Jumat, 28 Februari 2014

* Download Ebook Before His Time: The Untold Story of Harry T. Moore, America's First Civil Rights Martyr, by Ben Green

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Before His Time: The Untold Story of Harry T. Moore, America's First Civil Rights Martyr, by Ben Green

In Jim Crow Florida, a young black man’s courageous fight to obtain equal rights for blacks ends in a personal tragedy that remains unsolved to this day. This is his story. Before Martin Luther King Jr. began to preach from his pulpit in Montgomery, before the landmark Brown v. Board of Education decision, and before Rosa Parks' famous bus ride, a man named Harry T. Moore toiled in Jim Crow Florida on behalf of the NAACP and the Progressive Voters’ League. For seventeen years, in an era of official indifference and outright hostility, the soft-spoken but resolute Moore traveled the back roads of the state on a mission to educate, evangelize, and organize. On Christmas night in 1951, in Mims, Florida, a bomb placed under his bed ended Harry Moore’s life. His wife, Harriette, died of her wounds a week later. Although Florida’s governor reopened the case in 1991, no one was ever convicted of this crime.            Using previously unavailable FBI files, Green introduces his readers to the good and the bad, the villainous and the virtuous, in Jim Crow Florida. In doing so, he offers a poignant and gripping memorial to the pioneering work of Harry T. Moore, one of the earliest martyrs of the modern civil rights movement. 

  • Sales Rank: #1151723 in Books
  • Brand: Brand: University Press of Florida
  • Published on: 2005-02-19
  • Original language: English
  • Number of items: 1
  • Dimensions: .97" h x 6.28" w x 9.46" l, 1.13 pounds
  • Binding: Paperback
  • 336 pages
Features
  • Used Book in Good Condition

Amazon.com Review
Before graduate student Mike King began using his given name, Martin Luther, before Detroit Red changed his name to Malcolm X, and before Medgar Evers joined the NAACP, civil rights activist Harry T. Moore was murdered. On Christmas night, 1951, an explosion ripped through his house, the bomb having been planted directly under his bed. His mother, visiting for the holidays, had been very concerned for Moore's safety. In the 1950s, in the Deep South, Moore's political activism had earned him plenty of enemies. "Every advancement comes by way of sacrifice," he told his mother before going to bed that night. "What I am doing is for the benefit of my race."

In the 1930s and '40s, Moore drove the roads of Florida, organizing the local NAACP, speaking quietly against Jim Crow laws, and urging blacks to register to vote. He also wrote elegantly argued letters to the governor and other public officials, protesting injustices and atrocities against blacks. Seen as a troublemaker, Moore became entangled with Willis McCall--whom author Ben Green calls "the prototype of the racist Southern sheriff." Green intertwines the biographies of these two very different men, drawing a picture of racial tension in an era before the issues reached national attention. Green is especially good at capturing the atmosphere of the events--dense fogs, sticky heat, clouds of biting insects--but goes slightly astray when listening to drunken former Klansmen, who are perhaps merely seeking their 15 minutes of fame and not unburdening their souls before they die, as they spout confessions about Moore's murder. Like many biographers, Green clearly admires his subject, which makes him write slightly purple prose. Moore's life, however, was clearly admirable and Green has written a moving tribute to this sadly forgotten man. --C.B. Delaney

From Kirkus Reviews
A fascinating chronicle that fills in an important but often overlooked gap in the early civil rights movement's history. Long before Martin Luther King became a national civil rights leader, Harry T. Moore crisscrossed the buggy marshes of Florida, devoting himself to helping African-Americans learn their constitutional rights. Almost singlehandedly responsible for creating and then expanding the Florida NAACP, Moore fought against unequal pay, unfair voting procedures, and other discriminatory practices, frequently working without pay and usually only after first putting in a full day of teaching. He raised hell when black men were lynched, demanding that these deaths be investigated years after their cases were considered closed. Perhaps the most famous was the Groveland case, in which four young black men were found guilty of assaulting a young white couple and raping the wife. Two of the men were later killed after they triedor so the story wentto escape from the sheriff who was transporting them. Like King after him, Moore lost his life to the cause when he was murdered in 1951 by a bomb planted in his modest home; the crime, while unsolved, was thought by some to be the work of the Ku Klux Klan. Green (The Soldier of Fortune Murders: A True Story of Obsessive Love and Murder-for-Hire, 1992) admirably details Moore's life of sacrifice and that of his nemesis, Willis McCall, a southern sheriff whose hatred of blacks spurred him to violence against them, mostly without retribution. (McCall, investigated 49 times by the FBI, was never found guilty.) Although Green outlines Moores battles with the NAACP, this aspect of the book could have been improved with a more detailed analysis of why Moore has been largely forgotten after his death, especially as the movement shot forward beginning in 1954, with the Brown v. Board of Education decision. A tribute to the hard work and dedication of a forgotten hero in the battle for civil rights. -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.

Review
...epic...at once enlightening and disturbing; the storytelling is engrossing...Green's biography makes a significant contribution to the nation's historical memory. -- The Journal of African American History

A memorial to the pioneering work of Harry T. Moore. -- Black Issues in Higher Education, February 10, 2005

Riveting. -- St. Petersburg Times, February 6, 2005

…a chronicle of a strong man not afraid to fight for equal justice, even as his life was threatened… -- Tampa Tribune, April 27, 2005

…this book lifts Moore’s life out of obscurity. -- Tampa Tribune, April 27, 2005

Most helpful customer reviews

0 of 1 people found the following review helpful.
A necessary and wonderful book
By Richard B. Downing
I cannot overstate my admiration for Ben Green's Before His Time. As I read I felt I was traveling the roads with Harry Moore, fighting the fight with him (I should be so brave). I am fairly well read (PhD, English Lit) and have enjoyed many books, but very few have moved me as much Green's has. You need to know Harry T. Moore. Ben Green has given you the chance. Take it.

12 of 13 people found the following review helpful.
The story of a Civil Rights Pioneer
By J. Liesenfelt
Having moved to Brevard County in 1991, just when the Harry T. Moore murder case was back in the news, and the fact that I pass the Moore Justice Center every day, I was anxious to learn about Harry T. Moore and happily picked up a copy of this book.
Harry T. Moore and his wife Harriette were murdered on Christmas Day, 1951 when a bomb exploded beneath their bedroom at their home in Mims, Florida. At the time of his murder, Harry Moore was the Florida coordinator for the NAACP and a founder of the Progressive Voter's League. As the title of book implies, Harry Moore was before his time, including his murder. Remember this happen before Rosa Parks, before Medgar Evers, before Dr. Martin Luther King and before Brown vs. Board of Education. The murderer of the Moores has never been found.
Green traces the life of Harry Moore from childhood to teaching to his efforts in helping to lead the Civil Rights movement in Florida. Along the way Harry Moore instructed his students how to use the ballot, before African-Americans could vote and Harry Moore's efforts in the investigations of violence (re: lynching) and murders of African Americans in Florida.
The most famous case that Harry Moore investigated was the Groveland Incident. The case involved the conviction of three African-Americans in the rape of a 17-year-old woman and the subsequent killing of two of the suspects by the Sheriff of Lake County Florida, Willis McCall, in an escape attempt. All the while, Harry Moore was fighting with the NAACP national organization to retained his position in the organization.
Green's biography of Harry Moore is sparse, though a lot of it could be contributed to lack of documents related to Harry Moore's life. I felt the book would have been more complete with more details on Harry Moore's internal fight with the NAACP national office and why Harry Moore's place in the Civil Rights movement has been lost.
At the end of the book, Green spends too much time tracing down former Klan members who claimed they knew who murdered Harry Moore. However, all these statements were dead ends. Ben Green's book is a good starting point to learn about a true Civil Rights pioneer.

4 of 6 people found the following review helpful.
Green captures time, place, and mood
By A Customer
As a Florida native, I feel Green well captured Harry Moore's Florida. Before His Time is educational, enteraining, and most importantly disturbing. We need to know in detail not only what Moore did but what ws done to Moore - and why. Green tells us. Despite the many horrors depicted in the book - and there are many - the book is ultimately life affirming: it is good to know that there were (are?) some Harry T. Moore's who have walked among us. Bravo, Ben Green.

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Rabu, 26 Februari 2014

* Free PDF Guide and Reference to the Turtles and Lizards of Western North America (North of Mexico) and Hawaii, by Richard D. Bartlett, Patricia Bar

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  • Sales Rank: #2796565 in Books
  • Published on: 2009-05-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.90" h x .90" w x 6.00" l, 1.40 pounds
  • Binding: Paperback
  • 320 pages

Review
"If you love snakes, read this book. If you are repulsed by snakes, definitely read this book and you might just find yourself warming up to these fascinating creatures of mystery and myth." - Daniel Beck, Central Washington University "Vignettes in the book let the armchair reader feel he or she is part of a herpetological adventure. These personal interludes make the book unique, as the straightforward identification varies little from field guide to field guide." - Traci Hartsell, Smithsonian Museum of Natural History "The most impressive aspect of the book is its completeness. Each species account is very complete and includes information far beyond the diagnostic characters and distributions. I learned quite a bit from reading this book." - Jeffrey R. Parmalee, Simpson College"

About the Author

R. D. Bartlett is a veteran herpetologist/herpetoculturist with over forty years' experience writing, photographing, and educating people about reptiles and amphibians. He is the author, with Patricia P. Bartlett, a full-time editor and writer, of more than fifty books on the subject, including Florida's Snakes.

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Senin, 24 Februari 2014

* Download The Beast in Florida: A History of Anti-Black Violence, by Marvin Dunn

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The Beast in Florida: A History of Anti-Black Violence, by Marvin Dunn

A chronicle of the incidents of racial violence in Florida from Reconstruction through the modern Civil Rights Movement.

  • Sales Rank: #2273618 in Books
  • Published on: 2013-02-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.00" h x 6.30" w x 9.00" l, .90 pounds
  • Binding: Hardcover
  • 240 pages

From the Inside Flap

Florida has worked hard to cultivate its idyllic image as a sunny, pristine paradise. But beneath the outer garments of glitz, sun, and ocean are hidden deep secrets—secrets that have been intentionally buried beneath the sands of the former lynching capital of America.

            When we teach our children about the horrors of the past, we do so in the hope that exposing the true nature of these atrocities will deter future generations from repeating them. This is Marvin Dunn’s impetus in writing The Beast in Florida, an unflinching and haunting look at the dark past of the Sunshine State. A symbolic embodiment of racial violence and hatred, “The Beast” openly prowled the nation between the Civil War and the civil rights movement. It reared its head for a variety of reasons—psychological, political, and economic—but the outcome was always brutal and often deadly. As we are reminded all too frequently, the Beast is not gone; it is merely bound up, waiting to loosen its chains.

 

          From the bombing of Harry T. and Harriette Moore’s home on Christmas Day to Willie James Howard’s murder, from the Rosewood massacre to the Newberry Six lynchings, Dunn offers an encyclopedic catalogue of the Beast’s rampages in Florida. Instead of simply taking snapshots of incidents, Dunn provides context for a century’s worth of racial violence by examining communities over time. Crucial insights from interviews with descendants of both perpetrators and victims, as well as newspaper, police, and court reports of these events shape this study of Florida’s grim racial history. Rather than pointing fingers and placing blame, The Beast in Florida allows voices and facts to speak for themselves, facilitating a conversation on the ways in which racial violence changed both black and white lives forever.

Dunn—a Florida native who lived through some of the events described in this book—writes as an insider, adding previously unknown details to the historical record. This comprehensive and balanced look at racially motivated violence presents the underside of Florida history—a story of hatred and some of its deadly results. The result is a panorama of compelling human stories that challenges conceptions of what created and maintained the Beast.

 

Marvin Dunn, retired chairman of the Department of Psychology at Florida International University, is the author of Black Miami in the Twentieth Century.

 

From the Back Cover

“The Beast in Florida is the most original and courageous book of Florida history since Stetson Kennedy’s Palmetto Country was published in 1942.”—Paul Ortiz, author of Emancipation Betrayed

 

“Marvin Dunn has written an important chronicle of the most disturbing, yet little-known, racial atrocities in Florida history. The Beast in Florida is a catalog of the underbelly of Florida—a lineage of race riots, lynchings, and cold-blooded murder that is as much a part of the Sunshine State as bathing beauties, palm trees, and alligators.”—Ben Green, author of Before His Time: The Untold Story of Harry T Moore, America’s First Civil Rights Martyr

About the Author
Marvin Dunn, retired chairman of the Department of Psychology at Florida International University, is the author of Black Miami in the Twentieth Century.

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2 of 2 people found the following review helpful.
A Totally Different View of Florida
By AndreaLor
A startling read. Eloquently written,this book reveals racial atrocities previously unknown to even the most informed Floridians. It is an unflinching account of specific incidents with details that only one who conducted relentless research could know. Most profound and fascinating are the author's views on the psychological reasons for the ruthless inhumanity that White men inflicted on Blacks. The author, a psychologist, maintains an objective reporting of facts and inspires with accounts of White Floridians who did the right thing at great risk to their own safety. A must-read.

1 of 1 people found the following review helpful.
A Stunning Probe of Florida's Lynching History After the Civil War
By Arnold F. Fege
Florida is not the only state with a lynching history of African-Americans, but psychologist Dr. Marvin Dunn probes not only the historical but also psychological "context" of oppresive violence against Florida's African Americans. His exploration of the contexts--political, legal, moral, economic, social and racial, provide a framework for understanding the times. As his narrative unfolds, he adeptly interweaves the various contexts into the stunning and graphic details of black lynchings by a white power structure. The author certainly is aware of the contention that his research would create--"although many whites and some blacks believe it better not to stir up old horrors, many others believe that such evils should be revealed in all their ghastly detail." Along with the many other resources Dr. Dunn cites that deal with black lynchings, none provide the academic and scholarly detail specificlly about Florida that Dunn pursues. In this year of the 50th anniversary of the Washington DC March, it is yet another narrative that reminds us about a sordid history that is best uncovered--like it or not, it is part of our history. It is also part of our history that with federal intervention, a nation responded by passing civil rights acts, although very hesitantly passing an national anti-lynching law. What is indisputable about Dunn's writing is that it is throughly backed up by research--despite Dunn admitting that his researach uncovered a lot of "unanswered questions and partially told stories." For any one interested in southern and African-American history after Reconstruction, about the history of Florida, or about the literature and psychology of black violence, I would highly recommend this book.

0 of 0 people found the following review helpful.
Five Stars
By Tech 1
execellent

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Minggu, 23 Februari 2014

? PDF Ebook The Scent of Scandal: Greed, Betrayal, and the World's Most Beautiful Orchid (Florida History and Culture), by Craig Pittman

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The Scent of Scandal: Greed, Betrayal, and the World's Most Beautiful Orchid (Florida History and Culture), by Craig Pittman

Some people will do anything for beauty or fame

“FANTASTIC. If I did not know most of the main players I would have thought the author had a vivid and twisted imagination..”—Paul Martin Brown, author of Wild Orchids of Florida

“A fascinating true story of obsession, greed, and lust for the unobtainable. Reminds me a great deal of The Maltese Falcon. This rare flower is definitely the stuff that dreams are made of.”—Ace Atkins, author of Devil's Garden and Infamous

“Pittman has captured the extreme competition, unique characters, and general insanity that often typify the orchid world. The Scent of Scandal exemplifies how passion and profit can overrule common sense and the law.”—Scott Steward, former associate editor, North American Native Orchid Journal

Every year more than 100,000 people visit Sarasota’s Marie Selby Botanical Gardens, in large part to see its vast orchid collection, one of the most magnificent in the world. But the most famous orchid in Selby’s history—the one hailed as the most significant find in a century—isn't on display. It's the one that led to search warrants, a grand jury investigation, and headlines around the country.
         
Discovered in Peru in 2002, the Phragmipedium kovachii quickly became the most sought-after orchid in the world. Prices soared to $10,000 on the black market and otherwise rational people bent rules and broke laws in their obsessive quest to possess it.
         
Award-winning journalist Craig Pittman covered this fascinating story, as it happened, for the St. Petersburg Times, Florida’s largest newspaper. In this enthralling account, he unravels the tangled web of smugglers, scientists, and federal investigators to reveal who the real criminals were in this sordid affair. He also shines a spotlight on flaws in the international treaties governing trade in endangered wildlife—treaties that often protect individual plants and animals in shipping but do little to halt the destruction of whole colonies in the wild.
         
With candid interviews from nearly everyone involved in the case, The Scent of Scandal unspools like a riveting mystery novel, stranger than anything in Susan Orlean’s The Orchid Thief or the film Adaptation. Pittman shows how some people can become so obsessed—with beauty, with profit, with fame, with the desire to own a rare flower—that even the possibility of going to prison will not deter their risking everything.


Craig Pittman writes about environmental issues for the St. Petersburg Times. He is the coauthor of Paving Paradise: Florida’s Vanishing Wetlands and the Failure of No Net Loss and author of Manatee Insanity: Inside the War over Florida’s Most Famous Endangered Species.

 

  • Sales Rank: #937848 in Books
  • Published on: 2012-04-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.20" h x 6.00" w x 9.10" l, 1.20 pounds
  • Binding: Hardcover
  • 320 pages

About the Author

Craig Pittman is an award-winning journalist who writes about environmental issues for Florida’s largest newspaper, the St. Petersburg Times. He is the coauthor of Paving Paradise and author of Manatee Insanity.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Hollywood Can't Write This Stuff
By breakofday5
I recently joined my local AOS society and heard about this book after the author did a meet-and-greet in Daytona Beach. Living in Florida all my life and growing up outside Tampa, I had never heard of this event. I received the Tampa Bay Times every day while this was going on and don't remember ever reading about it. After doing some research on this crazy, not-even-Hollywood-could-write-this-stuff story I had to buy the book. Let me tell you, it didn't disappoint. Being new to the orchiding world, I had no idea how insane the smuggling world is, or how ridiculous the government laws surrounding it are. The writer did an excellent job of introducing all characters, telling the story, and staying unbiased. After reading this book all I can do is shake my head over the whole incident...there are just no words. If you're looking for a great read, even if you're not "into" orchids, I highly recommend you check this one out!

0 of 0 people found the following review helpful.
This is a shocker!
By Susan Plage
Wow, orchids in the black market! Who knew that there were lots of folks thinking a flower was as collectible as a work of art. And, would risk much in it's pursuit.

14 of 14 people found the following review helpful.
Investigative reporting + true-crime writing = pace and tension of a great detective novel
By Cynthia Barnett
Investigative journalist Craig Pittman had covered plenty of crazy people by the time he stepped onto the tranquil grounds of Sarasota's Marie Selby Botanical Gardens to report on a case of orchid smuggling in 2003.

There was the triple killer he interviewed on Death Row who took to writing him letters with smiley faces dotting the i's. There was the woman so in love with manatees she left a date to wade into the water with them fully clothed, then tackled a major political campaign on their behalf. Pittman's second book even had crazy in the name: "Manatee Insanity."

But none of that came close to the maniacal obsession to possess and name a new orchid discovered growing on a hillside in northern Peru. The petals of Phragmipedium kovachii stretch up like hot-pink fairy wings poised to soar away with the swollen pouch that makes it a "slipper orchid." The story of how it got to Selby, and how reputable scientists lost their minds in the race to be first to describe it, makes for incredible reading in "The Scent of Scandal: Greed, Betrayal, and the World's Most Beautiful Orchid."

If it were fiction, "The Scent of Scandal" might be skewered for improbability: A Ph.D. taxonomist named Guido who punches out a cop. Not one but two collectors trying to pitch the idea of a wild-orchid-hunter reality show -- starring themselves as the macho leading man.

Pittman is on staff at the Tampa Bay Times, where he has established himself as one of the nation's top environmental reporters. He came to the beat more than 20 years ago on staff at the Sarasota Herald-Tribune. Local readers will appreciate his insights into the city's unique history and society scene. He recounts Selby's dazzling Orchid Ball, where in spring 2002, "real estate moguls and mortgage-rate gamblers rubbed shoulders with theater angels and gallery geeks." The revelers could not have imagined the resentments blooming among Selby's "orchid boys" who felt the institution had strayed too far from their showy obsession under then-director Meg Lowman.

Lowman, a renowned rainforest biologist, was out of town when collector Michael Kovach rushed to Selby from Miami International Airport with the prize that would soon be named for him. Those who were on duty at Selby's Orchid Identification Center on the day they now curse could seem to think only of fame. The Selby orchid illustrator's first thoughts: "... great publicity if handled correctly, which would stir the sleeping board members and demonstrate that we actually existed."

The one thing that didn't come to mind: Making absolutely sure that Kovach had legally brought the orchid home from the Peruvian wilds.

Pittman's two previous books are also about vanishing, vulnerable icons of nature -- first wetlands, then manatees -- and our failure to protect them. His incisive reporting leaves the reader astounded by the crass treatment of ecological resources, and taking little comfort in the ability of government to protect them. "The Scent of Scandal" is his best book yet, fusing investigative reporting and true-crime writing to create the pace and tension of a great detective novel.

The reader wishes only for more -- that Pittman would have completed Lowman's story (she landed as director of the North Carolina Museum of Natural Sciences in Raleigh), or that he would have traveled to Peru to write more on orchid history and ecology. "The Scent of Scandal" is not that sort of book because Pittman is a devoted daily newspaper reporter. Florida is lucky to have him as an environmental watchdog. One can only imagine the crazy tale he'll sniff up next.

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Sabtu, 22 Februari 2014

! Ebook Download The Knight of the Two Swords: A Thirteenth-Century Arthurian RomanceFrom University Press of Florida

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"The portrayal of women in this romance is particularly intriguing and should provoke animated discussions of medieval women's roles. . . . The existence of this translation should incite scholars to investigate the romance more thoroughly."--Wendy Pfeffer, University of Louisville
"Arthur and Corbett are the first to look seriously at this poem for almost a century. Because of their translation, it will be studied by scholars and taught in the classroom. . . . The translation . . . is a gem. Elegant, lively, witty, eminently readable, it captures perfectly the spirit of the original."--William Calin, University of Florida
The first translation into English of this 13th-century French epic poem of adventure and romance in King Arthur's court should have appeal far beyond its core reference market. It adds another--French--dimension to the Arthurian legend, and it introduces a "lost" text to a late-20th-century audience of scholars and lay readers. Some specialists in Old French may be aware of the existence of the poem but unfamiliar with its contents. The mere existence of a translation will be sufficient to provoke a spate of articles and critical studies.

 Li Chevaliers as deus Espees is an excellent example of the quintessential medieval European genre, the "adventure romance." It makes creative use of the set of motifs and themes common to the genre, and extends their range in a way that provokes readers to consider a variety of questions concerning the nature of medieval knighthood, the duties and privileges of knights and their lords, and the roles open to women in a feudal society.

 As an imaginative poem filled with scenes of medieval life, as a lively exponent of the Arthurian genre, or as reflection of the aristocratic mentality of the landed class in 13th-century France, The Knight of the Two Swords simply deserves to be better known; a reading of it will amply repay the curious student, the literary scholar, and the lover of medieval culture. In addition to its expected audience of scholars and teachers of Old French literature, this book will appeal to general readers fascinated by everything medieval or Arthurian.
Ross G. Arthur is professor of humanities at York University in Ontario. He is the author of Medieval Sign Theory and Sir Gawain and the Green Knight and the translator of Three Arthurian Romances from Medieval France: Caradoc, The Knight with the Sword, The Perilous Graveyard, Amadas and Ydoine, and Jaufre: A Provençal Arthurian Romance.  Noel L. Corbett is associate professor of French at York University in Ontario, Canada. He is the editor of Vie de Saint Louis and the author of Langue et identité.

  • Sales Rank: #7078686 in Books
  • Published on: 1996-04-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.33" h x .84" w x 6.27" l, 1.05 pounds
  • Binding: Hardcover
  • 224 pages

Language Notes
Text: English (translation)

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Jumat, 21 Februari 2014

^ PDF Download Sick in the Head: Conversations About Life and Comedy, by Judd Apatow

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Sick in the Head: Conversations About Life and Comedy, by Judd Apatow

NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE A.V. CLUB • Includes new interviews!

From the writer and director of Knocked Up and the producer of Freaks and Geeks comes a collection of intimate, hilarious conversations with the biggest names in comedy from the past thirty years—including Mel Brooks, Jerry Seinfeld, Jon Stewart, Roseanne Barr, Harold Ramis, Louis C.K., Chris Rock, and Lena Dunham.

Before becoming one of the most successful filmmakers in Hollywood, Judd Apatow was the original comedy nerd. At fifteen, he took a job washing dishes in a local comedy club—just so he could watch endless stand-up for free. At sixteen, he was hosting a show for his local high school radio station in Syosset, Long Island—a show that consisted of Q&As with his comedy heroes, from Garry Shandling to Jerry Seinfeld. They talked about their careers, the science of a good joke, and their dreams of future glory (turns out, Shandling was interested in having his own TV show one day and Steve Allen had already invented everything).

Thirty years later, Apatow is still that same comedy nerd—and he’s still interviewing funny people about why they do what they do.

Sick in the Head gathers Apatow’s most memorable and revealing conversations into one hilarious, wide-ranging, and incredibly candid collection that spans not only his career but his entire adult life. Here are the comedy legends who inspired and shaped him, from Mel Brooks to Steve Martin. Here are the contemporaries he grew up with in Hollywood, from Spike Jonze to Sarah Silverman. And here, finally, are the brightest stars in comedy today, many of whom Apatow has been fortunate to work with, from Seth Rogen to Amy Schumer. And along the way, something kind of magical happens: What started as a lifetime’s worth of conversations about comedy becomes something else entirely. It becomes an exploration of creativity, ambition, neediness, generosity, spirituality, and the joy that comes from making people laugh.

Loaded with the kind of back-of-the-club stories that comics tell one another when no one else is watching, this fascinating, personal (and borderline-obsessive) book is Judd Apatow’s gift to comedy nerds everywhere.

Praise for Sick in the Head

“I can’t stop reading it. . . . I don’t want this book to end.”—Jimmy Fallon

“An essential for any comedy geek.”—Entertainment Weekly

“Fascinating . . . a collection of interviews with many of the great figures of comedy in the latter half of the twentieth century.”—The Washington Post

“Open this book anywhere, and you’re bound to find some interesting nugget from someone who has had you in stitches many, many times.”—Janet Maslin, The New York Times

“An amazing read, full of insights and connections both creative and interpersonal.”—The New Yorker

“Fascinating and revelatory.”—Chicago Tribune

“These are wonderful, expansive interviews—at times brutal, at times breathtaking—with artists whose wit, intelligence, gaze, and insights are all sharp enough to draw blood.”—Michael Chabon

“Anyone even remotely interested in comedy or humanity should own this book. It is hilarious and informative and it contains insightful interviews with the greatest comics, comedians, and comediennes of our time. My representatives assure me I will appear in a future edition.”—Will Ferrell

  • Sales Rank: #21504 in Books
  • Published on: 2016-05-31
  • Released on: 2016-05-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 1.20" w x 5.20" l, .88 pounds
  • Binding: Paperback
  • 576 pages

Review
“I can’t stop reading it. . . . I don’t want this book to end.”—Jimmy Fallon
 
“An essential for any comedy geek.”—Entertainment Weekly
 
“Fascinating . . . a collection of interviews with many of the great figures of comedy in the latter half of the twentieth century.”—The Washington Post
 
“Open this book anywhere, and you’re bound to find some interesting nugget from someone who has had you in stitches many, many times.”—Janet Maslin, The New York Times
 
“An amazing read, full of insights and connections both creative and interpersonal.”—The New Yorker
 
“Fascinating and revelatory.”—Chicago Tribune
 
“For fans of stand-up, Sick in the Head is a Bible of sorts.”—Newsweek
 
“This exploration of what it really means to be funny, day in and day out, is for the comedian in everyone.”—Publishers Weekly (starred review)
 
“Incandescent . . . an irresistible, ultimate-insider’s comedy-interview extravaganza . . . [Judd] Apatow never loses his unabashed fan’s enthusiasm even as he asks canny questions that yield superbly illuminating conversations rich in shop talk and musings on the lure, demands, and resonance of comedy.”—Booklist (starred review)
 
“If Apatow’s gift for comedy is a sickness, may he never be cured.”—Playboy
 
“Sprawling and insightful . . . The candidness of the interviews also exposes the peculiar community of comedians with anecdotes and cameos unlikely to be heard elsewhere. A delightful and hilarious read for anyone interested in what makes comedians tick.”—Kirkus Reviews

“These are wonderful, expansive interviews—at times brutal, at times breathtaking—with artists whose wit, intelligence, gaze, and insights are all sharp enough to draw blood. Judd Apatow understands as well as any of them the pain that holds the knife, and the glee that wields it.”—Michael Chabon
 
“Anyone even remotely interested in comedy or humanity should own this book. It is hilarious and informative and it contains insightful interviews with the greatest comics, comedians, and comediennes of our time. My representatives assure me I will appear in a future edition.”—Will Ferrell


From the Hardcover edition.

About the Author
Judd Apatow is one of the most important comic minds of his generation. He wrote and directed the films The 40-Year-Old Virgin (co-written with Steve Carell), Knocked Up, Funny People, and This Is 40, and his producing credits include Superbad, Bridesmaids, and Anchorman. Apatow is the executive producer of HBO’s Girls. He was also the executive producer of Freaks and Geeks, created Undeclared, and co-created the Emmy Award–winning television program The Ben Stiller Show. His latest film is Trainwreck. He was also the editor of the collection I Found This Funny. Judd Apatow lives in Los Angeles with his wife, Leslie Mann, and their two daughters, Maude and Iris.


From the Hardcover edition.

Excerpt. © Reprinted by permission. All rights reserved.
David Sedaris
(2016)

David Sedaris is a writer. For the past twenty years, he has been publishing hilarious, poignant collections of personal essays—Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim—and doing epic radio pieces for This American Life that are ideal versions of the form. His material is his life—his family, his walks around the neighborhood, his French lessons—and the most amazing thing about him is that he never fails to make it fresh or meaningful. I can think of very few -writers—in comedy or elsewhere—with better timing or sense of the absurd. When he’s not writing or doing pieces for public radio, David is on tour—massive forty-city tours, thousand--seat venues—and his act consists of walking out onstage, standing at a podium . . . and reading for ninety minutes. He absolutely kills. I’ve never seen anybody do this before.

David doesn’t consider himself a stand-up comedian, because he stands at a podium and reads off of a piece of paper. I didn’t want to say this to him during our interview, but he is a stand--up comedian. That doesn’t mean his essays aren’t brilliant and insightful, and it doesn’t mean he’s not one of my favorite writers. But you take that podium away and force him to memorize his material, and he’s one of the great comedians of our time, or any time.

Judd Apatow: How do you define what you do? Do you think of yourself as a performer or a writer?
David Sedaris: I would never call myself a comedian. I don’t think I’ve ever done stand--up. If I had to try, I really don’t even know what I would do. If you said to me, “You have one month to come up with ten minutes of material,” I honestly don’t think I would be able to do that. I read out loud and I enjoy that. And when I go on tour, there’s usually a question-and-answer session at the end of the reading and I don’t have any papers in front of me, I’m just answering questions. Sometimes at the end of the evening, I’ll think, Oh God, that didn’t go well at all. Those were really bad questions. Then I realize: It’s not the questions, it’s me.

Judd: Yeah.

David: If you’re in the right mood, you can do anything with any question—even if you’ve been asked that question a thousand times. If you’re in the right mood, and you’re feeling comfortable in front of the audience and not too self-conscious, then you go anywhere you want. But I don’t know much about comedy. Every now and then I’ll look at it on YouTube, but I don’t go to comedy clubs. I don’t have anything against laughter or anything. I just think everything I know about comedy I learned from listening to Marc Maron’s podcast.

Judd: When you’re reading in front of an audience, are you reading things that haven’t been published yet? Is this a way to work on them?

David: Yes.

Judd: Your goal, I would assume, is: How funny can I make this? It seems like, in some ways, the process of writing and stand-up is the same, except what you do are more specifically stories. But that’s what most comedians are doing every night, just going onstage and trying to figure out how to make it tighter and funnier.

David: I’m about to start a week’s worth of shows at the Cadogan Hall in London. It’s maybe eight hundred seats. I have eight shows. So I have these stories I’m working on, and I’ll go in and I’ll read them and then I’ll go back at night and I’ll rewrite them. And then the next day—usually, when I’m on tour, I’m taking two planes and then I’m in a car for a couple of hours, and this way, I have all day to work before I go to the next theater in the evening. And that’s what I want. I mean, I made myself laugh today while I was sitting at my desk, and that doesn’t happen too often. I always think that if you make yourself laugh, then it might make the audience laugh. But I’d say, nine times out of ten? No, it’s 
just me.

Judd: Does that hurt?

David: It makes me laugh.

Judd: But do you enjoy getting a laugh?

David: It means everything to me. When I’ve gone to other people’s readings and—I’ll go see a poet or I’ll go to a bookstore because a friend’s novel is out. And I hear them get up there and read something serious, and I think, Oh, how can you do that? How do you know people are listening if they’re not laughing? You can feel people drifting away from you when you’re reading a story, or telling a story. But nothing’s better than hearing them laugh. Nothing’s better than that.
Judd: Sometimes when we’re doing a movie that has more drama in it than usual and we’re testing it—showing it to audiences to get their reaction—I always find myself wishing there was a noise people made that let me know a dramatic scene is working. There’s no equivalent to the laugh, as far as knowing if a scene is effective. I have no idea. What’s the noise for that?

David: There is a kind of a wistful sigh that people make when they’re touched. Sometimes at the end of a story, I hear that little noise and I think, Ah, that feels as good to me as a laugh. It’s just a feeling of—I don’t know, if I say it’s a feeling of people being touched, that makes it sound like I make greeting cards. But it’s a little sound that people make, just some air escapes their mouth. It’s very quiet, but if you have a couple thousand people doing that, you can hear it. But just barely.

Judd: What about when you’re writing something that is less comedic? You have stories where you talk about people passing and doing very personal things. Sad things. What is it like to read those aloud?

David: Usually what I do is I have, in advance, an image in my mind that I’m going to think about when I read. So I don’t become emotional. Because that would be the worst. It has happened to me twice—my voice cracked onstage when I was reading something, and, oh my God, I was just so embarrassed. I would have been less embarrassed if I’d shit my pants.

Judd: (Laughs) Why is that? I always found it touching when, you know, Johnny Carson’s voice cracked when he said goodbye at the end of the run of his show.

David: Maybe if it were somebody else, I would find it charming or moving or something. But I don’t know. My dad was in the audience one night and I read something that was about him—it was sort of about him dying but, you know, he’s not dead. He’s in his nineties and he’s still alive. It was about how I hoped to remember him after he was dead. And because he was in the audience and I don’t—we don’t talk in my family. We don’t say things like, “Oh, I love you.” We don’t say stuff like that. So reading this would really be the closest I would ever come. And the word love is not in the entire story. But . . . and he was in the audience and . . . ugh. There was a story I wrote in 2004 that really kind of tore me up when I would read it. And so my boyfriend, Hugh, and I were looking for an apartment at the time in London, and as I was reading the story, I would just wonder what the front door of that apartment would look like. At the very last paragraph, I would just think of that. So I wouldn’t really be there, you know. I mean, of course I would be there reading it, but emotionally I wouldn’t be there. I guess it’s about not wanting to lose control. But I don’t know. It’s all just an illusion?

Judd: When your dad is there, and he’s a guy who doesn’t express himself that way, it seems like a conscious choice to read that on that night when he’s attending. Did he react afterwards in any way?

David: He said that he appreciated it. And I didn’t expect anything more than that. I don’t know that my dad reads anything I write. He pretends to. But if I were him, I wouldn’t read it, either. If someone were to write something about me, I wouldn’t read it. I’d say, Oh well, I know it’s out there. No need to actually sit down and read it.

Judd: It seems like there are different kinds of parents of writers and performers. There are the parents who just soak it up, and then there are the parents who don’t seem like they approve or show interest.

David: We were at dinner one night and I overheard my dad saying to somebody, “Well, David is a better reader than he is a writer.” And I thought, Where did you get that from? Like, I know my dad has a book that he’s read about golf, right? But other than that, I don’t think he’s ever read another book in his life.

Judd: His entire life?

David: He was parroting somebody. But I just thought, Who says that? My dad gets a double dose because I have a sister, Amy, who is an actress, but he likes the attention. He likes the attention, but the couple times I have had to go on TV—like, if a book comes out and I have to go on TV, I’m just not comfortable. There are some hosts who make it easy, like Jon Stewart. He’s really nice. And Jimmy Kimmel comes into the dressing room and sets you at ease. He says, “Hey, we’re just gonna go out there and have fun, so don’t feel too much pressure.” You know? It helps a lot. If you’re not an actor, it makes a big difference. And every time I’ve ever gone on television, I go back to the hotel and the phone rings and it’s my father. “You looked terrible. I can’t believe—white socks? You went on television wearing white socks? That jacket doesn’t fit you. You look like a goddamn clown.” But when Amy goes on TV, it’s different. She gets home and the phone rings: “I didn’t laugh once.” He gets off on it but at the same time, he—

Judd: But is that his love language, in some way?

David: I don’t know.

Judd: But your mom was the opposite, right?

David: She died before things started happening for me. I think I got my first book contract a year and a half after she died.

Judd: So she didn’t see any of that part of your life?

David: No. But you know, I would be in this play in New York—and it was just a play. It was like monologues based on some stories that I had written. This was the year before she died, and she sent me a check for a thousand dollars. I mean, that was huge. That was a huge amount of money to me. And I didn’t ask her for it. She was really good that way. She didn’t make you ask. But she wasn’t a big reader, either. She would read Harold Robbins novels and beach books every now and then. But this whole sense of my dad’s judgment doesn’t mean anything. It sounds bad, but it doesn’t mean anything to me. You know what I mean? Because he doesn’t read. He doesn’t have anything to compare my writing to. I mean, it’s nice if he likes something I write, but it doesn’t—I feel bad for people whose parents were writers. Or people whose parents were big readers. I feel bad for them. The last thing you want is a father saying, “That reminds me a little bit too much of that Philip Roth novel.” That’s the last thing you want to hear from a parent. So I’m fine with having parents who don’t understand what I do. My mom was generally supportive of whatever artistic endeavors my siblings and I were interested in. I really consider myself so lucky to have had the parents I did, but my entire career is based on taking whatever advice my father has ever given me and doing exactly the opposite. It has all gone in opposition to him. If he had been supportive and encouraging and said, “Let me read the first draft,” then I would be nothing.

Judd: It’s like you got the best of both worlds. You got the supportive mom and the dad you rebel against by trying to prove him wrong.

David: It’s the perfect combination. I think if you have two discouraging parents, that might be too much. And if you have two supportive parents, that might be too much, too.

Most helpful customer reviews

38 of 44 people found the following review helpful.
A must read
By Jason A. Miller
While I'm not the biggest fan of Judd Apatow's movies -- my style of humor is a bit more retro than his cutting-edge raunchy comedies -- I think we can all agree that this book is a must-read.

In a surprisingly personal introduction, Apatow describes growing up on Long Island, in the New York City suburbs, as a small kid and somewhat of an outsider, who finds his place in the world as a student of comedy, and as a teenage radio host at his low-wattage high school radio station, whose signal, he tells us, barely reached the school parking lot. He embarks on a quest to interview his favorite comedians, both old and new, and thus was born his career as a comedy writer and A-list (or at least high B-list) movie director.

"Sick in the Head" is a self-described labor of love, the result of 30 years' worth of Apatow interviewing, or being interviewed alongside, the great comics from across all eras. He starts off with a transcript of his 1983 interview with a ridiculously young Jerry Seinfeld, who even back then is musing about what a transition from stand-up comedy to sitcom acting might do to his career. Seinfeld also describes routines of his own favorite comics of that generation, including Letterman and Leno in the infancy of their careers. Speaking to a 15-year-old nobody from a high school radio station, Seinfeld provides unusually long, candid, thoughtful -- and shockingly prescient -- answers.

Which sets the tone for the rest of the book, a series of interview transcripts from the mid-1980's to the present day, seemingly arranged in alphabetical order only so that Apatow's old roommate, a guy named Adam Sandler, can serve as chapter 1. From Albert Brooks to Lena Dunham, from young Garry Shandling to old Garry Shandling, from Jon Stewart to Jimmy Fallon, from Mel Brooks to Sarah Silverman... and also Apatow's wife. this book is basically a who's who of the comedy world for the past two or three generations. Each interview is prefaced with an erudite but warm introduction explaining that particular comedian's place in Apatow's world, and how the interview came to be.

Get the book, even if you're not Apatow's biggest fan yourself. This book is by no means a vanity project; it's a love letter to the world of comedy and will almost definitely serve as an important primary-source reference work in the years to come.

0 of 0 people found the following review helpful.
A Comedic Celebration
By Jan M. Jablonsky
Tremendous interviews. The insights I gathered from these comedians was remarkable. If you love comedy and consider it an art, this book is truly a must have. The highlight of the book was Judd Apatow's interviews done while still in high school, they alone are worth the price of this entertaining book. Thank you Linda Haney for buying it for me.

23 of 27 people found the following review helpful.
Reading this book is like being invited to the best party ever
By Dmitry Portnoy
Reading this book is like being invited to the best party ever. Only the earlier entries (chronologically) are technically interviews: the rest are conversations among friends, collaborators, masters of their craft, in which they try out outdo and one-up each-other not just in how funny they are but how revealing they can be about their work, their hopes, their fears, their pasts, and their personal screw-ups. This book has kept me up two nights now, as I had to read "just one more." Its alphabetical arrangement by first name is inspired: you never know who or what the next subject will be. There is dazzling variety here and lots of food for thought and oodles of magic and charm. A classic.

See all 300 customer reviews...

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@ Free PDF Portraits and Observations (Modern Library), by Truman Capote

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Portraits and Observations (Modern Library), by Truman Capote

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Portraits and Observations (Modern Library), by Truman Capote

From the Modern Library’s new set of beautifully repackaged hardcover classics by Truman Capote—also available are Breakfast at Tiffany’s and Other Voices, Other Rooms (in one volume), In Cold Blood, and The Complete Stories

Perhaps no twentieth-century writer was so observant and graceful a chronicler of his times as Truman Capote. Portraits and Observations is the first volume devoted solely to all the essays ever published by this most beloved of writers. Included are such masterpieces of narrative nonfiction as “The Muses Are Heard” and the short nonfiction novel “Handcarved Coffins,” as well as many long-out-of-print essays, including portraits of Mae West, Humphrey Bogart, and Marilyn Monroe. From his travel sketches of Brooklyn, New Orleans, and Hollywood, written when he was twenty-two, to the author’s last written words, “Remembering Willa Cather,” composed the day before his death in 1984, Portraits and Observations puts on display the full spectrum of Truman Capote’s brilliance. Certainly Capote was, as Somerset Maugham famously called him, “a stylist of the first quality.” But as the pieces gathered here remind us, he was also an artist of remarkable substance.

  • Sales Rank: #633777 in Books
  • Brand: Capote, Truman
  • Published on: 2013-04-23
  • Released on: 2013-04-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.30" h x 1.50" w x 5.80" l, 1.76 pounds
  • Binding: Hardcover
  • 672 pages
Features
  • Used Book in Good Condition

Review
“A must-have treasure for Capote fans . . . These are delicious, dramatic, and tender nonfiction portraits and tales.”
–NPR’s Morning Edition


“A wonderful volume . . . Nearly every page can be read with real pleasure. . . . No matter what his subject, [Capote’s] canny, careful art gives it warm and breathing life”  
–The Washington Post Book World

“Every piece is a treasure. . . . Pages and pages of remarkably evocative, careful and well-observed prose [delineate,] in a measured and elegant manner, one of the most remarkable American literary lives of the twentieth century.”
–Jane Smiley, Los Angeles Times Book Review

About the Author
Truman Capote was born September 30, 1924, in New Orleans. After his parents’ divorce, he was sent to live with relatives in Monroeville, Alabama. It was here he would meet his lifelong friend, the author Harper Lee. Capote rose to international prominence in 1948 with the publication of his debut novel, Other Voices, Other Rooms. Among his celebrated works are Breakfast at Tiffany’s, A Tree of Night, The Grass Harp, Summer Crossing, A Christmas Memory, and In Cold Blood, widely considered one of the greatest books of the twentieth century. Twice awarded the O. Henry Short Story Prize, Capote was also the recipient of a National Institute of Arts and Letters Creative Writing Award and an Edgar Award. He died August 25, 1984, shortly before his sixtieth birthday.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1
NEW ORLEANS (1946)

In the courtyard there was an angel of black stone, and its angel head rose above giant elephant leaves; the stark glass angel eyes, bright as the bleached blue of sailor eyes, stared upward. One observed the angel from an intricate green balcony—mine, this balcony, for I lived beyond in three old white rooms, rooms with elaborate wedding-cake ceilings, wide sliding doors, tall French windows. On warm evenings, with these windows open, conversation was pleasant there, tuneful, for wind rustled the interior like fan-breeze made by ancient ladies. And on such warm evenings the town is quiet. Only voices: family talk weaving on an ivy-curtained porch; a barefoot woman humming as she rocks a sidewalk chair, lulling to sleep a baby she nurses quite publicly; the complaining foreign tongue of an irritated lady who, sitting on her balcony, plucks a fryer, the loosened feathers floating from her hands, slipping into air, sliding lazily downward. One morning—it was December, I think, a cold Sunday with a sad gray sun—I went up through the Quarter to the old market, where at that time of year there are exquisite winter fruits, sweet satsumas, twenty cents a dozen, and winter flowers, Christmas poinsettia and snow japonica. New Orleans streets have long, lonesome perspectives; in empty hours their atmosphere is like Chirico, and things innocent, ordinarily (a face behind the slanted light of shutters, nuns moving in the distance, a fat dark arm lolling lopsidedly out some window, a lonely black boy squatting in an alley, blowing soap bubbles and watching sadly as they rise to burst), acquire qualities of violence. Now, on that morning, I stopped still in the middle of a block, for I’d caught out of the corner of my eye a tunnel-passage, an overgrown courtyard. A crazy-looking white hound stood stiffly in the green fern light shining at the tunnel’s end, and compulsively I went toward it. Inside there was a fountain; water spilled delicately from a monkey-statue’s bronze mouth and made on pool pebbles desolate bell-like sounds. He was hanging from a willow, a bandit-faced man with kinky platinum hair; he hung so limply, like the willow itself. There was terror in that silent suffocated garden. Closed windows looked on blindly; snail tracks glittered silver on elephant ears, nothing moved except his shadow. It swung a little, back and forth, yet there was no wind. A rhinestone ring he wore winked in the sun, and on his arm was tattooed a name, “Francy.” The hound lowered its head to drink in the fountain, and I ran. Francy—was it for her he’d killed himself? I do not know. N.O. is a secret place. My rock angel’s glass eyes were like sundials, for they told, by the amount of light focused on them, time: white at noon, they grew gradually dimmer, dark at dusk, black—nightfall eyes in a nightfall head. The torn lips of golden-haired girls leer luridly on faded leaning house fronts: Drink Dr. Nutt, Dr. Pepper, Nehi, Grapeade, 7-Up, Koke, Coca-Cola. N.O., like every Southern town, is a city of soft-drink signs; the streets of forlorn neighborhoods are paved with Coca-Cola caps, and after rain, they glint in the dust like lost dimes. Posters peel away, lie mangled until storm wind blows them along the street, like desert sage—and there are those who think them beautiful; there are those who paper their walls with Dr. Nutt and Dr. Pepper, with Coca-Cola beauties who, smiling above tenement beds, are night guardians and saints of the morning. Signs everywhere, chalked, printed, painted: Madame Ortega—Readings, Love-potions, Magic Literature, C Me; If You Haven’t Anything To Do . . . Don’t Do It Here; Are You Ready To Meet Your Maker?; B Ware, Bad Dog; Pity The Poor Little Orphans; I Am A Deaf & Dumb Widow With 2 Mouths To Feed; Attention; Blue Wing Singers At Our Church Tonight (signed) The Reverend. There was once this notice on a door in the Irish Channel district, “Come In And See Where Jesus Stood.” “And so?” said a woman who answered when I rang the bell. “I’d like to see where Jesus stood,” I told her, and for a moment she looked blank; her face, cut in razorlike lines, was marshmallow-white; she had no eyebrows, no lashes, and she wore a calico kimono. “You too little, honey,” she said, a jerky laugh bouncing her breasts, “you too damn little for to see where Jesus stood.” In my neighborhood there was a certain café no fun whatever, for it was the emptiest café around N.O., a regular funeral place. The proprietress, Mrs. Morris Otto Kunze, did not, however, seem to mind; she sat all day behind her bar, cooling herself with a palmetto fan, and seldom stirred except to swat flies. Now glued over an old cracked mirror backing the bar were seven little signs all alike: Don’t Worry About Life . . . You’ll Never Get Out Of It Alive. July 3. An “at home” card last week from Miss Y., so I made a call this afternoon. She is delightful in her archaic way, amusing, too, though not by intent. The first time we met, I thought: Edna May Oliver; and there is a resemblance most certainly. Miss Y. speaks in premediated tones but what she says is haphazard, and her sherry-colored eyes are forever searching the surroundings. Her posture is military, and she carries a man’s Malacca cane, one of her legs being shorter than the other, a condition which gives her walk a penguinlike lilt. “It made me unhappy when I was your age; yes, I must say it did, for Papa had to squire me to all the balls, and there we sat on such pretty little gold chairs, and there we sat. None of the gentlemen ever asked Miss Y. to dance, indeed no, though a young man from Baltimore, a Mr. Jones, came here one winter, and gracious!—poor Mr. Jones—fell off a ladder, you know—broke his neck—died instantly.” My interest in Miss Y. is rather clinical, and I am not, I embarrassedly confess, quite the friend she believes, for one cannot feel close to Miss Y.: she is too much a fairy tale, someone real—and improbable. She is like the piano in her parlor—elegant, but a little out of tune. Her house, old even for N.O., is guarded by a black broken iron fence; it is a poor neighborhood she lives in, one sprayed with room-for-rent signs, gasoline stations, jukebox cafés. And yet, in the days when her family first lived here—that, of course, was long ago—there was in all N.O. no finer place. The house, smothered by slanting trees, has a graying exterior; but inside, the fantasy of Miss Y.’s heritage is everywhere visible: the tapping of her cane as she descends birdwing stairs trembles crystal; her face, a heart of wrinkled silk, reflects fumelike on ceiling-high mirrors; she lowers herself (notice, as this happens, how carefully she preserves the comfort of her bones) into father’s father’s father’s chair, a wickedly severe receptacle with lion-head hand-rests. She is beautiful here in the cool dark of her house, and safe. These are the walls, the fence, the furniture of her childhood. “Some people are born to be old; I, for instance, was an atrocious child lacking any quality whatever. But I like being old. It makes me feel somehow more”—she paused, indicated with a gesture the dim parlor—“more suitable.” Miss Y. does not believe in the world beyond N.O.; at times her insularity results, as it did today, in rather chilling remarks. I had mentioned a recent trip to New York, whereupon she, arching an eyebrow, replied gently, “Oh? And how are things in the country?” 1. Why is it, I wonder, that all N.O. cabdrivers sound as though they were imported from Brooklyn? 2. One hears so much about food here, and it is probably true that such restaurants as Arnaud’s and Kolb’s are the best in America. There is an attractive, lazy atmosphere about these restaurants: the slow-wheeling fans, the enormous tables and lack of crowding, the silence, the casual but expert waiters who all look as though they were sons of the management. A friend of mine, discussing N.O. and New York, once pointed out that comparable meals in the East, aside from being considerably more expensive, would arrive elaborate with some chef’s mannerisms, with all kinds of froufrou and false accessories. Like most good things, the quality of N.O. cookery derived, he thought, from its essential simplicity. 3. I am more or less disgusted by that persistent phrase “old charm.” You will find it, I suppose, in the architecture here, and in the antique shops (where it rightly belongs), or in the minglings of dialect one hears around the French Market. But N.O. is no more charming than any other Southern city—less so, in fact, for it is the largest. The main portion of this city is made up of spiritual bottomland, streets and sections rather outside the tourist belt. (From a letter to R.R.) There are new people in the apartment below, the third tenants in the last year; a transient place, this Quarter, hello and good-bye. A real bona-fide scoundrel lived there when I first came. He was unscrupulous, unclean and crooked—a kind of dissipated satyr. Mr. Buddy, the one-man band. More than likely you have seen him—not here of course, but in some other city, for he keeps on the move, he and his old banjo, drum, harmonica. I used to come across him banging away on various street corners, a gang of loafers gathered round. Realizing he was my neighbor, these meetings always gave me rather a turn. Now, to tell the truth, he was not a bad musician—an extraordinary one, in fact, when, late of an afternoon, and for his own pleasure, he sang to his guitar, sang ghostly ballads in a grieving whiskey voice: how terrible it was for those in love. “Hey, boy, you! You up there . . .” I was you, for he never knew my name, and never showed much interest in finding it out. “Come on down and help me kill a couple.” His balcony, smaller t...

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6 of 6 people found the following review helpful.
A substantial treat
By Allen Smalling
This recently published (April 2013) PORTRAITS AND OBSERVATIONS from Modern Library has more and somewhat different content than the previous PORTRAITS AND OBSERVATIONS out of Modern Library in 2008; and at 672 pages it is almost 150 pages longer. Not all of the pieces are self-contained "essays," strictly speaking; some have been excerpted from longer works and highlight the non-fictional, reportorial aspect of the author's writing, the verité showing through along with the celebrated prose style. In one way or another, all these pieces are really personality sketches, many brief, whether the "personalities" are places like New Orleans, Kyoto or Capote's post-World War II neighborhood of Brooklyn Heights, or succinct glimpses of the many people Capote knew during his life, including Humphrey Bogart, Tennessee Williams, Marilyn Monroe, and Cecil Beaton -- not to mention insights into the author's own gaddings-about. A typically engrossing but (sadly, in this case) incomplete account of the author's surprise encounter with Willa Cather and his invitation to dine with her is the last entry in the book, and the last written by Capote, in 1984, shortly before his death.

Perhaps I can touch on the merits of two of the longest works. THE MUSES ARE HEARD is the engaging and insightful account of how Capote was embedded (to use a modern term) in an American touring production of PORGY AND BESS "invited" (with the help of a little prodding by management) to play Moscow and Leningrad in late 1955, the very cusp of Stalinism, new towns for the otherwise worldly troupe and PORGY a new opera for the U.S.S.R. Artistically, this was a turning point for Capote, who previously had been best known for his stylish short stories, a "controversial" (code for "homosexual") coming-of-age novel (OTHER VOICES, OTHER ROOMS) and a screenplay that became a cult classic of a movie (BEAT THE DEVIL, which is how the author knew Humphrey Bogart). MUSES provoked a 185-page book by Random House after it had run as a long two-parter in THE NEW YORKER. That book and even its paperback spin-off are out of print today; other than used, this volume is the only place I know to find it now.

As he did with IN COLD BLOOD ten years later, Capote lets his MUSES characters speak for themselves. Mrs. Ira Gershwin's constant but thwarted yearnings for "cavy" in a Russian dining car that yielded only yogurt, raspberry soda and tired cutlets, the motherly Sopranos and jive-spouting Baritones, pompous cultural attaches and frustrated publicists, unshakeable Intourist "escorts," even a nervous guide who yearns for more Western literature but is afraid to be seen carrying any, all receive due turn here. Capote's own observations let the stylist emerge, as in this rhapsodic description of Russian winter glimpsed from the train: "The fragile span of daylight continued to reveal winter at its uncrackable hardest: birches, their branches broken from the weight of snow; a log-cabin village, not a soul in sight and their roofs hung with icicles thick as elephant tusks." Surrounded by Soviet civilization, he leans toward the sophisticated and dry. Here the author takes up the case of the Astoria, the company's Leningrad hotel: "Some think it the Ritz of all Russia. But it contains few concessions to Western ideas of a deluxe establishment. Of these, one is a room off the lobby that advertises itself as an 'Institut de Beauté' where guests may obtain Pedicure, Manicure and Coiffure pour Madame. The Institut, with its mottled whiteness, its painful appurtenances, resembles a charity clinic supervised by not too sanitary nurses, and the coiffure that Madame receives there is liable to leave her hair with a texture excellent for scouring pans."

"The Duke in His Domain," also for THE NEW YORKER, is Capote's 1957 extended interview (41 pages in this volume) with Marlon Brando in Kyoto, who had crossed the Pacific to star in the film version of James Michener's SAYONARA. Capote discovered a different man from the vulnerable, ethereally beautiful brute of a newcomer who electrified Broadway as Stanley Kowalski in 1947. The intervening years had, if anything, enhanced Brando's rugged good looks thanks to a bout in a boiler-room fight club that broke his nose, but much of the enigmatic vulnerability that provoked the actor's early acclaim had waned. At the same time director Joshua Logan was enthusing that Marlon "says he's never been as happy with a company as he is with us," and "I've never worked with such an exciting, inventive actor," Capote diagnosed that "the joy [Logan] took in everything connected with SAYONARA, a film he had been preparing for nearly two years, was so flawless it did not permit him to conceive that his star's enthusiasm might not equal his own." Then the author made sure the actor had plenty of rope: "Brando said, with a snort, 'Oh, SAYONARA, I love it! This wondrous hearts-and-flowers nonsense that was supposed to be a serious picture about Japan. So what difference does it make? I'm just doing it for the money anyway.'" Capote let Brando discourse in such manner at great and deadly length, his sharp reporter's eyes all the while taking in the actor's intellectual pretensions, offhanded treatment of his friends, and tendency to gluttony when confronted with multiple courses of mediocre Western food. After the piece ran, Capote had to stay out of Brando's way for the rest of his life for fear of physical reprisal. But a wonderful piece of journalism was born.

It is no mere puffery, I think, to say that every Truman Capote fan deserves to have this 2013 PORTRAITS AND OBSERVATIONS in his or her library. Newcomers to the Capote canon would do well to check out this volume, too, which is surprisingly well-priced given its length and hardcover durability.

3 of 3 people found the following review helpful.
spot on observations
By satine mullen
If you have never read Capotes essays you must. He has the ability to put you in the story like no one else. It is a must for your collection.

3 of 3 people found the following review helpful.
Excellent!
By Designer Shirt Diva
If you have not read Truman Capote, recommend this book as an excellent read. What a gifted writer he was. Fast delivery.

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