New York Books

Chapters, which are divided by areas on the island such as Upper East Side, Inwood, and Harlem, discusses the origin of many street, park, and neighborhood names. The author, who briefly gives the origin of the place name in a simple sentence or two, apparently has done some deep research at a local library or archive in order to amass such an extensive list of information. With a great cover design and feel, the book captured my attention at a local bookstore. Overall, the book is a must for anyone who loves the City that Never Sleeps. It's a great book for a great price, which today can be a rarity.

But more important, Sanna Feirstein has gotten her facts right. When people think of the place names of Manhattan, they probably think of the grid and its numbered roads. Or that Manhattan is so modern, that all its place names begin with the Rockefeller era. WRONG! The island of Manhattan reaches further back in the history of American cities than any other one: the Wall Street area itself existed while Shakespeare's plays were first being produces. Manhattan, especially the older neighborhoods from Houston Street south to the Battery, are filled with twisting little streets whose names resonate with Manhattan's history. This book is where you'll find out why Houston Street is pronounced "HOW-ston". Where did Maiden Lane get its name from? Who was Barclay? This book will tell all.

This is a very informative book. If only it can tell me why New Yorkers pronounce Avenue of the Americas as "Sixth Avenue".

Highly recommended if you are into New York City history.

"New York Noir" is a selection of about 125 images from the "Daily News" archives, taken from the 1920s through the 1950s. Some are sad, some comical, some grotesque. They're an interesting comment on American urban culture of the time. Many of these photos would spark outrage if any newspaper were to print them today. Their lurid content earned the "Daily News" pointed criticism from many a moralist at the time. But that never hurt business. The style of the photographs had an immistakable influence on cinema and popular culture which continues to this day. The technical limitations that produced starkly flashed foregrounds and pitch-black backgrounds are instantly recognizable in Hollywood films, just as the corruption displayed in the photographs was reflected in popular entertainment. The demeanor of gangsters and thugs -often posed for the photographers- became iconic. Tabloid photojournalists may have wanted only to get the shot that no one else could, but they produced some incredible -and incredibly influential- photographs that have only become more fascinating with time.

Luc Sante introduces "New York Noir" with an essay about the history of tabloid journalism. Editor William Hannigan follows with a history of the "Daily News" and its influence on Film Noir. Both of these essays are very readable and worthwhile. The photographs are mostly one-to-a-page and quite sharp. They are all captioned. There is a section of "Synopses" in the back of the book, which provides further information about the stories behind each photograph, when available. I really appreciate this section, which is conveniently organized by page number. Some of the photos really leave the reader hanging, wondering who those people are and how things turned out. You can find out by turning to the back of the book.

I recommend "New York Noir" to photography and film noir buffs. Some of these evocative photographs are not for the squeamish, but they have made , and continue to make, quite an impression.

In this novel, John Boorstin is envisioning James in his thirtieth year. This is when he experienced his mental breakdown leaving him an inch from suicide and in complete emotional paralysis. He had spent quite a few months, we know, in a mental institution, but here, the diary stops - the pages referring to this few-month period have been cut out of his diary, leaving the period a complete mystery.

Boorstin imagines a scenario that as far-fetched as it is (and the author acknowledges that) is interesting and at very least entertaining. James goes to New York with little money where, in fascination with Horatio Alger, volunteers to instruct children at a Lodging House for orphaned kids. It is there he meets a 9-year-old boy called Jemmie and becomes determined to save this child (who James is convinced is good at heart, but slipping into street-life) from the cold and hard world of the streets. Therein, James finds himself ensnared in quite a few 'plots' that gradually help him become his own person (as we know that when the 'missing period' was over, James was remarkably more directed and focused).

As I do not know how many people reading this will be as familiar with William James as us philosopher types, there is one part of the novel I think that may get lost on those not as familiar with James. Though one need not at all be a philosopher to like this novel, the story very much ties into the meaning of James' philosophy of pragmatism wherein 'truth' is said to be dictated sometimes by the 'facts' and sometimes by 'what we personally need to believe'. So as not to get too philosophical here, I will copy one paragraph from the novel that beautifully explains:

"Until this moment, I had thought true belief to be absolute and beyond one's control, the inevitable expression of one's fundamental knowledge of the workings of the world. Now I saw that we created our beliefs even as we cherished their eternal permanence. All of us are bound up in beliefs which express not only our deepest truths but our deepest needs."

This is very much a part of James (both as a psychologist and a philosopher, James being equally adept at both). Boorstin's goal, in this fantastic but quite engrossing tale, is in part to give us a 'real live shot' of what James' pragmatism looks like in practice through James' very own eyes. The result is a very good novel that will at once entrhall you and capture your philosophic imagination.

One of the best things about Monfredo's stories is that she shares with you an entire town, in all its complexity and liveliness. Every character in the book is lovingly and lavishly drawn, and several plots unfold simultaneously which gives the stories a feeling of authenticity that is hard to beat.

You will want to rush out and buy the next story (Blackwater Spirits) immediately, to see how Glynis's friendship with the new Seneca/French constable, Jacques, turns out!

So begins this paradigm-bending book, an elegant theory of social evolution, as well as a brilliant prescription for modern peacemakers. Schmookler not only accounts for the origins of the ancient cycle of human violence, he provides a path from domination, competition, and unilateral decision-making to partnership, cooperation, and multilateralism. As Schmookler guides the reader through possible answers to the parable, it becomes clear that, when faced with violence, whether one chooses to fight back, surrender, or run away, each "solution" tends to spread the power dynamics of violence through the system. Even the most peaceful culture, when forced to defend itself, must shift to that degree of militarism deemed necessary for survival.

The liberating message for peacemakers is that violence is neither a hard-wired aspect of human nature nor God the Father's indelible curse on humankind; rather, violence arose as a regrettable solution to human conflicts and has since spread from person to person and culture and culture like a social virus, or meme. By focusing on what Schmookler calls "the problem of power in social evolution," we can chart a new course through personal and political conflicts and find lasting, nonviolent answers to the parable's dilemma. A vital book in the peacemaker's library.

This is tough reading, in part because the publisher's choice of paper and font are not the best. As one who has previously recommended such books as Lionel Tiger's "The Manufacture of Evil: Ethics, Evolution, and the Industrial System", Norman Cousins "The Pathology of Power", and many other books on the pathologies of treating man as a "good", of scientific objectivity as "value neutral" and therefore bad, of secrecy as counter-productive to "precautionary principle" decision-making, I immediately recognized this book as an integrative work, possibly supplanting all those other books by bringing the various arguments together in one place.

This is indeed a brilliant product by a towering intellect, and it has the bibliography and index that one would expect from a world-class endeavor. I recommend it together with Philip Alott's "The Health of Nations: Society and Law beyond the State", Stewart Brand's "Clock of the Long Now", and John Lewis Gaddis "The Landscape of History".

The author's bottom line: not only must we come to grips with how power is managed in every nation and organization, but also we must manage at the *global* level if we are to succeed in optimizing fulfillment at the *individual* level.