested and exposed this publically in the last years of his life and attempted to gather other victims of this system in a law suit. While he was dying and unable to carry on this struggle, his protests and the information he gathered led to congressional investigations in the 1940s that forced an end to discrimination in ASCAP in regard to membership and forced it to distribute royalties based on the sales of the music, not on its "value."

The issue of braggadocio also comes here from the fact that Lomax supplied Morton with a bottle of whiskey for each Interview. Morton was not an alcholic, but those who have studied the transcripts have noted that Morton grew more inaccurate, abrasive, and unreliable longer into the interviews as the booze took effect.

This fits into Alan Lomax's consistent pattern of trying to make sources, particularly Black sources fit into the stereotypes he had about them. Lomax who took many photographs of his folk sources, for example, would force people who preferred being photographed in the Sunday Best, to appear in old work clothes. While Leadbelly actually favored the finest suits and imposed a dress code on Sonny Terry and Brownie MCGhee when they roomed at his New York Home (suits and ties as musicians are professionals and get a case, not a sack for the instrument) Lomax forced him to perform in prison garb or overalls. Lomax also created the fiction that singing and the intercession of his father John Lomax had some relationship with Leadbelly being released fromthe Louisiana penitentary when Leadbelly was released as part of program that automatically reduced prison sentences due to depression-caused cutbacks.

Lomax wanted precisely to convey a picture of Morton filled with whiskey, smokey rooms, and so forth, when Morton was one of the biggest stars of music between 1917 and 1930, performing in some of the most sophisticated venues and a particular favorite with Hollywood film stars of the period.

Despite these criticisms, I urge anyone interested in finding out not only about Jelly Roll Morton, but about the origins of Jazz in New Orleans and the entertainment industry in the earkly 20th Century to read this book. A good supplement, or perhaps a better place to start would be _Jelly's Blues: The Life, Music, and Redemption of Jelly Roll Morton_ by Howard Reich. This can be followed by _Dead Man Blues: Jelly Roll Morton Way Out West by Phil Pastras_.

In spite of Jelly's bragadocio and the author's lack of Jazz background (Lomax was a folklorist) it's a very interesting book. Jelly must have felt injusticed when, in the late thirties, Benny Goodman was earning lots of money with "King Porter's Stomp". But the truth is that, exactly like King Oliver, he was outpaced by the revolution started by Satchmo.

I have always been a fan of Jelly Roll Morton, and I've always looked for books about him. This is by far the best. I loved it. I wish they would re-issue it

Alan Lomax interviewed Jelly Roll while doing an extensive set of recordings shortly before Morton's death. He followed up with a number of interviews with people who knew Jelly Roll. Lomax did a fabulous job of keeping himself out of the way while letting the often colorful information from the interviews tell the story of Jelly's part in the birth of jazz, a story with triumphs, massive ego and ultimate decline. I read a library copy and am buying a copy for a present.

This is one of the rare books for it can be enjoyed by just about anyone who picks it up. Its the amazing account of the life of Jelly Roll Morton, one of the best jazz pianists of all time. Though a braggart and troubled man, he created some of the very best pieces of jazz. The book goes into his life from his childhood and his time working at Storyville to the very troubled end in the early forties. You learn about his family, his troubled relationships with Anita and Mabel and how he went from being wildly successful to dying virtually forgotten. Voodoo, New Orleans, jazz and Creole culture, its all here.

Written with flair and never boring, Mr. Jelly Roll is a book that you will read more than once. Its a look at a legend and a glimpse into a world we can only know of through books and music. Get this if you want a good read and a look at Mr. Morton's life. A true classic.