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NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY DWIGHT GARNER, THE NEW YORK TIMES • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY San Francisco Chronicle | NPR | The Root | The Telegraph | The Globe and Mail

NATIONAL BESTSELLER • FINALIST, PHILLIS WHEATLEY BOOK AWARD • TEJU COLE WAS NAMED ONE OF THE MOST INFLUENTIAL AFRICANS OF THE YEAR BY NEW AFRICAN MAGAZINE

For readers of Chimamanda Ngozi Adichie and Michael Ondaatje, Every Day Is for the Thief is a wholly original work of fiction by Teju Cole, whose critically acclaimed debut, Open City, was the winner of the PEN/Hemingway Award and a finalist for the National Book Critics Circle Award, and was named one of the best books of the year by more than twenty publications.
 
Fifteen years is a long time to be away from home. It feels longer still because I left under a cloud.
 
A young Nigerian living in New York City goes home to Lagos for a short visit, finding a city both familiar and strange. In a city dense with story, the unnamed narrator moves through a mosaic of life, hoping to find inspiration for his own. He witnesses the “yahoo yahoo” diligently perpetrating email frauds from an Internet café, longs after a mysterious woman reading on a public bus who disembarks and disappears into a bookless crowd, and recalls the tragic fate of an eleven-year-old boy accused of stealing at a local market.
 
Along the way, the man reconnects with old friends, a former girlfriend, and extended family, taps into the energies of Lagos life—creative, malevolent, ambiguous—and slowly begins to reconcile the profound changes that have taken place in his country and the truth about himself.
 
In spare, precise prose that sees humanity everywhere, interwoven with original photos by the author, Every Day Is for the Thief—originally published in Nigeria in 2007—is a wholly original work of fiction. This revised and updated edition is the first version of this unique book to be made available outside Africa. You’ve never read a book like Every Day Is for the Thief because no one writes like Teju Cole.
 
Praise for Every Day Is for the Thief

“A luminous rumination on storytelling and place, exile and return . . . extraordinary.”—San Francisco Chronicle
 
“Cole is following in a long tradition of writerly walkers who, in the tradition of Baudelaire, make their way through urban spaces on foot and take their time doing so. Like Alfred Kazin, Joseph Mitchell, J. M. Coetzee, and W. G. Sebald (with whom he is often compared), Cole adds to the literature in his own zeitgeisty fashion.”—The Boston Globe
 
“Crisp, affecting . . . Cole constructs a narrative of fragments, a series of episodes that he allows to resonate.”—The New York Times Book Review
 
“Hugely rewarding . . . both a celebration of one of the world’s most vibrant cities and a lament over what can be one of the most frustrating and difficult places to live. It is also a story of family breakup and an uneasy homecoming—the narrator has been away for fifteen years and must relearn how to navigate a place that was once home.”—NPR

“[Every Day Is for the Thief has] a restraint that allows [Cole] to slip in these exquisitely rendered observations on life, love, art that leave you feeling richer and more attuned to your own reality once you’ve finished reading.”—Dinaw Mengestu, The Atlantic



From the Hardcover edition.

• Sales Rank: #43268 in Books
• Brand: Cole, Teju
• Published on: 2015-03-03
• Released on: 2015-03-03
• Original language: English
• Number of items: 1
• Dimensions: 7.98" h x .48" w x 5.19" l, .81 pounds
• Binding: Paperback
• 192 pages

From Booklist
After living in America for 15 years, a Nigerian writer returns to his homeland. Reunited with a beloved aunt, with whom he stays, he reconnects with a boyhood friend, now a struggling doctor, and visits the woman who was his first love, now married with a daughter, as he contemplates staying in Lagos. But he is struck by the omnipresent corruption, as officials at all levels, including police and soldiers, supplement often meager wages with bribes. He sees thieving “area boys” all around, Internet-scamming “yahoo yahoo” in cyber cafés, a jazz shop practicing piracy, and a national museum gone to ruin, its artifacts ill-maintained and its historical presentations inaccurate. Yet in addition to scoring high in corruption, Nigeria’s claim to fame is that it is the most religious country in the world and its people the happiest. This novella, a revised version of the first book written by Nigerian Cole, author of the acclaimed Open City (2011), is a scathing but loving look at his native land in measured, polished prose. --Michele Leber

Review
“A luminous rumination on storytelling and place, exile and return . . . extraordinary.”—San Francisco Chronicle
 
“[Teju] Cole is following in a long tradition of writerly walkers who, in the tradition of Baudelaire, make their way through urban spaces on foot and take their time doing so. Like Alfred Kazin, Joseph Mitchell, J. M. Coetzee, and W. G. Sebald (with whom he is often compared), Cole adds to the literature in his own zeitgeisty fashion.”—The Boston Globe
 
“Crisp, affecting . . . Cole constructs a narrative of fragments, a series of episodes that he allows to resonate.”—The New York Times Book Review
 
“Hugely rewarding . . . [Every Day Is for the Thief] is both a celebration of one of the world’s most vibrant cities and a lament over what can be one of the most frustrating and difficult places to live. It is also a story of family breakup and an uneasy homecoming—the narrator has been away for fifteen years and must relearn how to navigate a place that was once home.”—NPR

“[Every Day Is for the Thief has] a restraint that allows [Teju Cole] to slip in these exquisitely rendered observations on life, love, art that leave you feeling richer and more attuned to your own reality once you’ve finished reading.”—Dinaw Mengestu, The Atlantic

“Shimmering . . . transcendent.”—The Seattle Times
 
“Wonderful . . . a book that never fails to find a thoughtful and essential thing to say.”—Los Angeles Times
 
“Fearless, nimble, and surprising.”—The Daily Beast

“To read Cole is to be swept away by the language of a master wordsmith. In Every Day Is for the Thief, the PEN/Hemingway Award winner turns his considerable talents to the character of the expatriate, a young Nigerian medical student living in New York City who returns home to Lagos for a short visit. In his adventures wandering the town, reflections on the Nigerian homeland and the self-as-outsider arise. This work was originally published in Nigeria in 2007, four years before the release of Cole’s novel Open City, but was not available in the U.S. until now. We are thankful that non-Nigerian readers can now enjoy Cole’s first novel.”—The Root

“A Teju Cole novel is a reading experience matched by few contemporary writers.”—Flavorwire

“Every Day Is for the Thief, by turns funny, mournful, and acerbic, offers a portrait of Nigeria in which anger, perhaps the most natural response to the often lamentable state of affairs there, is somehow muted and deflected by the author’s deep engagement with the country: a profoundly disenchanted love. Teju Cole is among the most gifted writers of his generation.”—Salman Rushdie

“[A] tightly focused but still marvelously capacious little novel . . . built with cool originality . . . The house of literature [Cole] is busy creating is an in-between space with fluid dimensions, resisting entrenchment.”—The Christian Science Monitor
 
“Direct and bracing, a short, sharp counterpunch to those who seek to romanticise Africa.”—The Telegraph (UK)

“Every Day Is for the Thief holds something for people with all levels of familiarity with Nigeria. It is an introduction and a provocation, a beautifully simple portrait and a nuanced examination. It invites you to steal a glimpse of Lagos.”—Pittsburgh Post-Gazette
 
“A worthy precursor and, in a way, a companion piece to Cole’s highly acclaimed Open City . . . Cole’s narrator is compelling—someone with whom you want to spend time ambling, looking and chatting. I was happy to be along for the journey.”—The Plain Dealer

“[Every Day Is for the Thief] expands and reinforces the accomplishments of Open City, confirming along the way that Teju is one of the foremost—for the lack of a better term—bicultural writers.”—Aleksandar Hemon, Bomb

“Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can’t go home again; but that doesn’t mean you’re not free to try. A return to his native Nigeria plunges Cole’s charming narrator into a tempest of chaos, contradiction, and kinship in a place both endearingly familiar and unnervingly strange. The result is a tale that engages and disturbs.”—Billy Collins

“Rich imagery and sharp prose . . . widely praised as one of the best fictional depictions of Africa in recent memory.”—The New Yorker
 
“Every Day Is for the Thief is unapologetically a novel of ideas: a diagnosis of the systemic corruption in Cole’s native Lagos and of corruption’s psychological effects. But, remarkably, the book avoids any of the chunkiness that usually accompanies such work. Emotional and intellectual life are woven too tightly together. The ideas make the character and vice versa.”—The New Republic
 
“Every Day Is for the Thief is a testament to [Nigeria’s] power to inspire.”—Vanity Fair
 
“Excellently crafted . . . Optimism regarding the future of [Nigeria] pulsates steadily . . . through [Every Day Is for the Thief].”—The Huffington Post
 
“Every Day Is for the Thief is an amazing hybrid of a book. Imaginative, original, experimental, and sensual, this book revisits the way narrative is constructed with tenderness and style.”—Chris Abani, author of Graceland

“[Cole] revels in ambiguity, taking inspiration from authors who have toyed with what a novel can be, like W. G. Sebald, J. M. Coetzee and V. S. Naipaul. . . . There is a touch of Alfred Kazin and Joseph Mitchell—two of the most observant walkers in [New York City’s] history—in his books’ open-eyed flaneurs.”—New York Observer

“It’s a novella, it’s a travel journal, it’s a laundry list of methods of thievery, it’s an examination of Nigerian societal norms, it’s the lamentations of an outsider, it’s a photo album. That Cole pulls this off at all is commendable. That it was his first book is a marvel.”—The A.V. Club
 
“Omnivorous and mesmerizing . . . it is a pleasure to be in [the narrator’s] company.”—Minneapolis Star Tribune
 
“Beautifully written . . . The Lagos presented here teems with stories.”—Milwaukee Journal Sentinel

“Versatile, courageous, and hopeful . . . Cole writes without shock absorbers, and the ride is as terrifying as it is gorgeously set.”—Interview

“With journalism-like objectivity, Cole by way of his narrator details a Nigeria that is violent and corrupt, but also multi-cultural and alive. . . . It’s his willingness to explore so many uncomfortable paradoxes that sears this narrative into our brains.”—Publishers Weekly


From the Hardcover edition.

About the Author
Teju Cole was born in the United States in 1975 and raised in Nigeria. He is the author of Every Day Is for the Thief and Open City, which won the PEN/Hemingway Award, the Internationaler Literaturpreis, the Rosenthal Family Foundation Award for Fiction from the American Academy of Arts and Letters, and the New York City Book Award, and was nominated for the National Book Critics Circle Award. His photography has been exhibited in India and the United States. He is Distinguished Writer in Residence at Bard College.

Most helpful customer reviews

24 of 27 people found the following review helpful.
A Question of Style
By Gregory Baird
Teju Cole has a novelistic style unlike many other fiction writers out there today. I guess whether or not you enjoy his work comes down to how you respond to that style. Because here's the thing: nothing happens in terms of plot. That is true of both of Cole's novels so far: Open City and Every Day Is for the Thief. In Open City, I couldn't abide the meandering style and the sense that none of what was happening was going to lead to anything. EDIFTT works better, but ultimately falls victim to the same trap. There's an actual pretense to this book that was lacking in Open City. This one has a narrator returning to his native Nigeria following a long, self-imposed absence, which automatically provides the reader with a framework for everything to follow (Open City was simply about a Nigerian ex-pat taking long walks and pondering numerous things that don't tie together). The thing is, Cole steadfastly refuses to develop this premise any further. We get some details about the narrator as the pages progress, but he never becomes more than a cypher. The story, such as it is, instead takes the form of little vignettes as the narrator travels his former homeland and observes. The problem is that each vignette is essentially illustrating the same exact point: that Nigeria is riddled with corruption.

The basic progression is this: Nigeria is corrupt; let me illustrate that for you. Nigerians don't make enough money to survive without enforcing corruption; let me illustrate that for you. Children are also bred for corruption at a young age; let me illustrate that for you. Have I mentioned that corruption has infiltrated all levels of Nigerian society? Let me illustrate that for you (again). A small percentage of Nigerians try to live honestly, but their efforts get drowned out by the system. Let me illustrate that for you. And then let me illustrate that again.

For a book that's only 164 pages, it actually starts to feel repetitive alarmingly quickly. Cole is a gifted writer, but his style of storytelling just doesn't do it for me.

Grade: C+

17 of 22 people found the following review helpful.
A Native’s Long Awaited Return to his Nigerian Hometown
By John Kwok
In plain, often unadorned, but still gracefully eloquent, prose, Teju Cole does for his Nigerian hometown, Lagos, Nigeria’s capital city, in his latest novel “Every Day Is for the Thief”, what he did for New York City in his memorable debut novel “Open City”. Using a literary style that could be mistakenly viewed as memoir, and in prose that may remind readers of a compelling, often intoxicating, blend of Ernest Hemingway, Frank McCourt and Paul Theroux, Cole takes us on an illuminating journey through Lagos, via the eyes of a young writer who is returning from the United States to his hometown for the first time in years. A young, carefully observant, writer who misses nothing due to his keen powers of observation and superlative skills as a photographer. (A noteworthy emerging photographer of “street” documentary fine art photography whose work has been exhibited in the United States and in India, Cole’s own photographs of Lagos are included in almost every chapter.) He confronts the “informal economy” of Lagos frequently during his sojourn, dealing with corrupt government officials, tollbooth clerks and police, as though they were necessary, almost indispensable, aspects of the city’s complex governmental landscape. He takes us to bazaars where teens are surfing the web, willingly committing e-mail fraud, as though it was a daily, almost routine, aspect of their lives. He shows us a city, Lagos, and a country, Nigeria, that is far more religiously and ethnically diverse than those of us in North America might be willing to admit. A city where he can hear classic American jazz from superb local musicians and, quite unexpectedly, discover a relatively new Western classical music conservatory where students can study and perform if they possess the financial means to own their own musical instruments. Through his eyes we learn much about his hometown and country’s history, pondering the lingering melancholy aftermath of the African slave trade, and the sharp ethnic and religious divisions which remain evident in Nigeria, decades after the bloody civil war which pitted the Christian Ibos of the south against the rest of the predominantly Muslim Yoruba north. Suffice it to say, “Every Day Is for the Thief”, is an admirable, melancholy, fictional valentine from Cole’s unnamed narrator and protagonist to Lagos itself. What Cole has wrought in “Every Day Is for the Thief” will be regarded by many as among the finest tersely written novels in recent memory, and one of the most notable Anglo-American literary mainstream novels published this year.

3 of 3 people found the following review helpful.
Recover the impossible?
By H. Schneider
Why visit Lagos? Maybe there are a million untold stories, but the writer finds it impossible to hear himself think. The noise. The exhaustion.
The author is a Nigerian medical doctor, training for shrinkdom in New York.
His narrator is seemingly the same man, but there is a trap. We are tricked into believing that this is a travel book. It is, but it is also fiction. Or is it? Hard to say.

Narrator travels to Nigeria for the first time since 15 years. We are not immediately told why he makes the trip. We assume curiosity mixed with nostalgia. In fact, we are never given one specific reason, we are left conjecturing.

The dominating theme in the first chapters is money and lubrication. We see petty corruption: by diplomats in the Nigerian Consulate in New York, by officials in Lagos airport, by cops and toll booth operators on Lagos streets....the border lines between asking for bribes, or for ransom money, or for tips, or 'simply' begging are hazy. And then the Nigerian specialty: advance fee fraud, the profession of the yahoo yahoos, a very special class of yuppis.

Another dominating theme is violence: armed robberies, muggings, lynchings, road rage, accidents, the permanent noise.... The book is surely not a candidate for Lagos tourism promotion awards.
And: lost relationships. Can they be recovered? Should they?

We are told in lean, efficient language, how the hero gradually adjusts his memories and perceptions to the new realities. One always needs time to see what is in front of us, rather than what is in our head. A broadening of the concept of optical illusions.
Reflections on writing are a part of the journey. Ondaatje, Vikram Seth, García Marquez are named as potential role models, but Cole is no imitator.

I feel that I am a little too generous with five stars, but what the heck. That's what stars are for. I should deduct a star for the slightly devious marketing, which offered this as a new book by the author of Open City, a great New York novel. This Thief is actually an older work, re-published with new photos.

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Inside the reinvention of Florida politics


"If I were asked to recommend just one book about my state that would remind us all of the power of real policy and real leadership, I would recommend this one. This is a fascinating history, with lessons for all of us, written by one of the best journalists this state has ever known."--David Lawrence Jr., publisher, Miami Herald (retired)

 

"Perhaps no one alive has a better vantage point to write this book than Martin Dyckman. As Florida’s premier legislative reporter in the 1960s-1980s, Dyckman covered the people and policies discussed here, and his skilled, smooth, fast-paced writing style shines through."--James M. Denham, director, Lawton Chiles Center for Florida History, Florida Southern College

 

Reubin Askew was swept into the governor’s office in 1970 as part of a remarkable wave of progressive politics and legislative reform in Florida. A man of uncompromising principle and independence, he was elected primarily on a platform of tax reform.
 

In the years that followed, Askew led a group of politicians from both parties who sought—and achieved—judicial reform, redistricting, busing and desegregation, the end of the Cross Florida Barge Canal, the Sunshine Amendment, and much more.


This period was truly a golden age of Florida politics, and Martin Dyckman’s narrative is well written, fast paced, and reads like a novel. Dyckman also reveals how the return of special interests, the rise of partisan politics, unlimited campaign spending, term limits, gerrymandering, and more have eroded the achievements of the Golden Age in subsequent decades.


 

Martin A. Dyckman, retired associate editor of the St. Petersburg Times,is the author of Floridian of His Century: The Courage of Governor LeRoy Collins and A Most Disorderly Court: Scandal and Reform in the Florida Judiciary. His series on Florida prison conditions circa 1971 won the Distinguished Service Award of the Florida Society of Newspaper Editors, the Silver Gavel of the American Bar Association, and the Associated Press Managing Editors Association Public Service Award. In 1984, the Florida Bar Foundation recognized his writing on judicial reform with its Medal of Honor Award.

• Sales Rank: #1351351 in Books
• Published on: 2011-05-22
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.20" w x 6.00" l, 1.32 pounds
• Binding: Hardcover
• 320 pages

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3 of 3 people found the following review helpful.
Askew and the Golden Age a wonderful read
By Greg F. Womble
Marin Dyckman's REUBIN O'D. ASKEW AND THE GOLDEN AGE OF FLORIDA POLITICS is a wonderful read for anyone who enjoys marveling at a true American political hero. For the first time, real reform came to a largely regressive and poor Southern state, and Askew was the catalyst. Dyckman writes with startling detail without getting bogged into minutia. Highly recommend.

1 of 1 people found the following review helpful.
Good read
By John M. Couvillon
This book provided a good historical perspective of Florida politics from the Kirk/Askew ers. The only thing I would have changed would be to go into some depth with the other governors (Graham, Martinez, Chiles, Bush, Crist), since it went into some depth with the governership of Claude Kirk.

0 of 0 people found the following review helpful.
An interesting point of transition in Florida politics, well chronicled
By Frank Lynch
The very high quality of this book isn't going to be immediately apparent to most readers. While you may know him from the distance as a principled statesman, bringing transparency to Florida government, or perhaps as a brief candidate for the Democratic nomination for President, or perhaps as responsible for freeing Pitts and Lee from Florida's Death Row, that's not a lot of bones to support all the flesh which Dyckman gives you in this book.

I'm going to guess that unless you're in your 70's and lived in Florida, practically everything you read hear is going to strike you as arcane. First, because in the 70's it wasn't as if Florida politics were dominating the news. And if you're younger, the descriptions of this era are going to seem very "inside baseball." It's too easy for a superficial reader to start a chapter where Dyckman starts with a list of legislative achievements and feel as if the author is just droning on, and want to set the book aside.

But when it matters, on large issues such as battles against corruption, impeachments, power struggles, nominating the first African American to Florida's Supreme Court, initiating a corporate income tax, the internal campaigning required to free Pitts and Lee... the development of politicians to follow, such as Bob Graham and Lawton Chiles... the sunset of predecessor Claude Kirk... the context of George Wallace, Spiro Agnew, Jimmy Carter... Dyckman digs down and gives the reader enough to make sense of the turmoil and understand.

This is not to say that you will walk away from this book feeling as if you know what you need to know about something as important as the Battle of Gettysburg. But it IS to say that Dyckman chose this topic, and he did it very well.

As an aside I should also say that Dyckman does not put Askew on an unassailable pedestal. He was demanding and inconsiderate of others' lives when it came to calling his staff over issues; he wasn't above doing publicity stunts to visibly refuse crates of melons from the executives of Winn-Dixie. But he's also clear about the ambivalence Askew felt over something such as lowering the drinking age to 18: Askew objected in principle, but decided not to veto it, out of confidence that those age 18-20 would be responsible. (Clearly, not all were, but the prevalence of the irresponsible and whether that would have justified vetoing the law to lower the age is still a debatable question.)

I do not think this book is the best book ever. But it is always clear, and I find it even handed and thorough. I suspect it's going to be a long time before you'll find better. So for now, if this is a topic that interests you, this is your baby.

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Florestine Perrault Collins (1895–1988) lived a fascinating and singular life. She came from a Creole family that had known privileges before the Civil War, privileges that largely disappeared in the Jim Crow South. She learned photographic techniques while passing for white. She opened her first studio in her home, and later moved her business to New Orleans’s black business district. Fiercely independent, she ignored convention by moving out of her parents’ house before marriage and, later, by divorcing her first husband.

Between 1920 and 1949, Collins documented African American life, capturing images of graduations, communions, and recitals, and allowing her subjects to help craft their images. She supported herself and her family throughout the Great Depression and in the process created an enduring pictorial record of her particular time and place. Collins left behind a visual legacy that taps into the social and cultural history of New Orleans and the South.

            It is this legacy that Arthé Anthony, Collins’s great-niece, explores in Picturing Black New Orleans. Anthony blends Collins’s story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans. Balancing art, social theory, and history and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony gives us a rich look at the cultural landscape of New Orleans nearly a century ago.

• Sales Rank: #1748722 in Books
• Brand: Brand: University Press of Florida
• Published on: 2012-09-02
• Original language: English
• Number of items: 1
• Dimensions: 10.10" h x .60" w x 6.90" l, 1.35 pounds
• Binding: Hardcover
• 128 pages

Features

• Used Book in Good Condition

From the Inside Flap

Florestine Perrault Collins (1895–1988) lived a fascinating and singular life. The privileges enjoyed by her Creole family before the Civil War had largely disappeared in the Jim Crow South of her youth. She learned photographic techniques while passing for white, opened her first studio in her home, and later moved her business to New Orleans’s black business district. Fiercely independent, she ignored convention throughout her life. She moved out of her parents’ house while still single and unengaged and, later, divorced her first husband.
          Throughout her career, Collins successfully negotiated societal constraints of race and gender. Even during the Great Depression, she financially supported herself and her family. In the process, she created an enduring pictorial record of her particular time and place. Collins’s portraits have appeared in many museums and some of them now reside in the Smithsonian’s photography archives.
          Between 1920 and 1949, Collins documented the presence, beauty, and dignity of Creole and African American life in New Orleans, a world often forgotten or ignored today. Her skill behind the camera allowed her to make intimate portraits that attracted families who wanted photographs of their babies and children’s first communions. Wedding parties, high school graduates, and debutantes also came to her studio. Contemporary viewers are readily drawn to the social and cultural history of New Orleans and the South that is the legacy of her life work.
          It is this legacy that Arthé Anthony, Collins’s great-niece, explores in Picturing Black New Orleans. Anthony blends Collins’s story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans throughout the first half of the twentieth century. Balancing art, social theory, and history, and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony offers a rich and nuanced look at the lasting record of an important early twentieth-century African American photographer.

Arthé A. Anthony is professor of American studies at Occidental College.

From the Back Cover

“Collins was a feisty, ambitious Creole woman in twentieth-century New Orleans who overcame the barriers society and the law put in her way. She meant to be successful on her own terms and she was.”—Patricia Brady, author of Martha Washington: An American Life

 

“A welcome addition to the study of vernacular photography. Anthony reveals how this remarkable woman marked her place in a ‘man’s world.’ Picturing Black New Orleans will have an impact on the history of photography and the city of New Orleans, particularly the Tremé neighborhood. This book is a revelation.”—Deborah Willis, author of Posing Beauty: African American Images from the 1890s to the Present

 

“Anthony has gracefully combined the exploration of her family history with the analysis of the larger cultural pasts of Creole identity and Black photography. Picturing Black New Orleans offers insight into the life of a photographer whose independent spirit and artistic talent helped shape the identity of a people.”—Bridget R. Cooks, author of Exhibiting Blackness: African Americans and the American Art Museum

About the Author

Arthé A. Anthony is professor of American studies at Occidental College.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Great Book!
By TapGirl
I ordered this book for my 88 year old Mother who grew up in New Orleans. She proceeded to call all of her cousins who no longer live in Louisiana and rave about this book! It was a walk down memory lane for all of these ladies!! My mother described the pictures (over the phone) of people they either knew or knew about. They had a terrific time discussing the New Orleans pictures of folks that they knew as children, teenagers, and young adults. It actually turned into a contest to see who could remember the most about someone in the pictures. This book sparked so many memories for these former NOLA ladies that I now I have more information for my hobby as an amateur NOLA genealogist!! I can't wait for my copy to arrive. This is a great book for anyone who is in love with NOLA and wants to get a glimpse of what life was like in the early twentieth century!! Even if you have no connection to this city, you will enjoy the wonderful pictures of NOLA Creoles that are displayed!!!

4 of 4 people found the following review helpful.
Unusual subject, skillful treatment
By Northeast
First rate bio of a little known subject, well worth exploring. The life of photographer Florestine Perrault Collins unwinds in an interesting and entertaining fashion. I found some of the most fascinating bits to be about the technical aspects of early professional photography, as well as the social strata of creole New Orleans. The book itself is quite beautiful, with a generous sampling of photos in both b/w & color.

1 of 1 people found the following review helpful.
This book shines a lovely light on New Orleans history
By Debra A. Mouton
I really enjoyed the book... probably enhanced by my mother's picture on the covers . Rocking the cradle of jazz has fewer pictures but much of the same historical information

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* Free Ebook Kuwait: Dependency and Class in a Rentier State, by Jacqueline S. Ismael

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From reviews of the first edition
"Tightly written and challenging, this specialized work is a sophisticated addition to the literature."--Library Journal

"An outstanding volume of academic research that investigates the historical organization of social labor in Kuwait. . . . [It] clearly stands as an important contribution to the literature in development, comparative economic and social systems, and Middle Eastern studies. The volume succeeds in tracing the development of Kuwait's social labor force and is able to be candid about the problems associated with . . . large numbers of expatriates."--International Journal of Middle East Studies
In this new paperback edition Ismael revises and updates her 1982 book (originally published with the subtitle Social Change in Historical Perspective), which was the first work to examine the dynamics of class relations in pre- and post-oil Kuwait. She adds to the analysis Kuwait's recent cataclysmic experiences of occupation, liberation, and reconstruction. 
 
  Ismael covers first the period from the foundation of Kuwait in the early 18th century, when the land was inhabited by camel-breeding bedouins, to the beginning of oil exportation at the end of World War II. She describes its decline from a thriving center of maritime commerce to an impoverished pearling backwash by the end of the war. In the second part she addresses the postwar impact of oil wealth on Kuwait and examines resulting changes in Kuwaiti society. 
 
  Describing transformations in the world oil economy in the 1980s, Ismael adds a new section to chronicle changes in the political economy of the Gulf that threatened the superstructure of the region (constituted of absolute monarchies in rentier states). She sees Iraq's invasion of Kuwait as part of the larger political reality in the Gulf: change in the region will be forestalled by Western industrial powers at any price. Maintenance of the status quo now is dependent on military force, not political processes, and overt repression increasingly will replace cooptation as the means of quieting any opposition.

 

• Sales Rank: #3873039 in Books
• Published on: 1993-02-20
• Original language: English
• Number of items: 1
• Dimensions: .74" h x 6.10" w x 9.01" l, .87 pounds
• Binding: Paperback
• 254 pages

About the Author

Jacqueline Ismael is professor of social welfare at the University of Calgary, coauthor of Politics and Government in the Middle East and North Africa (UPF, 1991), The People's Democratic Republic of Yemen: The Politics of Socialist Transformation, and Government and Politics in Islam, and coeditor of The Contemporary Study of the Arab World. She has also written several books on Canadian social policy.

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0 of 0 people found the following review helpful.
An analytical view on Kuwait social class
By S. ALGHILANI
The book is written by Jacqueline Ismael, a Prof. of Social Welfare at the University of Calgary, it is divided into 2 parts, pre-oil and post-oil era, and consists of 8 chapters total.

The author discuss Kuwait social class change throughout history, from the tribes nomadic life to the creation of the modern country and how the labor class is influenced by the British Imperialism. It also demonstrates the effect of oil exploration on Kuwait economy and politics, the unique economy of Kuwait as a rentier state and the role of the foreign politics on Kuwait.

'''I really enjoyed the book mostly because i needed to see how foreigners analyzes Kuwait situation through historical context. The book is written in a professional way relying on statistics and well known references. She tend to view Kuwait as a planned economy from a socialist perspective, where labor class is a mean of control and production in the hands of the government, It also emphasize on external factors in shaping Kuwait politics and economy, such as British Imperialism, Iran revolution...etc. rather than being autonomous giving less importance to the role of internal struggle between the government and the people.
The only thing that bothers me a little that some terminology used in the book is difficult to understand. Therefore, keep you dictionary handy.

I will criticize some of the paragraphs mentioned in her book.

"The remaining exaptriate population, especially Palestinians and Bedoon, were subject to arbitary arrest, torutre, killing, and mass expulsions by military patrols and Kuwaiti vigilante squad". p.176
Although Palestinians and their late president Yasser Arrafat supported Saddam and they helped Saddam's army to eliminate Kuwaiti people (Reference), She didn't provide any reference to support her argument and she didn't mention the reason for such action taken by Kuwaitis, otherwise why did she mention the previous paragraph in the first place?
"the real victim of Kuwaits occupation were the expatriate workers". p171
Many Kuwaitis have been killed, tortured and caught as prisoners of war during the Iraqi's invasion also lets not forget the destruction of Kuwait oil wells and different facilities, which she already mention it in page 174. Therefore, by this conclusion she is contradicting herself.

"a major mechanism of this policy was to increase the rate of settlement of bedouin tribes from the deseret areas adjacent to Kuwait". p125
She concluded that the settlement made for demographic reasons to increase Kuwaitis labor force. Actually the settlement was for political reasons because the government wanted more supporters in influencing democracy from 1965-1970.

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Meticulously researched and richly illustrated--including many never-before-published images--A Journey into Florida Railroad History is a comprehensive, authoritative history of the subject. Written by one of the nation's foremost authorities on Florida railroads, it explores all the key players and companies, and every significant period of development. This engaging and lively story will be savored and enjoyed by generations to come.

• Sales Rank: #374724 in Books
• Published on: 2008-09-14
• Original language: English
• Number of items: 1
• Dimensions: 1.14" h x 6.32" w x 9.23" l, 1.30 pounds
• Binding: Hardcover
• 256 pages

Review
"An outstanding work." - Seth Bramson, author of Speedway to Sunshine: The Story of the Florida East Coast Railway "A thorough and engaging look at Florida's railroad history, especially the formative pre-1900 decades." - Larry Goolsby, author of Atlantic Coast Line Passenger Service: The Postwar Years"

About the Author
Gregg M. Turner is a former national director of the Railway & Locomotive Historical Society at Harvard Business School.

Most helpful customer reviews

6 of 9 people found the following review helpful.
Could use more maps
By Charles Coldwell
I was a bit misled by the title of this book. It is not a journey, but an encyclopedia: the author makes mention of every pair of steel, iron or even wooden rails ever laid down in the Sunshine State. An encyclopedia of Florida railroads could be a useful book, indeed, but trying to cram one into 256 pages is just impossible. So a typical excerpt from the book rattles off the date of incorporation, the names of the founders and financiers, then a list of stations along the line, some of the cargo it carried, and the year it was abandoned. And without a complete knowledge of the location of every two horse town in Florida, you can't follow where the lines were laid down since the book hardly contains any maps besides the one on the cover.

There are a number of colorful incidents in the railroad history of Florida, including a spectacular post-Civil War reconstruction fraud described in chapter 4, and I think if the author had focused on these incidents, the formation of the major railroads serving the state and included some maps the book would have been much more interesting.

2 of 2 people found the following review helpful.
Book on Florida Railroad History
By L. K. Oppermann
I purchase this book for my Son-In-Law who loves trains. For my part in the purchase, it arrived on time, in good condition and a good price. I know he read it right away and enjoyed it.

4 of 7 people found the following review helpful.
A Florida muddle
By Ian Chancellor
I have to say that I enjoyed parts of this book immensely, especially when the author delved into the character's of the individuals involved in building up the extensive railroad system that Florida once possessed. However, the book is highly detailed and the previous reviewer is spot on in saying that every rail ever laid into a two bit town gets mentioned.

This is actually no bad thing, especially for a gricer like me, but in my opinion the entire book is spoiled by the lack of maps showing where these places actually were, or are, located. Tantalizingly, the book cover shows a small part of a map that would have made reading the book so much more enjoyable. This omission is as much the fault of the publisher as of the author. At times the narrative wanders off such that boredom by the reader sets in, and the points that the author tries to make become muddled, but as an encyclopedia of Florida railroad facts it is still worth buying.

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The subject of the Academy Award–winning documentary The Lady in Number 6: Music Saved My Life, Alice Herz-Sommer was the world’s oldest Holocaust survivor when she died on February 23, 2014. A Century of Wisdom is the true story of her life—an inspiring story of resilience and the power of optimism.
 
Before her death at 110, the pianist Alice Herz-Sommer was an eyewitness to the entire last century and the first decade of this one. She had seen it all, surviving the Theresienstadt concentration camp, attending the trial of Adolf Eichmann in Jerusalem, and along the way coming into contact with some of the most fascinating historical figures of our time. As a child in Prague, she spent weekends and holidays in the company of Franz Kafka (whom she knew as “Uncle Franz”), and Gustav Mahler, Sigmund Freud, and Rainer Maria Rilke were friendly with her mother. When Alice moved to Israel after the war, Golda Meir attended her house concerts, as did Arthur Rubinstein, Leonard Bernstein, and Isaac Stern. Until the end of her life Alice, who lived in London, practiced piano for hours every day. 
 
Despite her imprisonment in Theresienstadt and the murders of her mother, husband, and friends by the Nazis, and much later the premature death of her son, Alice was victorious in her ability to live a life without bitterness. She credited music as the key to her survival, as well as her ability to acknowledge the humanity in each person, even her enemies. A Century of Wisdom is the remarkable and inspiring story of one woman’s lifelong determination—in the face of some of the worst evils known to man—to find goodness in life. It is a testament to the bonds of friendship, the power of music, and the importance of leading a life of material simplicity, intellectual curiosity, and never-ending optimism.

Praise for A Century of Wisdom
 
“An instruction manual for a life well lived.”—The Wall Street Journal
 
“As if her 108 years of experience alone were not enough to coax you, there is the overarching fact that draws people to Herz-Sommer’s story: She survived the Theresienstadt concentration camp and is believed to be the oldest living Holocaust survivor.”—The Washington Post
 
“I have rarely read a Holocaust survivor’s memoir as enriching and meaningful. Get Caroline Stoessinger’s book, A Century of Wisdom, telling Alice Herz-Sommer’s tale of her struggles and triumphs. You will feel rewarded.”—Elie Wiesel
 
“A Century of Wisdom is a stately and elegant book about an artist who found deliverance in her passion for music. Caroline Stoessinger writes with a special purity, as though she were arranging pearls on a string of silk.”—Pat Conroy
 
“As one of millions who fell in love on YouTube with Alice Herz-Sommer, a 108-year-old Holocaust survivor who plays the piano and greets each day with no hint of bitterness, I’m grateful to Caroline Stoessinger for writing a book that explains this mystery. You will be inspired by the story of Alice Herz-Sommer, who lives to teach us.”—Gloria Steinem
 
“I walked on the cobblestones in Prague for thirty years wondering who might have walked on them before me: Kafka, Freud, Mahler. It feels like a miracle to have encountered, in Caroline Stoessinger’s wonderful book, Alice Herz-Sommer, who walked with them all—with a heart full of music.”—Peter Sis

“A Century of Wisdom is universal and will enrich readers for generations to come.”—Itzhak Perlman

• Sales Rank: #442861 in Books
• Brand: Spiegel & Grau
• Published on: 2012-03-20
• Released on: 2012-03-20
• Format: Deckle Edge
• Original language: English
• Number of items: 1
• Dimensions: 7.79" h x 1.06" w x 5.44" l, .80 pounds
• Binding: Hardcover
• 256 pages

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Review
“An instruction manual for a life well lived.”—The Wall Street Journal
 
“As if her 108 years of experience alone were not enough to coax you, there is the overarching fact that draws people to Herz-Sommer’s story: She survived the Theresienstadt concentration camp and is believed to be the oldest living Holocaust survivor.”—The Washington Post
 
“I have rarely read a Holocaust survivor’s memoir as enriching and meaningful. Get Caroline Stoessinger’s book, A Century of Wisdom, telling Alice Herz-Sommer’s tale of her struggles and triumphs. You will feel rewarded.”—Elie Wiesel
 
“A Century of Wisdom is a stately and elegant book about an artist who found deliverance in her passion for music. Caroline Stoessinger writes with a special purity, as though she were arranging pearls on a string of silk.”—Pat Conroy
 
“As one of millions who fell in love on YouTube with Alice Herz-Sommer, a 108-year-old Holocaust survivor who plays the piano and greets each day with no hint of bitterness, I’m grateful to Caroline Stoessinger for writing a book that explains this mystery. You will be inspired by the story of Alice Herz-Sommer, who lives to teach us.”—Gloria Steinem
 
“I walked on the cobblestones in Prague for thirty years wondering who might have walked on them before me: Kafka, Freud, Mahler. It feels like a miracle to have encountered, in Caroline Stoessinger’s wonderful book, Alice Herz-Sommer, who walked with them all—with a heart full of music.”—Peter Sis
 
“Caroline Stoessinger’s celebration of music and life and of the meaning and legacy of Alice Herz-Sommer’s remarkable, love-filled journey across the bitter, hate-filled years of twentieth-century madness is lyrical, compelling, and profoundly moving. This is an extraordinary, enchanting, entirely inspiring book—most timely and needed now.”—Blanche Wiesen Cook
 
“A Century of Wisdom is universal and will enrich readers for generations to come.”—Itzhak Perlman

“A treasure trove of insight and reflection. Herz-Sommer’s life is a tribute to the purity of artistic endeavor under the most devastating circumstances, and her refusal to be bitterly defined or essentially reshaped by tragedy is a testament to moral and spiritual courage.”—Booklist
 
“What Stoessinger’s work reveals startlingly and firsthand are details of life in the concentration camp, especially how the musicians coped with the horrible conditions and even formed a vibrant community. . . . ‘Every concert played there,’ Stoessinger writes, ‘became a moral victory against the enemy.’”—Kirkus Reviews

About the Author
Caroline Stoessinger, a pianist, has appeared on the stages of Carnegie Hall and Lincoln Center and for twenty-five years has performed with the Tokyo String Quartet and the Brooklyn Philharmonic Orchestra. Stoessinger produced the televised dedication of the Schindler violin at the U.S. Holocaust Memorial Museum and the first New York production of Brundibár. She has played in concert halls from Tokyo and Prague to Spillville, Iowa, and for many years served as the artistic director at the Cathedral of St. John the Divine. She is artistic director of chamber music at the Tilles Center, artist-in-residence at John Jay College, director of the Newberry Chamber Players at the Newberry Opera House, and founder and president of the Mozart Academy. She lives in New York City.

Excerpt. © Reprinted by permission. All rights reserved.

One
 
Alice and Franz Kafka
 
As she unlatched the garden gate, eight-year-old Alice caught her first glimpse of a tall, very thin young man who, many years later, would be known as one of the greatest writers of the twentieth century. Franz Kafka was Uncle Franz to Alice. He had arrived in a horse-drawn cart with a little bunch of multicolored flowers for her mother. As the flowers wilted in the sun, Kafka stopped to feed the horse apples that had fallen to the ground. “Poor Franz,” Alice reminisces. “He apologized for the flowers. But not because of their sad state but because there were so many different colors. He said he just couldn’t decide which color to choose.”
 
Alice had two older brothers, Georg and Paul, and two sisters, Irma, who was twelve years older than Alice, and Marianne, nicknamed Mitzi, who was Alice’s twin. Irma had become engaged to Felix “Fritz” Weltsch, an outgoing young philosopher who had met Kafka when they both were studying law at Charles University. Rejecting law as their profession, they became fast friends when they worked together in the same insurance firm. Away from work Weltsch pursued a second doctorate in philosophy, while Kafka wrote and began to publish, and together with Max Brod and Oscar Baum they formed a writers’ group, the “Prague Four.” Later they befriended a teenage poet, Franz Werfel.
 
It was only natural that Weltsch would invite his best friend to meet his future in-laws. “He very often came to our house,” Alice explains. Kafka felt so at ease in the Herzs’ literary and musical home that he became a regular at their Sunday table. “He was [like] a member of our family,” Alice says. Struggling with his Jewish identity, he found the warmth of their secular German Jewish life reassuring. Throughout his life Kafka settled on a kind of middle road with regard to his Jewish heritage, living by Jewish values, without adherence—other than his Bar Mitzvah—to organized religious traditions. He presented himself to the world and to his friends as a member of the European bourgeoisie, impeccably mannered and properly dressed. It is nearly impossible to find a photograph of Kafka casually clothed. As a child Alice thought it was strange that Franz always looked dressed for the office even on outings or picnics.
 
Observant Alice was quick to analyze and accept Kafka’s ways. He could be depended on to be late, to forget something, and even to lose his way—and then he would arrive apologizing for all of the above. He was so apologetic that it felt to Alice as if he were apologizing for the food he ate or even for simply being alive. But once he got past this, he was a lot of fun, and very responsible with children. In summers Kafka, who was fond of swimming, would organize parties under the Charles Bridge. Alice and Mitzi were often invited, along with Irma and her fiancé. Long before she met Kafka, Alice had become a superb swimmer and had no difficulty racing across the Vltava River.
 
One of Alice’s most endearing memories of Kafka was the cloudless summer day he showed up unannounced at their country house on the nanny’s day off. The twins were fidgety and impatient; they wanted to explore the nearby forest or go somewhere for a picnic. Kafka suggested a walking expedition in the surrounding countryside. Sofie reluctantly gave her permission, and with Alice and Mitzi as companions, Kafka took off for an adventurous day of exercise and fun. He was a speed walker, having taken up the sport to build strength in his frail body. The little girls did their best to keep up, but after the first mile, they had to slow down and then stop for a break. Kafka found a log the twins could use for a bench and a tree stump for himself. From his perch he commanded their attention with stories about fantastic imaginary beasts. The more they laughed the wilder Kafka’s inventions became. After an hour or so he produced “magic” sandwiches and a thermos of tea, which he claimed an invisible animal, half-bear and half-goat, had left for them in the woods. The great writer-to-be had as much fun as his charges.
 
Alice would always remember Franz Kafka as an “eternal child.”
 
From the age of nine Alice would sit beside her mother and listen to Kafka talk endlessly about the book he was writing or the one he wanted to write. Her mother was fascinated with the writer’s gifts, as literature and music had become an escape from her unhappy arranged marriage. Sofie was particularly intrigued by Kafka’s opening sentences, which were modern, even revolutionary in the early years of the twentieth century. He began his novel The Trial with “Someone must have slandered Josef K., for one morning, without having done anything wrong, he was arrested.” The Metamorphosis begins with “When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a monstrous vermin.” And The Castle draws the reader in with “It was late evening when K. arrived.”
 
Alice would beg him to tell her the stories over and over again. But she always wanted to know the ending—and that he could not answer. He simply could not complete his work. Later on he would write, “I am familiar with indecision, there’s nothing I know so well, but whenever something summons me, I fall flat, worn out by half-hearted inclinations and hesitations over a thousand earlier trivialities.”
 
When Alice and her mother asked him why he went to law school and became an attorney if he did not want to practice law, Kafka’s answer was simply that he could not decide what to study. He made this doubly clear when, after quitting Richard Lowy’s law firm, he wrote, “It had never been my intention to remain in the legal profession. On October 1, 1906, I entered his service and remained there until October 1, 1907.”
 
One year Kafka celebrated Passover with the Herz family. Despite his distaste for observing such traditions, he found Passover with Alice’s relatives a joyful family affair. He seemed to tolerate and even accept in the Herz home precisely what he despised in his own family, especially his father’s hypocritical annual practice of Jewish traditions. In A Letter to His Father, Kafka wrote, “I could not understand how, with the insignificant scrap of Judaism you yourself possessed, you could reproach me. . . . Four days a year you went to the synagogue, where you were . . . closer to the indifferent than to those who took it seriously.”
 
At holiday time Sofie’s Orthodox mother, Fanny, who lived with them, took over the kitchen and did her best to observe the Passover traditions. With the help of the maid, Fanny made kosher chicken soup, matzo balls, and the most tender brisket of beef. A few days before the holiday, she disposed of all leftover breads and pastries made with yeast and cleaned the cooking utensils, plates, and glasses with boiling water. Sofie and the children helped with the housecleaning. They polished the silver and set out their finest table linens. Alice was the most industrious, working hard to gain both her mother’s and her grandmother’s approval.
 
Alice’s father, who was usually excessively frugal, opened his home to friends—gentiles, neighbors, strangers, and the poor—for the holiday, in keeping with the tradition. He also invited the most senior of his factory workers to share in the seder feast. In 1912, the year that Kafka probably participated, the Herz seder was one of their largest and, aside from the family and Felix, included Kafka, neighbors, several factory workers, and the writer Oskar Baum. Irma cautioned Alice to treat Baum, who was blind, just like anyone else. Much later, when Max Brod wrote about Kafka’s first meeting with Baum, Alice recognized her sister’s advice as a seminal moment in her moral education. As Brod was introducing them, Kafka silently bowed to Baum, greeting the blind man as an equal. “That was what he was like,” Baum said. “Superior in depth of humanity to the ordinary run of kindness.”
 
Alice does not recall all who came for the holiday that year. What she remembers is folding the snow-white linen napkins, so she knows there were many guests at the table that evening. Alice also thinks that Kafka asked her to sit next to him.
 
It was the duty of Alice and Mitzi to distribute the Haggadoth, the booklets recounting the story of Passover. Friedrich Herz, who had also been raised Orthodox, led the abridged readings in German; Alice and Mitzi, who were the youngest, read the four questions together; their father explained the ancient meaning of Passover; and Kafka helped the girls search for the afikomen. They all repeated the ancient text “This year we are here, next year in Jerusalem.” No one, with the possible exception of Kafka, could have imagined that Jerusalem would become their safe haven in less than thirty years. When their father led “Dayenu,” the children’s favorite Passover song, in his rich baritone voice, everyone, even Kafka, sang. When the men retired to the living room for fine French brandy and cigars, they asked eight-year-old Alice to play. She obliged with a bagatelle by Beethoven and a Chopin waltz.
 
Kafka frequently fell in love. Although he made it clear that he dreamed of marriage, he complained that no one understood him. “To have one person with this understanding, a woman for example, . . . would mean to have God,” he wrote in his diary. He was not looking for a wife who insisted on crystal chandeliers and—as Alice says—“that heavy German furniture.” But Alice and her mother were certain that he would never decide to marry. He introduced Felice Bauer to them as his fiancée, then broke off the engagement only to get engaged to her a second time—for just a few weeks, until he changed his mind again. Hoping to comfort him, Alice’s mother suggested to Kafka that he, like Beethoven and Brahms, was an artist and that he belonged to the world rather than to one woman.
 
But that was before Dora. Both Alice and her mother felt that twenty-five-year-old Dora Diamant was a different and affirmative presence in his life. Alice’s mother said Franz had found his own true nature in Dora, and she hoped he would marry her. Thinking back to those days, Alice feels that her mother was instinctively right. Kafka was attracted to Dora’s independent spirit as well as her motherly gentleness. Watching her scaling and gutting fish in the kitchen of a summer camp, he disapprovingly blurted out, “Such gentle hands and such bloody work.” Dora was embarrassed. Brod revealed, “That was the beginning of his friendship with Dora Diamant, his life’s companion.”
 
Like Kafka’s mother, Dora had been raised Orthodox, but like Kafka, she had escaped from her family’s plans for her life. Even though Kafka had suffered through his Bar Mitzvah in 1896, he had since declared himself an atheist and a socialist. Dora’s family had insisted that she marry early and aspired for her to be a wife and mother. Dora literally ran away from home to Berlin to get an education, and became a kindergarten teacher. She had leaned toward Zionism and shared Kafka’s interest in Yiddish literature, later influencing his fascination with the Talmud. When she and Kafka began living together in Berlin, it was, they said, their first step toward a permanent home together in Palestine.
 
It was clear that Dora loved Kafka completely. When they first met and fell instantly in love, Kafka was forty years old, fifteen years older than Dora and already suffering with tuberculosis. As his disease soon required hospitalization, he was admitted to a sanatorium in Kierling, near Vienna. Alice remembers her mother’s concern when Dora moved into Kafka’s room to help care for him day and night. Miraculously, she never contracted tuberculosis. For a time he seemed to improve and even wrote cheerful letters to Alice’s family. Even so, their time together was short-lived. Barely a year after their love affair started, on June 3, 1924, Kafka died, just as he was about to become famous.
 
Kafka’s body was brought back to Prague for burial in Stranice, the New Jewish Cemetery. Together with her entire family Alice attended his funeral in the cemetery chapel. Alice was nearly twenty-one by that time and well on her way to her own celebrity as a pianist.
 
Alice would see Dora once again—in 1950 in Israel, where Alice had immigrated after the war. Dora had settled in England, having escaped Stalin’s Russia and Hitler’s Holocaust; she had married and had a daughter. Because she had been an impassioned Zionist, Dora’s single visit to Israel was a dream come true. Again Alice, Dora, and Felix Weltsch shared stories about Kafka, and pondered whether he would have been pleased or frightened by his posthumous fame. If he had lived, would he have agreed finally to marry Dora? Often calling herself Dora Kafka, Dora still believed that she would have been his wife, whereas Alice was certain he might have found some clever way out of the decision.
 
Alice has never stopped thinking about Kafka and his kindness to her. But why was he so indecisive? Why did he leave his books without endings? After many years of mulling it over, talking with Brod, and reading numerous books on Kafka, Alice has a theory—not found in any of the biographies of him she owns.
 
Alice explains that Kafka’s mother was Orthodox, whereas his very strict and—according to Franz—somewhat cruel father was completely secular, maybe even an atheist. If Kafka practiced his mother’s faith, he would face his father’s wrath. And to renounce the religion of his mother and her ancestors would be to profoundly hurt the one who gave him life. Alice concludes, “Kafka never knew where he belonged, was never certain of his identity, or which path to take. To choose would mean that he would disappoint one of his parents. This, I think, was the core of his problem.”
 
Alice notes that Kafka himself might be amused that scholars today debate his work in a Kafkaesque way. Some say his writings have nothing to do with Judaism or with his Jewish roots. Other scholars declare his work to be completely Jewish writing.
 
Alice accepts both verdicts as partially true.
Interlude
 
An Emerald Ring
 
“He was not very beautiful—not good-looking at all,” Alice muses. “But he was oh, so charming. Women were crazy for him.” She is referring to Kafka’s confidant and biographer Max Brod. Having known each other in Prague—Brod wrote rave reviews of Alice’s first concerts and was a good friend of Alice’s family—Alice and Brod reconnected as immigrants in Israel after Alice arrived in 1949.
 
Always a ladies’ man, Brod was currently smitten with Annie, a red-haired young Russian woman. He had decided that this beauty should improve her piano skills under Alice’s expert guidance. Because he was a friend and one of the few connections to her past life in Prague, Alice agreed to squeeze the unlikely student into her schedule.
 

Most helpful customer reviews

43 of 46 people found the following review helpful.
Truly Inspiring!
By Sharon Beverly
Before you think that, a story about a 108 year-old Holocaust survivor will be sad, think again. This is no re-hash of history. Amazingly upbeat, the author gives us an accurate account of Alice Herz-Sommer's life. (Having seen a brief documentary featuring Mrs. Herz-Sommer several years ago, I know her portrayal is accurate.)

Alice will destroy every concept you may have about old people. "She says that, just because she is old in years, she is not irrelevant. And more insistently Alice says, 'My mind is young. My emotions and my imagination are still young.' Then with a whimsical bit of laughter, 'Of course, I do have some experience.' 'You cannot see the real me inside my wrinkled skin, the life of my emotions. What you see is only the outer face of a very old woman.'

Zest for life emanates from her. Herz-Sommer, a concert pianist, lives through her music. Embracing Spinoza's philosophy, she believes that, "....death and life are part of the same infinity or God...We come from and return to Infinity." "Things are as they are supposed to be. I am still here--never too old so long as I breathe to wonder, to learn, and yes, still to teach. Curiosity--interest in others, and, above all, music. This is life." It is not only her exquisite musical talent that makes her extraordinary. This ability to question and learn and find joy in life--despite its tragedies--is what defines her as a remarkable woman.

Even her philosophy about child-rearing when she was a young mother was counter to her times. She believed children could never have too much love. And in the concentration camp, it was her love and indomitable cheerfulness with which she raised her only child, her son, Rafi. She epitomizes her creed, "I never give up hope."

From Kafka, Mahler and Freud, to Frankl, Buber, and Baeck, Alice refined her own philosophies about life. She is decidedly pragmatic and unmaterialistic. Exuberance for learning and life, teaching and sharing music, and her love for others are what keep this centenarian alive.

No matter how old or young you are, Alice Herz-Sommer has something to share with all of us. This book would be excellent supplemental reading for students of psychology, gerontology, and philosophy. As additional reading in courses of history and the Holocaust, it provides personal testimony to the effects of political actions.

As parents we frequently search for ways to open conversations with our teenagers. Reading this biography and discussing it together will help you to share your own values and influence your child's mind.

19 of 21 people found the following review helpful.
Brilliant Biography
By Dr. Stuart Gitlow
Remarkable lives make for remarkable books, and a life that intersected with Kafka, Meir, and Hitler with still no sign of fading at 108 is quite remarkable. Several books have described Herz-Sommer's life. This one focuses on her musical talents, her optimism, and her wisdom as to how to get through life with honor and happiness despite hardships. Far from a self-help book, however, the text presents Herz-Sommer's history through various glimpses of her life - her early childhood recollections, her days in a concentration camp, the career - and eventually the death - of her son, alongside stories of peeling potatoes with Golda Meir and walks through a park with Kafka.

The book is a quick read, both well-written and compelling, thanks to the work of Caroline Stoessinger through many hours of interviews and friendship with the subject. One cannot help but feel some sadness for an individual who has outlived her home, her child, and indeed her entire country; and yet Herz-Sommer's outlook remains upbeat and she remains surrounded by friends and musical colleagues. How she has achieved this is the basic topic of the entire text, a firm lesson as to one way - perhaps the best way - of living and leading a rich and fruitful life.

13 of 15 people found the following review helpful.
A tribute to a Wonderful Woman
By Lita Perna
A Century of Wisdom is a tribute to Alice Herz-Sommer, the world's oldest living Holocaust survivor. This book does not focus on Alice's experiences in the Holocaust. She did not want to talk about her time in Theresienstadt; a way station to Auschwitz for many, and known as the `model' German concentration camp where she gave concerts. Alice played more than a hundred concerts there between 1943 and liberation.

Music gave her hope and helped the other prisoners forget finding their names on transport lists to Auschwitz, and their hunger and their harsh surroundings. (More than 156,000 passed through the gates of Theresienstadt and only 11% would survive.)

The book skims across the surface of Alice's life, beginning with her idyllic early days in Czechoslovakia, her time as a prisoner in Theresienstadt, to her time in Israel and London. The book focuses less on Alice's time as a concentration camp prisoner and more on Alice's illustrious musical career and famous people she knew.

There are some interesting anecdotes about Kafka who was a friend of Alice's sister's fiancé. Alice remembered Kafka as an `eternal child' who when he couldn't decide what to study, became a lawyer. He was often late and often got lost, and made up stories of wild imaginary beasts and could be a lot of fun.

Alice became friends with Israel's Prime Minister, Golda Meir and tells about the day Golda helped her peel potatoes in her kitchen.

The book jumps around in time which at times makes the narrative difficult to follow, but this is more an observation than a criticism. There is little to criticize here. It was written about, and with the help of, a woman who is 107 years old who has had a long and rich and interesting life.

The book imparts simple, but not profound wisdom about a sensible way to live one's life: accept reality, don't let anger or frustration dominate your time; have the courage to trust your own instincts instead of depending on the approval of others; it is how you handle good and evil that's important. Each of us must vigilantly guard against prejudice and hatred in our own minds.

This is a nice book about a nice lady who survived a horrible experience in a terrible time and went on to live a beautiful life.

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! Free PDF A Century of Wisdom: Lessons from the Life of Alice Herz-Sommer, the World's Oldest Living Holocaust Survivor, by Caroline Stoessinger Doc

! Free PDF A Century of Wisdom: Lessons from the Life of Alice Herz-Sommer, the World's Oldest Living Holocaust Survivor, by Caroline Stoessinger Doc