Western Illinois Books

I just got done reading this book.Although I was skeptical at first because I get bored easy.I dont know if it was because I know the authors son or if it was Mr.Courtney's quick wit that kept me glued.I found myself asking the same question,"is Courtney going to ever take this war serious?"Through his faith in God and himself,I believe that is the reason he made it home.What I've learned from this book is that.Lifes a journey embrass it and live life to fullest.I will be keeping this book for my children to read.Thanks Kelly for the recommendation.And thank you Mr.Courtney for my freedom and my childrens:)

The thing that aways amazes me is how many really good memoirs have come out by veterans of WW2. The extraoridnary events that they lived through made such indelible impressions that very similiar stories can be told by countless story tellers and they always seem fresh. This is a very descriptive well written account and the author comes across as the kind of guy you'dove to meet. Highly recommended.

My father served in Co G, 104th Regiment 26th Infantry - a sister company to the author's. He refused to talk about the war. When he passed away in 1990, I found his short written memoirs penned during recuperation from wounds suffered in Germany while in an English hospital. Reading this book alongside his memoirs was an incredible experience for me. It filled in many blanks by being much more complete - yet was absolutely true in time, place, and tone with my father's notes. It was like he came back and finally decided to tell me his stories. THANK YOU SO MUCH!

Richard D Courtney's 'Normandy to the Bulge' book is a well done account overall. Courtney was a Pfc with the Yankee Division (26th Infantry) in a 57mm gun platoon. Unfortunately the author does not go into too much detail on the various combat actions he was invloved in but there are a few tidbits I thought you might find interesting.

-The 57mm gun had removable gun shield extensions. He said most folks would take these off after awhile because the extra weight and having them bang around was annoying. They figured the thin metal wouldn'd help much against enemy fire anyway. Might be nice for some divirsity to have a few of your 57mm guns without shields.

-He talks a lot about the 'truck' that pulled the guns. He finally states it was a 1 1/4 ton truck. He never mentions half-tracks at all.

-Every enemy tank he mentions is a Tiger! I can't believe they all were so I wonder if this was just lack of detail on his part, foggy memory, or the old cliche that every American thought the German tank they were facing was a Tiger?!

-He notes the ineffectiveness of the 57mm gun against tanks and how they had to try and get side shots. They relied a lot on the TDs to do the real work. He was with the gun through the very end of the war. He talks about acting as infantry a lot with the guns left somewhere especially towards the end of the war.

-He mentions that the German AT guns were very well balanced and easy to move by just two guys. The 57mm gun he said was very unbalanced and very heavy and awkward to move even with four guys.

My dad was in M, Co. 104th Rgt. same as author. I lost him on Memorial Day 1969 before he ever had a chance to discuss his experiences as I was only 20. I have been searching for people who were there, and in finding this book, it showed me very clearly how proud I am of him. Thank you Richard for sharing this with all of us.

A lot has been written about the history of bluegrass music, much of it hearsay and mythological in nature, but this is probably the most authentic book written on the history of bluegrass music and its development.

Bluegrass music's greatest practitioners have always been plain-as-burlap folks who wouldn't give a hoot about dissecting and intellectualizing the music that pops out of them as naturally as sweat. As an appreciator of real deals, I wouldn't have it any other way. However, I'm glad that folklorist/musical historian Neil V. Rosenberg has been around for several decades now, poking his scholarly nose into the fascinating haystack that is bluegrass and putting the needles into cultural perspective. This sweeping and heartfelt book, Rosenberg's crowning achievement as the planet's foremost bluegrass oracle, will stand as the last word on the subject for a long, long spell.

Unlike rock 'n' roll, whose Big Bang genesis one fateful day in Memphis reverberated like a sonic boom, bluegrass had more fitful beginnings. The music's raw ingredients had been fermenting in Appalachia for untold years in the form of homemade "hillbilly" music before a shy Kentuckian named Bill Monroe began distilling them in the 1930s into a distinctive musical form. Monroe deliberately crafted the sound and personality of bluegrass and, much more round-aboutly, gave it its name. As the central figure in bluegrass, Monroe's patriarchal spirit looms magnificently large over Rosenberg's history, which, after all, is ultimately Monroe's story.

Lester Flatt and Earl Scruggs, arguably the next most important innovators in bluegrass, also figure prominently. In the 1940s, the two had been underpaid sidemen in Monroe's Blue Grass Boys band before abruptly striking out on their own in 1948 and becoming Monroe's main competition. Heavy turnover was a fact of life with the Blue Grass Boys, but the mercurial Monroe was outraged by the pair's defection and didn't speak to them for over twenty years. Transformed in the Sixties by television ("The Beverly Hillbillies") and movie ("Bonnie and Clyde") exposure into world-wide icons, Flatt & Scruggs achieved fame and commercial viability the likes of which bluegrass - including its inventor - had never known. Rosenberg's delineation of the famous Monroe/Flatt & Scruggs "feud" is one of the best things in the book.

Rosenberg's writing style can be stiff and he tends to exaggerate the significance of certain events, such as the use of a bluegrass soundtrack on an obscure experimental art film called "Football As It Is Played Today." Also, his laborious investigation into how the term "bluegrass" came to be applied specifically to the music is a bit of a yawn. The book is thorough almost to a fault, but it's petty to criticize Rosenberg's leave-no-stone-unturned work ethic. He has written the definitive bluegrass bible and clearly done it from the heart. If you appreciate true country music, of which bluegrass is the truest, this book will both delight and enlighten you, as it did me.

447 pages (including index), extensive notes, bibliography and discography, 40 pages of photos.

Rosenberg draws from his experiences working with Bill Monroe and other bluegrass musicians in this compelling and intriguing history of bluegrass music. The early chapters sketch out an interesting history of folk music genres that laid the foundation for bluegrass. Rosenberg then provides special attention to Monroe's role in helping to create a new sound. I especially appreciated the metaphor between playing bluegrass music and playing baseball. Rosenberg explores the symbolic and literal connections throughout the book to provide a great way to understand how the music (and game) is played.

If you're interested in the history of bluegrass music, I would recommend that you begin with this book. Rosenberg is an engaging writer and a fine historian. He also performed with Bill Monroe and has continued to maintain a strong presence in bluegrass music. The work rightly focuses on Monroe's early contributions to bluegrass music, and Rosenberg demonstrates how the musical structure and context is linked to major social issues and cultural expressions in American life. The connections that Rosenberg makes between bluegrass and baseball are fascinating and right on the money.

Rosenberg is a practing academic, and it shows in his attention to detail and writing style. However, he is also a former Blue Grass Boy and manager of Bean Blossom, and it shows in his thorough love of the Music. Fascinating details alternate with a comprehensive picture of how Bluegrass fits into the wider context of American popular music. The Big Mon (Bill Monroe) comes out as a true creative genius, yet still very much subject to outside forces, for example, the folk music revival. Rosenberg avoids sensationalism, which sometimes limits the "juicy" stories that can be told about Monroe and many others, and instead focuses on the movement and the social forces around it.

Highly recommended for fans and scholars alike, even if somewhat hard reading for non-academics.

Pauly brings Zane Grey alive for me in the many pages of documentation, research and quoted letters. I knew Zane was a prolific, wealthy (most of the time), respected writer but I never knew about his over-spending, mistreatment/neglect of his wife and family, and his many lady friends; but at least he wasn't a gambler (except with boats and fishing), smoker, wife-beater or heavy drinker. His primary weakness seems that he was always looking over the horizon for his next quest, another world-record, and maybe score another woman; but he had so much already with his faithful, supportive wife, healthy children and a talent that could turn out page after page of creditable prose. I believe the author should follow-up with more detail about the fall-out behind this man. He touches briefly on the children, the women, etc., but what happens when a person becomes totally ego-centric and disregards the feelings and emotions of others? A good book - a true-to-life glimpse at one of our important writers...

Having never read a Zane Grey novel, I don't know what led me to this book. Biography is my preferred genre, and the "adventures" part promised a good story. I think I dismissed "his women" as maybe something about his bachelor life or maybe some Annie Oakley types he met out west.

Was I surprised! I think his contemporary fans (as I envision them) would have been shocked. Pauly spares the details, but the picture is clear. Their lives with Grey belie their photos, which show these women as wholesome and modern for our times and theirs. Grey's condemnations of "jazz age morals" certainly helped to build his image (or brand) and the hypocrisy was a well covered trail. Pauly says this was only knowable in the last 10 years.

The early letters of wife Dolly are almost too painful to read. She deserves a bio of her own. She apparently took stock of her position and found fulfillment in raising children, business (a bank president!) and travel.

Grey was clearly intelligent, remarkably handsome and athletic. His flexibility is exemplified in transitions from dentistry to baseball, to roping mountain lions, to writing, to pioneering in the film industry, and inventing his own reel for sport fishing. He emerged from childhood with emotional and financial needs.

Pauly does a good job in presenting all of this. The book details what is known of his childhood and early adulthood, how he came to travel west, the novels, the movies, the outdoore life. Pauly has piqued my interest in the Zane Grey novel... perhaps I'll try one.

This is the most information I've ever seen on Zane Grey anywhere. He certainly was not like any of the characters he created. Apparently a charismatic man, but rather self-centered. After he had 3 children with his wife, he stopped spending any time with her or the children - his younger son remembers spending only one full day with his father in his entire youth. Grey took a series of mistresses with him on his yearly travels - and wrote to his wife about them!!! And told her he loved her and that she understood him better than anyone!
There is a good bit of well researched info about his youth and about his life. I enjoyed reading this book and finding out more about Grey's life. If you have enjoyed reading either his Westerns or his books on fishing and the outdoor life, this book wiil give you a "behind the scenes" look at those stories.

This book contains spurious research... the author was only able to examine records briefly... give us a break! He is factually inaccurate in many areas, i.e., birthplace of Lillian Wilhelm Smith. The author inaccurately copied information from Donna Ashworth's well-researched book on the topic.

If this clown is teaching somewhere, students beware!

Fran Elliott
Sedona, AZ

Without the journals and letters which the Gray Estate has allowed Professor Pauly to peruse and quote, ZANE GREY: HIS LIFE might never have been written. They help to deepen, immeasurably, our appreciation of Grey's peculiarly American character.

In so many ways his American-ness is absolute. The zest for living, the expansive nature, the hail fellow well met sportsman side, his relations with women, especially with Dolly, his long-suffering wife--a woman he couldn't live with, yet couldn't live without. In one letter she notes that they had spent 7 days together in the whole of the past 12 months. Grey's traveling begins taking manic proportions shortly before the First World War, and continues for another 25 years, during which time he spends great fortunes on living it up and doing some world class angling. One yacht alone cost $300,000, in the midst of the Depression, plunging him finally into what amounted to them as abject poverty. Dolly couldn't even afford a movie ticket, she was scrimping so much.

Gray was a handsome man, the photos in the book revealing a big, strapping he-man type whom Harrison Ford might have played in earlier days. He seems to have cut right through the Gordian knot of Victorian prudery and found carnal love right away. Pauly's book makes one wonder if sexual freedom wasn't practiced on a much wider scale back in the day than we had previously imagined.

Pauly's big find is that Grey spent most of his writing life cheating on Dolly more or less openly, and she turned a blind eye, sometimes a condescending one, to his wild private life. He had the "decency" to bring his women on his months long excursions, whether to Rainbow Bridge or to Tahiti. They were hired as secretaries perhaps, but somehow wound up in his bed straightaway, posing for pornographic photos, hundreds of them (none of which are reproduced in the book). Apparently Grey was addicted to porn. Professor Pauly is a little at sea with this thundering herd of women and lacks the novelistic background which might have helped us tell them apart, for the most part. However one or two of them jump out from the pack, particularly the would-be writers among them who hoped that the famous Zane Grey would help them sell their work. He would--but only after he signed it with his own name and for his trouble he'd pocket 85 per cent of the proceeds.

This cheating and petty larceny and the wasteful spending are all symptoms of an underlying depression, or so it seems. He often felt his reasons for living slipping away. There was always a bigger silver marlin over the next horizon. "Driven" isn't the word for it!

Pauly gets so caught up in the drama of the decline and fall of the great Western writer, that he forgets to include any material that would interest us in Grey's novels, most of which, he convinces us, are inferior dribble. Book after book is disappointing, but there must have been a few good books perhaps early on? For a critical biography, this one is all too critical!

If you love exploring the neighborhoods of Chicago & trying new dishes, this book will tell you where to go to find that special ingredient. It is a treasure trove of info & will make you want to spend time exploring this magnificent city and then try to recreate your meals & snacks when you get back home.

As a frequent visitor to Chicago, I love to take advantage of a big city's resources. I found "A Cook's Guide to Chicago" to be an invaluable culinary guidebook. Written in a humorous and easy to read style, the book demystifies those strange foods I can't identify, and lists stores that carry the exotic foods I love but can't find in my own neighborhood. Better yet, the author offers tips and recipes that feature them. With this book, I'm armed with a resource that enables me to search out foods I didn't even know existed!

Each chapter is filled with interesting facts that make identifying and locating groceries and cooking utensils fun.
(The description of South Water Market made me want to shop there just to see the area.) The book's layout makes it simple to use, and it is thoroughly indexed. The graphic design is a visual treat.

But the best part about this book, for me, is not the facts, but the feeling it gave me while reading it. I fell in love with food and spices and cooking all over again. Suddenly, just going down the same aisle at my usual supermaket to make the same predictable meal just didn't cut it. With these newly defined foods and locations of ethnic grocery stores, I was ready for a culinary adventure. The author's skill in writing, her sense of humor and love of food all combine to portray cooking as a sensual and exotic world. "The Cook's Guide" is the perfect companion to explore that world - I highly recommend it.

Reviewed by Kornelia Longoria for Reader Views (9/06)

Chicago is very well known for being a home of many great restaurants and delicious cuisine. Marylin Poncius, who grew up on the Southwest Side, was introduced to all types of ethnic food in her earliest years and grew up expanding her taste buds with a wonderful variety of tastes. In her book "A Cook's Guide to Chicago", she put collected what's best in the city and its surrounding areas and put it all together into a great source of information for both tourists as well as Chicagoans. It's a book for everyone for anyone who enjoys cooking and fine foods.

The book is organized into themed chapters, where each type of food has its own chapter. Reading the guide the reader has a chance to travel through many different types of cuisine, such as Italian, Easter European, German, Middle Eastern, Japanese and many more and learn about the main characteristics and specific ingredients for each of them. Each chapter starts with a little introduction followed by the addresses of carefully chosen restaurants, grocery stores or other unique places revolving around food. Furthermore, each chapter has a delicious recipe as well as a grocery list, so we can experience tastes we have never experienced before.

Being an import from Poland myself, I really enjoyed the Easter European part, where I could find an array of Polish stores and restaurants. This is a great help, especially when you just move to Chicago from across the ocean and become homesick. The recipe for home made kolackys will instantly pick you up.

To sum it all up, A Cook's Guide to Chicago is an unique reference book which is very enjoyable to read and even more enjoyable to use in practice to discover the parts of Chicago one had no idea about.

I was delighted to have come across this book. While I'm not much of a cook, I like to think that I could be. This book makes it sound easy and, more importantly, FUN. I recommend it to anyone interested in eating, shopping, or cooking or for an "off the beaten track" cultural/culinary tour of our great city of Chicago. Hats off to the author; she probably weighs a ton by now but it must have been an interesting journey. (Great cover, too!)

As a resident of Chicago, I am grateful to the author for writing this book. Now, I know where to have my knives sharpened, buy fresh ginger, and find the best teas.

If you are from Chicago and miss the fast food that was available in all the different ethnic neighborhoods...this book is for you. My husband and I have made his recipes and so far everyone has been a hit. The author not only gives you a step by step, easy to understand recipe but anedotes as well as tips. It is the best book for chicago fast food as well as the food your mom would make. If you love Chicago food, this book is for you!

Michael Baruch provides the world with a glimpse of the wide variety of food available in the northwest side of Chicago. As in The New Polish Cuisine, the photography is stupendous, providing a mouth-watering plate of food and the steps needed in preparing many of the recipes.
He provides ethnic workingman's "street food". It includes recipes from German, Polish, Italian, Chinese, Thailand, Hispanics, Swedes and more.
Do youself a favor-pick up a copy of either one of his books and sit down for a fun read before eading for the kitchen!
Flo Clowes, author of Old Secrets Never Die

This book focuses on two types of Chicago foods (page 7)--"everyday working man's 'street food'"; "ethnically oriented joints." The author sees such places as "the heart and soul of the city" (page 7). He concludes his brief introduction by saying that (page 8): "The chapters and recipes in this book are my interpretations of what Chicago eats and has loved through the generations."

The volume considers many different types of cuisine--Greek to Polish to soul to Italian to Chinese to Caribbean to Middle Eastern to Thai to. . . . In short, a lot of different types of food!

Want to know how to make the Irish classic, Corned Beef and Cabbage? Go to page 76 and take a look. I have made this dish before, but the recipe here is an upgrade over how I have prepared this simple and hearty dish.

A particular favorite among the recipes--the Bully Goat Tavern's cheeseburger (made famous on "Saturday Night Live" decades ago, featuring John Belushi; indeed, as I recall, the Rolling Stones appeared in one such sketch when they were musical guests) (see page 161). Pretty simple recipe, but it's the real deal. On the next page is another great hamburger recipe, from Nicky's on the South Side. Cooking the burger in a sweet onion oil appears to be the key.

On pages 170 and following, the author provides two accompaniments to barbecue ribs--one a rub and the other a barbecue sauce. Both would add a nice touch to ribs.

Do you like Greek Town in Chicago? There are some nice recipes here, from classic Gyros to the great Greek feta salad. I wish there were a recipe for the flaming cheese that is so prominent at Greek restaurants.

And so on. This is not a book of fancy recipes--but of everyday food. As such, it offers a nice view of what everyday food is like in Chicago.

"Street Food Chicago" compiled by Chef Michael J. Baruch (founder of La Baruch Cuisine Moderne) is a 455-page culinary celebration of Chicago's local foods that draw from its ninety different ethnic groups and the more than seven thousand restaurants. Readers are provided with an opening chapter on Chicago's culinary history titled 'Bear Wars, Old Polish Geezers, Politics and Street Booze including Weird Stuff Behind the Bar in Jars', then goes on to celebrate the corner bakery, cafeteria cuisine (including the famous Blue Plate Special and ethnic sandwiches), and on to recipes that range from Kreplach; Chicken Cacciatore; Pizza Sausage; and Gert's Creamy Coleslaw; to Mama D's Meatball Sandwich; Curried Crab Salad Dip; Jerusalem Salad; Juan's Breakfast Taco with Chorizo, Potato and Egg; and Fiery Pepper Beef in Lettuce Cups. There are even sections of color photography illustrated preparation processes, finished dishes, and Chicago street scenes. A very highly recommended addition to personal and community library ethnic cookbook collections, "Street Food Chicago" is an impressive compendium of culinary delights with completely 'kitchen cook friendly' instructions on how to make them.

Not only did I love the ethnically diverse recipes in this book, but what a great read! The stories and histories behind good Chicago grub are not only informative, but at times laugh out loud hilarious! I grew up in Chicago and even though I hadn't been there in over 20 years, this book brought me back home to probably one of the greatest cities in the world! This book is a gem and worth every penny if not more!

For anyone interested in the pre-1920 recording industry--and especially in the history of the earliest recording artists of color--Lost Sounds is the archaeological dig of your dreams. Immaculately researched, beautifully written, and illustrated with photos, advertisements, and lyrics, it's a big stately volume: the growth of the popular song, the emergence of the mass media and entertailment industries, the appalling state of period race relations, the existentially twisted story of the minstrel show, and the amazing evolution of recording technology are all on readable (and sometimes haunting) display. So are the riveting stories of legendary artists George Washington Johnson (the ex-slave whose "Laughing Song" was used briefly in a recent Xerox ad), Bert Williams (featured in PBS' Broadway documentary series), Charley Case (a vaudeville comic who was rumored to be "passing"), and dozens of others. You'll be moved to comb the local antique shops for cylinders, and to try building your own record-yourself-on-tinfoil kit.

This is an excellent addition to the study of African American history, So many of the facts presented are those that not even the "seniors" knew. I have used this book to include information in lectures and class settings.

What a delight this thick book is, and what a challenge to describe adequately in a few sentences.

"Lost Sounds" is a detailed look at an aspect of the American music industry that is not just forgotten; it seems never to have been fully appreciated -- the early years of recorded music, with an emphasis on the essential contribution made by African American artists. The book has been praised as a unique reference work, and it is that; but it is also a rich history of late 19th- and early 20th-century American popular culture, as well as a collection of poignant personal stories of the entertainers who created it. Along the way, the book offers a primer on recording technology. And, although these accounts of once-popular performers and their now-unfamiliar careers and music are not in the least preachy, they do constitute a carefully documented examination of a key -- and painful -- era in American race relations.

Author Tim Brooks is himself an unobtrusive character in these adventures, the modest yet sympathetic researcher who has come along a century after the fact to ferret out the information, breathe new life into it, and in many instances save it from oblivion.

All of which makes "Lost Sounds" not only an extraordinary good read, but also an exceptional good deed.

A few pages into this book, one realizes the title is a double entendre. The recorded sounds documented here - which include popular music, ragtime, jazz, cabaret, classical, spoken word, politics, poetry, and more - are not merely "lost" in the sense that their existence has been uncelebrated. They are also in danger of being lost to us forever if immediate steps are not taken to preserve the fragile materials upon which they live.

Additionally, U.S. copyright laws have made it nearly impossible for anyone to reissue them as CDs. According to the author, there were approximately 800 recordings made by African Americans prior to 1920, the majority of which are still intact but half of which are owned by successor corporations like Sony and BMG who will neither reissue them nor allow anyone else to do so. Which explains why the majority of this material ends up being released overseas.

The book documents more than 40 artists chronologically, assessing their work and skillfully placing their biographies within the context of a complex and tumultuous era. It covers the famous (Bert Williams, Eubie Blake, Fisk Jubilee Singers) and a host of lesser-knows. The Discography provides a listing of CD reissues (if available) for each chapter, plus web sites where you'll most likely find them.

While seemingly an exhaustive tome, the author himself reminds us it's intended to stimulate preservation and future research: the final chapter "Miscellaneous Recordings" examines unissued recordings, "custom" noncommercial recordings, rumored but unconfirmed recordings, records by artists sometimes misidentified as black and more, in the hopes that future research will turn up more information.

Though massive at 656 pages, the book is highly readable and entertaining, very well organized and indexed making it easy to zoom in on particular aspects of interest. I highly recommend it to anyone interested in the era of early recording in general, or African American studies in particular, and feel no library shelf should be without it. It's a wonderful resource for interdisciplinary studies.

Absolutely fascinating book about the pioneers who went west, either for gold or a better life. Read most of it while camping in the Boundary Waters. Took author ten years of research. Was his doctoral dissertation. Pioneers were not as alone, nor Indians as bad, as history has made them. 1840 trip was much harder than 1860. Things really changed fast. One man drove 1500 turkeys west!

This is an excellent book for learning the intricate details of the Oregon Trail crossings. Mr. Unruh has obviously done his research.

The Plains Across is a remarkable book, a nearly unrevised dissertation that is nevertheless a thoroughly readable synthesis of the overland migration to the American West, 1840-1860. It's a pity that Unruh never had the chance to further rework this manuscript after so diligently honing his craft during the eight years of research and writing it took to complete his dissertation.

The least interesting chapters come first: long, pedestrian surveys of public opinion about the Trans-Mississippi West. More compelling is the chapter on emigrant-Indian interaction, which Unruh proves was considerably less violent and more mutually beneficial than the later myth of unremitting conflict suggests. Unruh's discussion of emigrant-Mormon relations is too apologetic for Mormon behavior, but the chapter nevertheless explains well why overlanders and Saints often came into conflict.

To my mind, the best chapters are the final ones that chronicle the significant assistance that overlanders received from the West Coast. Not only did earlier emigrants extend aid for its public relations value in the struggle to increase local populations, there was also a remarkable amount of pure humanitarian assistance, sometimes granted at considerable personal sacrifice. The last chapter, "The Overlanders in Historical Perspective," is a fine summary of the emigrant experience.

The Plains Across is now more than twenty-five years old, but it is still the standard history of the Trans-Mississippi migration. As one of Unruh's friends wrote, "It is sorrowful beyond expression that this book must stand as a posthumous memorial to [the author], rather than as the beginning of an outstanding professional career."

An exceptional in-depth study of the Oregon/California Emigrant Trail. Each chapter is thoroughly researched and written very well, with excerpts from the overlanders' journals and diaries, along with references from various newspapers throughout the country. The reader is first introduced to the political and social ramifications from the news media of the pros and cons of overland travel to Oregon and California. Next, Unruh unravels the "whys" as to the emigrants' desire to pursue such an endeavor, risking loss of everything, including possibly life itself. We also get a feel for how the overlanders got along with each other; their relations with Indians; the battles of overcoming hunger, thirst, cold, etc. There is also mention of private entrepreneurs along the trail who were trading and selling goods at exorbitant prices; the "white Indians" who were white men masqueraded as Indians taking advantage of the emigrants; the Mormon influence throughout the Salt Lake area, along with the "Winter Mormons" who were average non-Mormon emigrants wishing to overwinter in Salt Lake but subjected to cruel and unjust treatments. Then the federal goverment comes into the picture by improving roads, establishing forts along the way and implementing troops to guide and protect the overlanders to safety. We read detailed descriptions of how west coast assistance was a major factor in helping settlers make that final push into either Oregon or California. The book is totally amazing! A definite page turner. Even if one is not into Western U.S. history, this book will make one look at the hardships, perils and sacrifices these people overcame to establish a new life for themselves, families, friends and relatives.

If you want to know about how opera developed in the United States - this is the book.
If you want to know about American operas and their composers (even the early obscure ones)- this is the book.
Very thorough, well-researched, and not a bad read either.
Kirk has really given us a treasure.

I found this book to be a fascinating history not only of the various operatic forms, but also of the way Americans have combined words and music, or, more precisely, drama and music. The author illustrates this theme by taking us through early comic opera, melodrama, grand opera, Wagnerian influences, cinema scores and verismo styles giving the reader a fine overview of American creativity within the world of opera. I especially enjoyed the way the author illustrates her points further by discussing scenes from individual operas in an informative, yet reader-friendly, way.

As a teacher, I found the book a valuable cultural-social study, as well. It is a work of many dimensions and I highly recommend it.

Elise K. Kirk takes on a monumental job in her (University of Illinois Press). Starting in the Colonial times and ending just about at the publication date, this book traces the checkered career of its subject with a richness of detail that makes the 434 pages (plus appendices and index) very interesting reading indeed.

It would have been even more interesting if the author had been a little more forthcoming about her own thoughts concerning the more contemporary works that call themselves "operas" by virtue of their being through-composed; but she certainly seems to have all the facts laid out objectively and in good order.

The 18 chapters that lie between the Introduction and Epilogue are divided into three sections: (1) "The Voyage, 1730 to 1915"; (2) "The Signposts, 1880 to 1960"; and (3) "The Discoveries, 1945 to the Turn of the Century." Each section in turn is divided into 6 topics with such titles as "The Earliest American Operas," "The Impact of Mass Media," and "Dreamers of Decadence," to give one from each part.

Ms. Kirk is very good in pointing out the novel aspects of works like "Einstein on the Beach" and "Miss Julie." However, since very few of the works she seems to praise (albeit implicitly rather than explicitly) enjoy frequent (if any) revivals, I strongly feel that she should have examined the reasons why most of them never gained any popularity with the general public.

For example, the first night audiences seemed most enthusiastic about Previn's "Streetcar Named Desire," but in view of what the music critics had to say, one suspects they were applauding the production and the cast rather than the work. But our author remains silent on this aspect of American Opera.

Still in all, I will be using this book as a valuable research tool for my seminars, especially the earlier sections when she does mention negative audience reactions to the Italian school of singing and other features of the granddaddies of "The Ballad of Baby Doe" and "Susannah."

A mucho good book; filled with a sharp, sensitive, wisdom that is constantly searching for the light on the surface, through the depths of the forgotten and ignored....rare like all great things.

The great Spanish philosopher Ortega y Gasset left many followers, some of them also important thinkers, like Julian Marias. But most are common people who became much more educated and civilized persons by reading his wonderful books. Ortega was one of the rare species of philosophers who expresse his ideas in a very clear prose. Others in this line are Plato and Augustine, or Bertrand Russell, an Ortega contemporary. Meditations on Quixote is a small book where the master strives to give a synthesis of his thought. A synthesis of this synthesis could be given by two of his phrases: "Yo soy yo y mi circunstancia" (I am myself and my circumstance) and " I only offer a way of considering things" (modus res considerandi). A great philosopher and a great writer. His was my main intellectual influence.

Meditations on Quixote is the first major work Jose Ortega y Gasset published in Spain; as such, the reader will stumble across several infant notions that were later subjected to major philosophical treatments by Ortega. Naturally, therefore, this book is often passed over and dismissed. However, I believe it holds within its pages a very mature, coherent argument. It should be noted that Don Quixote is not actually the central focus of these meditations. Rather, Ortega only delves into Cervantes's great novel during the second half of the book (the "first" meditation), using that knight of rueful countenance to clarify his analysis. I will not attempt to explain the philosophy presented in this book, as I feel there is a reason it takes hundreds of pages to express these concepts. It is such with all philosophy; think of it as a food - I can compress all the contents of a five-star dinner into a dense pill and give that to you, but it would not serve justice to the original pieces. Having said that, I can certainly relay (as another reviewer has) the famous expression "I am myself and my circumstance." Ortega puts significance into what this "circumstance" is composed of, mentally dividing the material things in life and their deeper meaning, explaining that this deeper meaning is just as real as the material surface. He then leads into the concept of man as a hero via his own will ("the will to be oneself is heroism"), focusing on Don Quixote, and modern literature in general (as opposed the ideal epics of old), as examples. Julián Marías makes interesting notes throughout. Recommended!

you would not read this book to understand nietzche's philosophy. it is not even clear to me why anyone needs to understand neitzche's philosophy. but lou salome is this crazy incredible lady. while married she become lovers with rilke and remained his intimate correspondent for all his life. she became intimate with nietsche. and later conquered freud, so to speak. so to me this book is an interesting artifact of this incredible woman's mind -- you don't read this book except as a way of knowing salome's mindfullness after rilke and nietzsche. that is, you read this book to learn something that you have to extrapolate from and fit into your life. it is not a passive reading. it is not school learning or becoming educated. it is trying to understand what sort of mind a woman would have that has done such gloriously free and courageous acts such as standing and lying toe2toe with three of the most visionary humanitarian thinkers -- it's an artifact. you read this to be your own archeologist into the human psyche. the content itself literally is of little interest if you want to become an expert in philosophical thinking in order to be a professional. this book isn't that at all. nobody would publish something like this today -- that is, without the hindsight of knowing who nietzsche and salome are now -- at the time this was published, that wasn't apparent, and without that apparentness, this book is no longer a kind of book our educated culture tolerates -- it is too subjective and does not follow any accepted rules of discourse that are recognized by our cultural canon. that is, you don't read this book for any of the reasons it was written or published. you read it because of who nietsche and salome turned out to be in terms of our intellectual flowering. of course, he was destroyed by his sister, who allowed the fascists to make shameful use of him the same way they made ill-use of evolution to justify genocide. you take nietzsche and darwin and if you are powerful enough you get 70-100 million dead without anyone believing they were not morally justified in their actions. nowadays, people seem to once again need religion to justify such pain and suffering for personal advantage. so i think everyone should buy this book and try to make sense of its author -- this is after rilke and N, but i think before freud. a snapshot of a brillian mindful woman articulating her extraordinary experiences ...

The German version of this book, published in 1894, about 108 years ago, was among the first books written about the books of Nietzsche. The photograph on the cover was taken in May, 1882 and a portion of it (as shown on p. 132) appeared in her book with the caption, "Friedrich Nietzsche, formerly professor and now a wandering fugitive" (p. ix), as Nietzsche had described himself in a letter to the third person in the picture in 1879, "referring to the severance from his ten-year position at the University of Basel." (p. ix). These people are all dead now. When she was 20, Lou wrote a poem "To Sorrow" (pp. xlviii-xlix) which praises it as "the pedestal for our soul's greatness." (p. xlix).

Lou reported a conversation about the changes in his life in which Nietzsche raised the question, "When everything has taken its course--where does one run to then?" and told her, "In any case, the circle could be more plausible than a standing still." (p. 32). She described his books as the product of "his last period of creativity, Nietzsche arrived at his mystical teaching of the eternal recurrence: the picture of a circle--eternal change in an eternal recurrence--stands like a wondrous symbol and mysterious cypher over the entrance to his work." (p. 33).

This book does not have an index, and the notes on pages 160-8 merely clarify a few things, such as the date of the letter from Nietzsche to Lou at the beginning of Part III Nietzsche's "System" on page 91 which Lou used without the final comment, "be what you must be." The possibilities might not be considered so great. "In that regard, if the sickliness of man is, so to speak, his normal condition or his specific human nature itself, and if the concepts of falling ill and of development are seen as almost identical, then we will naturally encounter again the already mentioned decadence at the culmination of a long cultural development." (p. 102). The ascetic ideal "is also a third kind of decadence which threatens to make the described illness incurable and threatens the possibility of recovery. And that form of decadence is embodied in a false interpretation of the world, an incorrect perception of life encouraged by that suffering and illness. . . . every kind of intellectualism extols thinking at the expense of life and supports the ideal of `truth' at the expense of a heightened sensation of living." (p. 103). "In respect to Nietzsche's own psychic problem, it is of less interest to determine correctly the historicity of master morality and slave morality than it is to ascertain the fact that in man's evolution he has carried these contrasts, these antitheses, within himself and that he is the consequent sufferer of this conflict of instincts, embodying double valuations." (p. 113). Ultimately, "Nietzsche's thought of the Dionysian orgy as the means for release of the emotions" (p. 127) are considered "the necessary conditions for the creative act out of which one shapes the luminous and godly." (p. 127). Nietzsche and Schopenhauer are tied to "the deeply pessimistic nature of the Greeks because their innermost life, as revealed through the orgiastic, was one of darkness, pain, and chaos." (p. 127). Art is the answer, here. "The highest or the most religious art is the tragic because within it the artist delivers beauty from the terrifying." (p. 128). Modern society can hardly be comprehended without accepting that much of what is popular is produced in the attempt to satisfy that desire for art.

To scholars and admirers of Nietzsche, Lou Andreas-Salome has always been seen as his Irene Adler, the intellectual equal who got way or was driven away, depending on one's point of view. Although their affair lasted for only a few months, it left an indelible mark on both, for it came at a turning point in Nietzsche's life where he would leave the realtively safe nests of academia and the Wagners for a peripatetic life in the Eupopean Alps.

Over the years we have heard from almost everyone who was anyone in Nietzsche's life, except Lou Salome. This makes the published reprint of her 1894 even more important for those involved in Nietzsche studies. To say that Salome brings a unique perspective to her work is a bit of an understatement, but those who simply expect this to be memoir of the man she knew will be, I think, somewhat joyfully disappointed. Instead she has written what well may be the first attempt to view the persona behind the works. After giving us an excellent analysis of Nietzsche's philosophy, she comes to the conclusion that perhaps Nietzsche's madness was the inevitable result of his philosophy. Was this, as Nietzsche's sister said, merely a fantasy of female revenge? Then simply compare the last page of her book with the events of Nietzche's last days in Turin, events which she cannot have known. Hers is a provactive and illuminating look at Nietzsche, made more powerful by the fact that she was first to the gate and that the strength of her book is the analysis, not the memories.

As with any book on Nietzsche that comes to us in a foreign language, translation is most important if we are to have not only a working understanding, but also a deeper understanding than we would ordinarily expect. That the translator should be the late Siegfried Mandel is only to the reader's advantage. His translation is crisp and clear. His excellent introduction makes it all the more clear to me that this man is, or should be at least considered, one of the formost Nietzschean scholars of his time. (For further reference, see his excellent "Nietzsche and the Jews.")

This is a book every serious student of Nietzsche should have in his or her library and a book that may contribute to a new vision of the tortured harbinger of the overman.