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We Are Our Brains: A Neurobiography of the Brain, from the Womb to Alzheimer's, by D. F. Swaab

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A vivid account of what makes us human.
 
Based groundbreaking new research, We Are Our Brains is a sweeping biography of the human brain, from infancy to adulthood to old age. Renowned neuroscientist D. F. Swaab takes us on a guided tour of the intricate inner workings that determine our potential, our limitations, and our desires, with each chapter serving as an eye-opening window on a different stage of brain development: the gender differences that develop in the embryonic brain, what goes on in the heads of adolescents, how parenthood permanently changes the brain.
 
Moving beyond pure biological understanding, Swaab presents a controversial and multilayered ethical argument surrounding the brain. Far from possessing true free will, Swaab argues, we have very little control over our everyday decisions, or who we will become, because our brains predetermine everything about us, long before we are born, from our moral character to our religious leanings to whom we fall in love with. And he challenges many of our prevailing assumptions about what makes us human, decoding the intricate “moral networks” that allow us to experience emotion, revealing maternal instinct to be the result of hormonal changes in the pregnant brain, and exploring the way that religious “imprinting” shapes the brain during childhood. Rife with memorable case studies, We Are Our Brains is already a bestselling international phenomenon. It aims to demystify the chemical and genetic workings of our most mysterious organ, in the process helping us to see who we are through an entirely new lens.
 
Did you know?
 
• The father’s brain is affected in pregnancy as well as the mother’s.
• The withdrawal symptoms we experience at the end of a love affair mirror chemical addiction.
• Growing up bilingual reduces the likelihood of Alzheimer’s.
• Parental religion is imprinted on our brains during early development, much as our native language is.

Praise for We Are Our Brains
 
“Swaab’s ‘neurobiography’ is witty, opinionated, passionate, and, above all, cerebral.”—Booklist (starred review)
 
“A fascinating survey . . . Swaab employs both personal and scientific observation in near-equal measure.”—Publishers Weekly (starred review)
 
“A cogent, provocative account of how twenty-first-century ‘neuroculture’ has the potential to effect profound medical and social change.”—Kirkus Reviews

• Sales Rank: #93071 in Books
• Published on: 2014-01-07
• Released on: 2014-01-07
• Original language: English
• Number of items: 1
• Dimensions: 9.60" h x 1.20" w x 6.50" l, 1.65 pounds
• Binding: Hardcover
• 448 pages

From Booklist
*Starred Review* The human brain weighs a modest three pounds and has an energy consumption equivalent to a lowly 15-watt electric lightbulb. But it also comprises 100 billion nerve cells (neurons) and boasts amazingly complex hard-wiring (1,000 times 1 billion neuronal connections). Dutch physician and neuroscientist Swaab artfully explains how the organ’s design and functioning are a biological masterpiece as well as the source of our mind and identity. Brain research is genuinely a quest to find ourselves. Swaab probes the normal psychology, anatomy, and physiology of the brain—early development, intelligence, memory, moral behavior, neurochemistry, and consciousness. He also explores how the brain malfunctions—autism, schizophrenia, Parkinson’s disease, anorexia nervosa, vegetative states, and dementia. When it comes to love and sex, the brain is clearly the boss: Sex starts and ends in the brain, Swaab writes. The brain provides orgasm as a reward. He describes Alzheimer’s disease as a demolition of the brain and the sport of boxing as neuropornography. The most interesting and controversial chapter is Neurotheology: The Brain and Religion. Here he postulates that praying might be a placebo for oneself and notes that the score for spirituality matches up with the quantity of serotonin receptors in the brain. Swaab’s neurobiography is witty, opinionated, passionate, and, above all, cerebral. --Tony Miksanek

Review
“Swaab’s ‘neurobiography’ is witty, opinionated, passionate, and, above all, cerebral.”—Booklist (starred review)
 
“A fascinating survey . . . Swaab employs both personal and scientific observation in near-equal measure.”—Publishers Weekly (starred review)
 
“A cogent, provocative account of how twenty-first-century ‘neuroculture’ has the potential to effect profound medical and social change.”—Kirkus Reviews

About the Author
D. F. Swaab is an internationally renowned researcher in neuroscience and a professor of neurobiology at the University of Amsterdam. He is the founder of the Netherlands Brain Bank, which supplies the international research community with clinical and neuropathological brain tissue, and he currently leads the Neuropsychiatric Disorders research team at the Netherlands Institute for Neuroscience. In 2008, Professor Swaab received the Medal of the Royal Netherlands Academy of Arts and Sciences for his significant role in national and international neuroscience.

Most helpful customer reviews

31 of 34 people found the following review helpful.
Monumentally Important Reality Check & Myth Buster
By David Wineberg
DF Swaab's book on the brain is a revelation. He uses this lifelong passion for neurology to strip away the falsehoods. The details of the state of our knowledge is up to the minute, right from the front lines of research. It's a breeze to read, but it's still a tough slog. It's not filled with overwhelming five dollar words, but there is so much to absorb in every paragraph, I found myself constantly going back to make sure I got it all and got it right. Its importance to everyday understanding of ourselves is towering.

The book is structured along the lines of life, from conception to death and all the different ways the brain performs at the various stages. And it is demonstrably different at every age. The description of the unborn's connection to the mother's brain is alone worth the price of admission.

I particularly appreciated Swaab's debunking of "pseudoscientific mumbo jumbo" such as homosexuality being a chosen, learned, environmental condition (including overbearing, dominant mothers), or any number of other diseases and conditions that are also entirely programmed before birth and develop later. Environment can make absolutely no difference, he says.

The brain is not fully formed at birth and doesn't reach its full size, shape and structure until our mid 20s. It does continue to grow, it can repair itself and it does compensate for damage, despite our being taught that we peak at age 16 and brain cells just die off from that point and are never replaced.

Another "fact" we have backwards is that difficult births cause brain development problems. Swaab shows it is precisely the other way around: difficult labor/births are consequences of brain development problems. This frank, direct information is sadly lacking in general circulation.Some other tidbits along the way:

-It was not until 1940s that scientists discovered the brain produced hormones, and doctors castigated and vilified Ernst and Berta Scharrer for making such an absurd claim.
-Eye contact between two women leads to more creative outcomes. Eye contact by men prevents them coming to terms.
-Given dolls and toy cars, baby monkeys always choose according to gender - dolls for females, cars for males.
-The brains of rabbits raised in hutches are 15-30% smaller than in wild rabbits that develop their wits and skills - Charles Darwin, 1871
-Segregating children in belief-based schools is "pernicious". It not only prevents them from learning how to think critically, but it also fosters an intolerant attitude towards other beliefs.
-Boxing is "neuropornography". Watching it is like taking an entire course in neurology. You see impaired speech, unsteady gait, wandering eyes, epileptic fits, semi-consciousness, unconsciousness, and occasionally, brain death. Right on TV, for the whole family. 400 boxers have been killed in the past 70 years. "Civilized" nations have banned it.

After describing the incredibly destructive effects of Ecstasy and the new, extraordinarily potent cannabis, he lists a string of US presidents (among others) and asks why we don't subject these world leaders to the same substance abuse standards we have for ordinary say, drivers? When Kennedy (cocaine), Nixon (alcohol), Clinton (cannabis), and Bush (cocaine, alcohol) all abused to offensive extents, you have to wonder if the world could have been a better place.

Swaab says 90% of Dutch prisoners have mental disorders and that criminal law should only be applied to people with healthy brains. The justice system should be evidence-based. While we do try new approaches, it's never done scientifically (with a control group), so the results will always be suspect.Lawyers, not researchers, get to experiment. Most criminals need treatment. Imprisonment, probation, halfway houses and community service do nothing to treat them, cure them or prevent them from acting out again.

There is an unexpected section on the mental illnesses of religious figures, who all (self) describe the classic symptoms of frontal lobe epilepsy. The 18 symptoms include voices, hallucinations, temporary blindness, and more. The figures include Paul, Mohammed, Van Gogh, Dostoyevsky and Joan of Arc, who extensively documented their (almost identical) experiences for the ages. They received their directions directly from Jesus and/or God, and became deeply religious. Non-Christian epileptics do not have the same communication sources.

He also debunks various paranormal and spiritual explanations for things like out-of-body experiences, by showing exactly where in the brain that pressure or stimulation will cause these phenomena.

Having read Swaab's sobering analysis of dementia and Alzheimer's, I became concerned when he began repeating himself: the same stories about the same patients. But late in the book he reveals that this all came from a series of columns a newspaper asked him to write, which neatly provides a non-demented alibi. Still, a little more editing would help.

I would have liked more detail in two areas: how character forms, develops and maintains or changes, and the effects of pollutants in air, water, and food. Swaab totally ignores the up and coming field of environmental medicine, which posits that the dose is not what makes the poison, another "fact" we have wrong. Chemical compounds our bodies can never encounter in nature latch on to receptors meant for messengers from our brains. They wreak havoc, as the body not only doesn't know what to do with them, but must accept them. And they block the intended messengers. The result is a large number of "new" chronic diseases that are changing the face of medicine - and life.

We Are Our Brains is technically, pure dry medical science. But it elicits feelings and emotions far stronger than works of fiction. The drama of people entering eras of illness they take years to even understand, let alone cope with and work around, is moving, disconcerting and frightening. The things that can go wrong and the atomic level sources of them is intimidating. The immense body of knowledge we have amassed just in the last hundred years is so insignificant it is awesome.

David Wineberg

17 of 18 people found the following review helpful.
Excellent overview of brain function, but not perfect.
By Gene Sandow
Dr.Swaab must be congratulated for producing an easy to understand book about how the brain works, and disorders that affect the brain. He writes in a clear, interesting and non-technical style, and his use of many anecdotes makes the reading not only informative, but entertaining. However, I do have to agree with another reviewer, who noted that Swaab often repeats himself throughout the text.Whoever proof-read this book did a poor job. But my major disagreement with what's written in the book is Swaab's contention that sports activity is not only unhealthy, but also shortens lifespan. By extension, this would also include exercise. Such as view is not only nonsensical, but differs from prevailing research on the subject. Swaab doesn't seem to realize that the majority of people in nursing homes are there because they are too feeble to take care of themselves. They have suffered a major loss of muscle known as "sarcopenia." This loss of lean mass alone is linked to higher mortality. In addition, aerobic exercise is known to significantly boost levels of a protein called BDNF, which functions to both repair and maintain brain neurons. This also is decreased with age and inactivity. People who exercise regularly show a 50% decreased incidence of Alzheimer's disease. Speaking of which, that's my other beef with this book. Dr.Swaab implies that Alzheimer's disease (AD) is just a manifestation of rapid brain aging. This, in turn, suggests that anyone who lives long enough will eventually get AD. This just isn't true. AD is a pathological condition, not a normal response to aging.The oldest confirmed human on record, Jean Calmet, who died at age 122,underwent through neurological testing at age 115. Not only did she show zero signs of any type of dementia, including AD, but her brain function was found to be comparable to someone 40 years younger. The majority of those who live past 100 do not die from AD. Swaab also says that there is nothing that can be done to prevent AD, again, not true. Certain exercise and dietary habits have been shown to have preventive effects against the onset of AD. Other than these errors, I found the book to be an excellent and informative read.

15 of 16 people found the following review helpful.
An excellent read other than bias and reference issues
By Davepl
Very good book, so long as you're able to overlook the anti-American Eurocentric bashing and not let it ruin your enjoyment. It's not often a science book will contain the phrase "a typical aberration of the Christian community in America". Which is not to say I disagree with the point he is making in most of those cases, he's just harsh. Lot of mockery of the anti-science agenda of Americans in general, conservatives, Christians, and so on. Sort of a mini-Dawkins (also a great pop science biologist who wades into politics and theology too often).

My other reservation is the lack of references or footnotes. There is no bibliography nor even suggested reading. This isn't problematic until he references an important or provocative claim as if it were fact. I realize it's 'only' pop science, but even so it would be nice to be able to look up certain issues to support his point or to learn more about them. You'll hear about "studies" that support his claims, but the studies go unnamed.

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** PDF Ebook The Bachelet Government: Conflict and Consensus in Post-Pinochet ChileFrom University Press of Florida

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"An indispensible guide to contemporary politics in Chile."--Lisa Baldez, Dartmouth College

"Discusses and analyzes the successes and failures of this woman who rightfully earned a distinguished place in history books even before she assumed the presidency."--Patricio Navia, New York University

Michelle Bachelet was the first elected female president of Chile, and the first women elected president of any South American country. What was just as remarkable, though less noted, was the success and stability of the political coalition that she represented, the Concertacion. Though Bachelet was the fourth consecutive Concertacion president, upon taking office her administration quickly faced a series of crises, including massive student protests, labor unrest, internal governmental divisions, and allegations of ineptitude and wrongdoing as a result of a major reorganization of Santiago's transportation system. 

Candidate Bachelet promised not only different policies but also a different policymaking style--a style characterized by a kinder and gentler approach to politics in a country with a long tradition of machismo and strong male rulers. Bachelet promised to listen to the people and to return power to those who had been denied it in the past. Her attitude enhanced the influence of existing social movements and inspired the formation of new ones.

The Bachelet Governmentis the first book to examine the policies, political issues, and conflicts of Bachelet's administration, and the first to provide analyses of the challenges, successes, and failures experienced by the Concertacion since 1989.

 

• Sales Rank: #5445669 in Books
• Published on: 2010-08-15
• Original language: English
• Number of items: 1
• Dimensions: 9.10" h x .80" w x 6.10" l, 1.00 pounds
• Binding: Library Binding
• 224 pages

About the Author

Silvia Borzutzky, teaching professor of political science and international relations at Carnegie Mellon University, is coeditor of After Pinochet: The Chilean Road to Democracy and the Market and author of Vital Connections: Politics, Social Security, and Inequality in Chile. Gregory B. Weeks, associate professor of political science at the University of North Carolina Charlotte, is the author of The Military and Politics in Post-Authoritarian Chile and U.S. and Latin American Relations.

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^ PDF Download Higher Gossip: Essays and Criticism, by John Updike

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Here is the collection of nonfiction pieces that John Updike was compiling when he died in January 2009. It opens with a self-portrait of the writer in winter, a Prospero who, though he fears his most dazzling performances are behind him, reveals himself in every sentence to be in deep conversation with the sources of his magic. It concludes with a moving meditation on a world without religion, without art, and on the difficulties of faith in a disbelieving age. In between are pieces on Peanuts, Mars, and the songs of Cole Porter, a pageant of scenes from early Massachusetts, and a good deal of Updikean table talk. At the heart of the volume are dozens of book reviews from The New Yorker and illustrated art writings from The New York Review of Books. Updike’s criticism is gossip of the highest sort. We will not hear the likes of it again.

• Sales Rank: #1687257 in Books
• Brand: Brand: Random House Trade Paperbacks
• Published on: 2012-09-18
• Released on: 2012-09-18
• Original language: English
• Number of items: 1
• Dimensions: 9.23" h x 1.11" w x 6.14" l, 1.22 pounds
• Binding: Paperback
• 528 pages

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Review
“For my money . . . the late John Updike was the best American belletrist ever, and Higher Gossip . . . confirms everything I’ve believed about his brilliance, his versatility, and his depth.”—Larry McMurty, Harper’s
 
“As [Higher Gossip] reminds us, Updike was that rare creature: an all-around man of letters, a literary decathlete who brought to his criticism an insider’s understanding of craft and technique; a first-class appreciator of talent, capable of describing other artists’ work with nimble, pictorial brilliance; an ebullient observer, who could bring to essays about dinosaurs or golf or even the theory of relativity a contagious, boyish sense of wonder.”—Michiko Kakutani, The New York Times
 
“A timely reminder of the graceful companionship that Updike offered to his readers—a presence that will be sorely missed.”—The Christian Science Monitor

About the Author
John Updike was born in Shillington, Pennsylvania, in 1932. He graduated from Harvard College in 1954 and spent a year in Oxford, England, at the Ruskin School of Drawing and Fine Art. From 1955 to 1957 he was a member of the staff of The New Yorker. His novels have won the Pulitzer Prize, the National Book Award, the National Book Critics Circle Award, the Rosenthal Foundation Award, and the William Dean Howells Medal. In 2007 he received the Gold Medal for Fiction from the American Academy of Arts and Letters. John Updike died in January 2009.
 
Christopher Carduff, the editor of this volume, is a member of the staff of The Library of America.

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THE WRITER IN WINTER

Young or old, a writer sends a book into the world, not himself. There is no Senior Tour for authors, with the tees shortened by twenty yards and carts allowed. No mercy is extended by the reviewers; but, then, it is not extended to the rookie writer, either. He or she may feel, as the gray-haired scribes of the day continue to take up space and consume the oxygen in the increasingly small room of the print world, that the elderly have the edge, with their established names and already secured honors. How we did adore and envy them, the idols of our college years-Hemingway and Faulkner, Frost and Eliot, Mary McCarthy and Flannery O'Connor and Eudora Welty! We imagined them aswim in a heavenly refulgence, as joyful and immutable in their exalted condition as angels forever singing.

Now that I am their age-indeed, older than a number of them got to be- I can appreciate the advantages, for a writer, of youth and obscurity. You are not yet typecast. You can take a distant, cold view of the entire literary scene. You are full of your material-your family, your friends, your region of the country, your generation-when it is fresh and seems urgently worth communicating to readers. No amount of learned skills can substitute for the feeling of having a lot to say, of bringing news. Memories, impressions, and emotions from your first twenty years on earth are most writers' main material; little that comes afterward is quite so rich and resonant. By the age of forty, you have probably mined the purest veins of this precious lode; after that, continued creativity is a matter of sifting the leavings. You become playful and theoretical; you invent sequels, and attempt historical novels. The novels and stories thus generated may be more polished, more ingenious, even more humane than their predecessors; but none does quite the essential earthmoving work that Hawthorne, a writer who dwelt in the shadowland "where the Actual and the Imaginary may meet," specified when he praised the novels of Anthony Trollope as being "as real as if some giant had hewn a great lump out of the earth and put it under a glass case."

This second quotation-one writer admiring a virtue he couldn't claim- meant a lot to me when I first met it, and I have cited it before. A few images, a few memorable acquaintances, a few cherished phrases circle around the aging writer's head like gnats as he strolls through the summertime woods at gloaming. He sits down before the word processor's humming, expectant screen, facing the strong possibility that he has already expressed what he is struggling to express again.

My word processor-a term that describes me as well-is the last of a series of instruments of self-expression that began with crayons and colored pencils held in my childish fist. My hands, somewhat grown, migrated to the keyboard of my mother's typewriter, a portable Remington, and then, schooled in touch-typing, to my own machine, a beige Smith Corona expressly bought by loving parents for me to take to college. I graduated to an office model, on the premises of The New Yorker, that rose up, with an exciting heave, from the surface of a metal desk. Back in New England as a free-lancer, I invested in an electric typewriter that snatched the letters from my fingertips with a sharp, premature clack; it held, as well as a black ribbon, a white one with which I could correct my many errors. Before long, this clever mechanism gave way to an even more highly evolved device, an early Wang word processor that did the typing itself, with a marvellous speed and infallibility. My next machine, an IBM, made the Wang seem slow and clunky and has been in turn superseded by a Dell that deals in dozens of type fonts and has a built-in spell checker. Through all this relentlessly advancing technology the same brain gropes through its diminishing neurons for images and narratives that will lift lumps out of the earth and put them under the glass case of published print.

With ominous frequency, I can't think of the right word. I know there is a word; I can visualize the exact shape it occupies in the jigsaw puzzle of the English language. But the word itself, with its precise edges and unique tint of meaning, hangs on the misty rim of consciousness. Eventually, with shamefaced recourse to my well-thumbed thesaurus or to a germane encyclopedia article, I may pin the word down, only to discover that it unfortunately rhymes with the adjoining word of the sentence. Meanwhile, I have lost the rhythm and syntax of the thought I was shaping up, and the paragraph has skidded off (like this one) in an unforeseen direction.

When, against my better judgment, I glance back at my prose from twenty or thirty years ago, the quality I admire and fear to have lost is its carefree bounce, its snap, its exuberant air of slight excess. The author, in his boyish innocence, is calling, like the sorcerer's apprentice, upon unseen powers-the prodigious potential of this flexible language's vast vocabulary. Prose should have a flow, the forward momentum of a certain energized weight; it should feel like a voice tumbling into your ear.

An aging writer wonders if he has lost the ability to visualize a completed work, in its complex spatial relations. He should have in hand a provocative beginning and an ending that will feel inevitable. Instead, he may arrive at his ending nonplussed, the arc of his intended tale lying behind him in fragments. The threads have failed to knit. The leap of faith with which every narrative begins has landed him not on a far safe shore but in the middle of the drink. The failure to make final sense is more noticeable in a writer like Agatha Christie, whose last mysteries don't quite solve all their puzzles, than in a broad-purposed visionary like Iris Murdoch, for whom puzzlement is part of the human condition. But in even the most sprawling narrative, things must add up.

The ability to fill in a design is almost athletic, requiring endurance and agility and drawing upon some of the same mental muscles that develop early in mathematicians and musicians. Though writing, being partly a function of experience, has few truly precocious practitioners, early success and burnout are a dismally familiar American pattern. The mental muscles slacken, that first freshness fades. In my own experience, diligent as I have been, the early works remain the ones I am best known by, and the ones to which my later works are unfavorably compared. Among the rivals besetting an aging writer is his younger, nimbler self, when he was the cocky new thing.

From the middle of my teens I submitted drawings, poems, and stories to The New Yorker; all came back with the same elegantly terse printed rejection slip. My first break came late in my college career, when a short story that I had based on my grandmother's slow dying of Parkinson's disease was returned with a note scrawled in pencil at the bottom of the rejection slip. It read, if my failing memory serves: "Look-we don't use stories of senility, but try us again."

Now "stories of senility" are about the only ones I have to tell. My only new experience is of aging, and not even the aged much want to read about it. We want to read, judging from the fiction that is printed, about life in full tide, in love or at war-bulletins from the active battlefields, the wretched childhoods, the poignant courtships, the fraught adulteries, the big deals, the scandals, the crises of sexually and professionally active adults. My first published novel was about old people; my hero was a ninety-year-old man. Having lived as a child with aging grandparents, I imagined old age with more vigor, color, and curiosity than I could bring to a description of it now.

I don't mean to complain. Old age treats free-lance writers pretty gently. There is no compulsory retirement at the office, and no athletic injuries signal that the game is over for good. Even with modern conditioning, a ballplayer can't stretch his career much past forty, and at the same age an actress must yield the romantic lead to a younger woman. A writer's fan base, unlike that of a rock star, is post-adolescent, and relatively tolerant of time's scars; it distressed me to read of some teen-ager who, subjected to the Rolling Stones' halftime entertainment at a recent Super Bowl, wondered why that skinny old man (Mick Jagger) kept taking his shirt off and jumping around. The literary critics who coped with Hemingway's later, bare-chested novel Across the River and Into the Trees asked much the same thing.

By and large, time moves with merciful slowness in the old-fashioned world of writing. The eighty-eight-year-old Doris Lessing won the Nobel Prize in Literature. Elmore Leonard and P. D. James continue, into their eighties, to produce best-selling thrillers. Although books circulate ever more swiftly through the bookstores and back to the publisher again, the rhythms of readers are leisurely. They spread recommendations by word of mouth and "get around" to titles and authors years after making a mental note of them. A movie has a few weeks to find its audience, and television shows flit by in an hour, but books physically endure, in public and private libraries, for generations. Buried reputations, like Melville's, resurface in academia; avant-garde worthies such as Cormac McCarthy attain, late in life, best-seller lists and The Oprah Winfrey Show.

A pervasive unpredictability lends hope to even the most superannuated competitor in the literary field. There is more than one measurement of success. A slender poetry volume selling fewer than a thousand copies and receiving a handful of admiring reviews can give its author a pride and sense of achievement denied more mercenary producers of the written word. As for bad reviews and poor sales, they can be dismissed on the irrefutable hypothesis that reviewers and book buyers are too obtuse to appreciate true excellence. Over time, many books quickly bloom and then vanish; a precious few unfold, petal by petal, and become classics.

An aging writer has the not insignificant satisfaction of a shelf of books behind him that, as they wait for their ideal readers to discover them, will outlast him for a while. The pleasures, for him, of bookmaking-the first flush of inspiration, the patient months of research and plotting, the laser-printed final draft, the back-and- forthing with Big Apple publishers, the sample pages, the jacket sketches, the proofs, and at last the boxes from the printers, with their sweet heft and smell of binding glue-remain, and retain creation's giddy bliss. Among those diminishing neurons there lurks the irrational hope that the last book might be the best.

A DESERT ENCOUNTER

In our fifth winter in the Southwest, my wife discovered that her gardening skills could be turned to xerophilous plants. All afternoon, she had served as my assistant and directress in pruning some ocotillo, and was enough exhilarated by the results to turn my attention to our overgrown hedge of mixed olive and oleander. Ocotillo is a tall, wandlike candlewood with vicious thorns and a feathery orange flower at its tip; handling it, even with thick leather gloves, requires the concentration of a bomb squad.

The electric trimmer I had borrowed for the massy hedge was dull and noisy. Further, the electric socket on our porch was distant, a hundred-foot extension cord away. I had to keep crawling on my hands and knees through gaps in the hedge to take the trimmer, trailing the gnarling extension cord, to the other side. And then there was the spindly aluminum stepladder that I had to keep shifting and leaning against springy branches to gain access to the hedge's overgrown top. Our condo sits on a slant, in the foothills of a pink-and-tan mountain range, which made moving the ladder one-handed and then balancing my weight on its higher steps feel heroically precarious.

My sense of triumph when my wife and I agreed that the job had been completed was marred by a mysterious circumstance: my hat had disappeared. Repeatedly getting down on my hands and knees to search beneath the hedge and circling the stony area of caliche where I had labored, I failed to find it. At this latitude, the elderly need to shelter their heads against the intemperate desert sun, and I discovered within myself an agitating grief in regard to the disappearance of the hat, a simple, brimmed floppy affair bearing the logo of an organization of which, years ago, I had been pleased to be elected a member.

Even as the shadows were deepening in the saguaro-studded mountain clefts, and the sun was lowering over the blue range to the west, I, with the circular compulsions of an aging brain, kept wandering out of doors, convinced that one more search in and around the hedge and the ocotillo would produce my missing headgear.

A breadth of paving passes close by the hedge. There, on the slanting asphalt, part parking lot and part side road, a curious confluence arose: an ancient man, brightly dressed in white trousers and a striped, starched shirt, made his ragged way downhill with the help of a cane, while, nearby, a Roto-Rooter operative in a khaki uniform was packing up his truck at the end of his workday. Oleander roots work their way into the clay drainage pipes of our aging complex and obstruct flow.

The gentleman in white trousers greeted me as if we had often met before, though we had not. "What are you doing?" he asked, tilting his head to receive the answer.

I decided to be honest, however foolish it made me seem. "I'm looking for my hat."

The Roto-Rooter man overheard us. "Hat?" he echoed. "There's a hat over here."

By "over here" he meant the curb on the far side of the asphalt, where it had never occurred to me, in all my peering around and under the hedge, to cast a glance. The hat must have fallen from my head in the course of my awkward, preoccupying struggles, and the desert breeze that springs up in the late afternoon had moved it twenty feet away.

"My hat!" I exclaimed. "It is!" I hurried over and, as if to prove my ownership to my two new companions, put it on my head. "Thank you, thank you," I said to each.

The man in khaki smiled, his share of my pleasure appropriately moderate, as he coiled his rooter and distributed the last of his tools to their places in the back of his truck. The older man, however, bent and bowlegged as he was, made my happiness his own. Quizzically beaming, he came closer to me, the shadow of his cane elongating to the east, where the last golfers at the local country club, calling to one another like birds at dawn, were finishing their rounds before darkness fell. "What does it say on your hat?" he asked me.

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27 of 29 people found the following review helpful.
Another chance to revel in Updike's genius
By J. A Magill
If you are among the legions who paused in January 2009 to mourn John Updike passing, then Higher Gossip, a posthumous collection of essays, reviews, poems, and other writings, will make you cry all over again. While the title refers to an Updike quote regarding book reviews, this volume demonstrates that being one of America's greatest post-war novelists and short story writers was only part of his great talents. Indeed, when Updike died America lost one of its great - and most prolific - public intellectuals.

Like a broken pinata, what pours of this volume is a bounty of surprising delights. For example, you might expect to read Updike on Fitzgerald, Carver, or Nabokov (which are just a few among those dealing with authors), but his brief piece on Kierkegaard offers a slit window into the author's spiritual side. Almost 150 pages of reviews and meditations on art exhibitions and artists further speaks to his wide interests. Several previously uncollected poems similarly delight, as does a section titled "Pet Topics" which includes considerations on subjects ranging from Albert Einstein, to dinosaurs, to Updike's devotion to golf. Added into this thrilling mix are talks on varied topics (one on humor in fiction stands out as particularly fine), as well as Updike's introductions to some later editions of his own work.

As often as not, when volumes such as this appear after a great writer death, one receives a hastily collected hodgepodge of works of varying quality and importance. Christopher Carduff, the editor of this book, is therefore deserving of much praise for creating something which Updike lovers will surely treasure. Instead of reading it in one sitting, consider imbibing these pieces a little bit at a time; give yourself a chance to savor the unique genius that was John Updike.

4 of 4 people found the following review helpful.
an honorable mention
By Case Quarter
Higher Gossip joins john updike's other volumes of essays and reviews in my collection of books, as one among the others I'll open when interested in his opinion on an author, when i'm in the mood to spend time perusing the works of an artist seen and discussed by mr updike in an article, or when i'm just looking to pick up a piece of good prose to read.

in his Forward to The Early Stories: 1953 - 1975, found here, john updike wrote: A selection, surely, is best left to others, when the writer is no longer alive to obstruct the process.' i gratefully accept this suggestion as his invitation to read Higher Gossip not as a collection but as a selection of delights to be savored over time.

Updike did have plans for another volume of essays and criticism from work he collected in a three shirt boxes placed inside a carton which, after his death, arrived in book form as Higher Gossip under the editorship of christopher carduff. along with selections from the boxes, carduff tracked down fugitive pieces; in all, the writings here, including poems and a few short stories, span in years from a `comment solicited by the Times Literary Supplement' in 1964 to articles published in The National Geographic Magazine, one of them on dinosaurs, in 2007 and 2008.

nearly a third of the volume is comprised of writings on gallery art. two hundred and fifty pages of text discussing paintings, drawings, and photographs the majority of them not included here, is a lot to ask even the most ardent fan of updike and appreciator of art to make do with merely a few photos in black and white copy. no one should read the art pieces straight through; they are best enjoyed at leisure, with computer as companion piece to linger over the artist discussed while reading updike's text.

to the end, john updike continued homage to his influences, and , as a young man of the fifties, the authors of light verse, a form which had its heyday that decade, and the writers who graced, as did he, the pages of The New Yorker. also shared in print are his reponses to awards and tributes he received over the years, comments on his own works, and the vast array of reviews of books written by authors from around the globe.

the several golf essays contain some of his best writing, as with this description from Walking Insomnia: `Golf at its measured pace permits an electric excess of mental activity. Your brain pours a rain of advice down upon your body, like a seasoned old coach who is at first patient and fatherly with a dull-witted athlete, then louder and blunter in his sideline advice, and finally livid with frustration. Who could sleep in such a racket of inward stricture?' such a metaphor would be as easily at home in a work of fiction.

as a writer he measured his game against the greats. his career, thanks to The New Yorker, was a fortunate one; his high talent never lacked place to shine--a quintessential american writer, who began in the 1950s, brought what he admired, emulated, learned, and transmuted from foreign writers to places like his imaginary tarbox. he was ambitious, but ambitious with his delicious tongue in cheek self-consciousness which failed to hide a humility which over decades deepened into grace and fine manners; i believe he never really expected to better his precursors, and he didn't, the roster of greats remains intact, but that he wanted to find a place among them, so that when we talk about the literary game we might for a moment mention him as one on the playing field.

12 of 15 people found the following review helpful.
Worth it for this sentence alone
By John Colapinto
From a review of The Defense:

"And indeed this novel, Nabokov's third, shows him--after the youthful and wistful novella Mary and the rather bleak manipulations of King, Queen, Knave--entering into his full poetic birthright, that vision which violently combines an ardent nostalgia with an aloof ingenuity, a pale fire of the intellect with an appetite for particulars so fierce and intimate that nearly every sentence has a twist of extra animation."

And there's plenty more of such miracles of observation and expression in the book's 480 pages. Read it and weep.

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** Fee Download Paleoindian Archaeology: A Hemispheric PerspectiveFrom University Press of Florida

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Since the 1997 report of investigations into the Monte Verde site in Chile, there has been a surge of interest in early habitation sites and a polarization of opinion about the antiquity of humans in the Americas. While Clovis remains the earliest undisputed cultural complex in the New World and one of the fastest and most successful diasporas in human history, many scholars argue that this culture did not enter an empty landscape. This volume samples sites from Alaska to the southern cone of South America to provide a better understanding of the processes by which the early settlement of the Americas occurred at the end of the late Wisconsonian Ice Age.            With broad geographical and topical breadth, Paleoindian Archaeology provides theoretical perspectives on early migrations, interpretations of single sites, and comparative studies of material culture. Included are a synthesis on radiocarbon dating, a critique of Paleoindian studies, a reconstruction of the Clovis drought based on geomorphological and paleo-environmental data, several site specific studies (one on the only known Clovis burial in the New World), discussions on fluted points from South America, and three studies comparing North and South American evidence (grassland adaptations, stone technologies, and Paleoindian artifacts).  

• Sales Rank: #7410270 in Books
• Published on: 2007-01-14
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: .86" h x 6.46" w x 9.50" l,
• Binding: Hardcover
• 288 pages

Review
"Paleoindian Archaeology provides much needed hemispheric and hands-on analytical perspectives on the early human occupation of the Americas. The contributors explore similarities and differences among the early sites and assemblages in North, Central, and South America, providing a refreshing yet complementary approach to more localized studies." -- David G. Anderson

About the Author
Juliet E. Morrow is associate professor of anthropology at the University of Arkansas-Fayetteville and station archaeologist with the Arkansas Archaeological Survey. She has published articles in Current Research in the Pleistocene and American Antiquity. Cristóbal Gnecco is professor of anthropology at the Universidad del Cauca, Colombia, co-editor of Arqueologia Suramericana, and a contributor to Under the Canopy and Archaeology in Latin America.

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2 of 10 people found the following review helpful.
AS BORING AS IT GETS
By D. Buffington
There are no customer reviews because Amazon keeps blocking out anyone with an honest opinion about how bad this book really is.

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"Albert Manucy's book continues to serve as a catalyst for architectural preservation in St. Augustine and to inspire similar works elsewhere. His sketches, which explain this colonial architecture, delight as much as they inform. The book also serves as a gentle reminder to Yankees that Florida was civilized before the Puritans settled New England."--F. Blair Reeves, chairman, Historic Resource Committee, Florida Association/American Institute of Architects As architecture documents history, The Houses of St. Augustine records architecture, preserving and interpreting the history of housing in the oldest city in the continental United States.
   The charming two-story house so distinctive to St. Augustine offers tangible evidence of Spanish settlement in the New World. Long before Pedro Menendez de Aviles founded St. Augustine, houses similar to the loggia-and-balcony houses of St. Augustine existed in his home province of Oviedo and in nearby Santander. The special feature of the casa Santanderina design, which Manucy calls the "St. Augustine Plan," is a roofed balcony over the street or the yard that anticipates the "Florida room" of this century. On both the north coast of Spain and the northeast coast of Florida, the porch excludes the cold wind and admits the sun in winter; it lets in the breeze and tempers the hot sun in summer.
   Upon its first publication thirty years ago, this classic volume contributed to an awakening of interest in St. Augustine architecture; it continues to be the basic reference tool for colonial period restoration and for the ongoing archaeological and anthropological research in the city. In detailed drawings and nontechnical language, the book identifies basic house types and records their dimensions, construction techniques, materials, and design details from foundations to roofs. It has been the cornerstone that enabled the St. Augustine government to frame architecture guidelines for preservation and restoration of existing historic buildings, reconstruction of lost structures, and construction of contemporary homes in designs that are compatible with the historic architecture.
Albert Manucy worked for thirty-three years for the National Park Service as a historian, restorationist, and museum planner. He has written many books on architecture and history, including Seeing St. Augustine, a publication of the Federal Writers Project American Guide Series, and The Building of Castillo de San Marcos. He has received the Amigos de los Castillos silver medal from the government of Spain and awards from the Florida Trust for Historic Preservation and the Eastern National Park and Monument Association, and he was granted the Order of La Florida by the city of St. Augustine. Manucy was born in St. Augustine and has witnessed the loss of many historic houses. His incentive to write this volume came from the realization that St. Augustine architecture is unique and needed analysis in order to ensure accurate preservation and interpretation.
Published in cooperation with the St. Augustine Historical Society

• Sales Rank: #1521012 in Books
• Brand: Brand: University Press of Florida
• Published on: 1991-10-20
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x .42" w x 5.98" l, .68 pounds
• Binding: Paperback
• 179 pages

Features

• Used Book in Good Condition

About the Author
Albert Manucy is author of "The Houses of St. Augustine, 1565-1821; Florida's Menendez; Artillery Through the Ages"; and "The Building of the Castillo de San Marcos,"

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2 of 2 people found the following review helpful.
A fantastic primer to all the history of the Oldest City
By J. Mullins
St. Augustine is a fascinating architectural anamoly in the United States. I have become consumed with discovering all there is to know about the unique architecture, people and culture of this quaint city. Only last weekend, we spent 5 days, walking and touring much of the historic district, with this book in hand, I might add. If European and American history and architecture are a passion of yours, St. Augustine is the closest, most unique place to find it all. This book is a great place to begin.

2 of 2 people found the following review helpful.
Why St. Augustine is the great historic city it is today!
By Kim
This book is written for the average person to understand, it makes sense and yet has enough detail to reconstruct a house from history.
This book is so highly regarded it is the basis of St. Augustine City codes regarding Historic Architecture preservation and restoration and will continue the tradition of Colonial St. Augustine. Not just for the novice, also for the historian, architect or builder.

0 of 0 people found the following review helpful.
A Peek Into The Past
By Linda Saether M.D.
I am researching life in St. Augustine in the 1700s, and this book brought the town to life with it's detailed descriptions of buildings and materials used. The many illustrations were also helpful.

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~ Download Ebook Judicial Misconduct: A Cross - National Comparison, by Mary L. Volcansek, Maria Elisabetta de Franciscis, Jacqueline Lucienne Lafon

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"The first truly comparative assessment of how democracies seek to constrain and limit judicial misbehavior. . . . Clear, insightful conclusions."--Martin Edelman, SUNY, Albany

Judicial power poses a dilemma for democratic societies: judges exert political power but typically are not democratically accountable for their use of it. This book is a comparative study of the discipline and removal of errant judges in four Western nations--France, Italy, England, and the United States.  

 Democracies place a high premium on maintaining the appearance of judicial independence, and formal mechanisms ensuring it normally include lengthy and secure tenure and adequate salary. Federal judges in the United States come close to absolute independence, since they serve in their position for life; in more than 200 years, only seven have been removed from office.

 Still, democratic theory requires that the service of public officials always be temporary and conditional. This book shows how each of the four countries views accountability as proportionate to power. English, French, and Italian judges cannot challenge the democratic authority of the state, and their accountability is less democratically maintained. In the English system, discipline is the prerogative of Parliament; the French largely police their own ranks. In the United States, where judges wield considerable power, they may be removed through election in many states or through the actions of elected political representatives. The book concludes that the tension between democratic goals supports a rationalizing principle for nations tilting in favor of either accountability or independence.

Mary L. Volcansek, professor of political science at Florida International University, is the author or editor of several books, including Judicial Impeachment: None Called for Justice and Judicial Politics in Europe: An Impact Analysis, and has published articles in such journals as Comparative Political Studies, West European Politics, and Judicature.

Maria Elisabetta de Franciscis, assistant professor of political science at Universita di Napoli, Federico, II, is the author of Italy and the Vatican.

Jacqueline Lucienne Lafon, associate professor of law at Universite de Paris, XI, is the author of two books in French and, with Mary Volcansek, of Judicial Selection: The Cross-Evolution of French and American Practices.

• Sales Rank: #3941621 in Books
• Brand: Brand: University Press of Florida
• Published on: 1996-03-13
• Original language: English
• Number of items: 1
• Dimensions: 9.34" h x .79" w x 6.31" l, 1.04 pounds
• Binding: Hardcover
• 224 pages

Features

• Used Book in Good Condition

From the Back Cover
This is a book about judicial rules in various countries in comparison to the United States.

About the Author
Mary L. Volcansek is Professor of Political Science at Texas Christian University. She has written or co-authored five books and is editor or co-editor of five others. With John F. Stack, Jr, she edited Courts Crossing Borders: Blurring the Lines of Sovereignty (2005) and, with Donald W. Jackson and Michael C. Tolley, Globalizing Justice: Critical Perspectives on Transnational Law and the Cross-Border Migration of Legal Norms (2010). She has also published multiple articles and book chapters, and is the author of Judicial Politics: A Comparative Lens (with John F. Stack, Jr, Cambridge University Press, 2014).

JACQUELINE LUCIENNE LAFON is Associate Dean of the Faculty of Law at the University of Paris South.

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## Ebook Free Cloud Atlas: A Novel (Modern Library), by David Mitchell

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By the New York Times bestselling author of The Bone Clocks | Shortlisted for the Man Booker Prize

A postmodern visionary and one of the leading voices in twenty-first-century fiction, David Mitchell combines flat-out adventure, a Nabokovian love of puzzles, a keen eye for character, and a taste for mind-bending, philosophical and scientific speculation in the tradition of Umberto Eco, Haruki Murakami, and Philip K. Dick. The result is brilliantly original fiction as profound as it is playful. In this groundbreaking novel, an influential favorite among a new generation of writers, Mitchell explores with daring artistry fundamental questions of reality and identity.

Cloud Atlas begins in 1850 with Adam Ewing, an American notary voyaging from the Chatham Isles to his home in California. Along the way, Ewing is befriended by a physician, Dr. Goose, who begins to treat him for a rare species of brain parasite. . . . Abruptly, the action jumps to Belgium in 1931, where Robert Frobisher, a disinherited bisexual composer, contrives his way into the household of an infirm maestro who has a beguiling wife and a nubile daughter. . . . From there we jump to the West Coast in the 1970s and a troubled reporter named Luisa Rey, who stumbles upon a web of corporate greed and murder that threatens to claim her life. . . . And onward, with dazzling virtuosity, to an inglorious present-day England; to a Korean superstate of the near future where neocapitalism has run amok; and, finally, to a postapocalyptic Iron Age Hawaii in the last days of history.

But the story doesn’t end even there. The narrative then boomerangs back through centuries and space, returning by the same route, in reverse, to its starting point. Along the way, Mitchell reveals how his disparate characters connect, how their fates intertwine, and how their souls drift across time like clouds across the sky.

As wild as a videogame, as mysterious as a Zen koan, Cloud Atlas is an unforgettable tour de force that, like its incomparable author, has transcended its cult classic status to become a worldwide phenomenon.

Praise for Cloud Atlas
 
“[David] Mitchell is, clearly, a genius. He writes as though at the helm of some perpetual dream machine, can evidently do anything, and his ambition is written in magma across this novel’s every page.”—The New York Times Book Review
 
“One of those how-the-holy-hell-did-he-do-it? modern classics that no doubt is—and should be—read by any student of contemporary literature.”—Dave Eggers
 
“Wildly entertaining . . . a head rush, both action-packed and chillingly ruminative.”—People
 
“The novel as series of nested dolls or Chinese boxes, a puzzle-book, and yet—not just dazzling, amusing, or clever but heartbreaking and passionate, too. I’ve never read anything quite like it, and I’m grateful to have lived, for a while, in all its many worlds.”—Michael Chabon
 
“Cloud Atlas ought to make [Mitchell] famous on both sides of the Atlantic as a writer whose fearlessness is matched by his talent.”—The Washington Post Book World
 
“Thrilling . . . One of the biggest joys in Cloud Atlas is watching Mitchell sashay from genre to genre without a hitch in his dance step.”—Boston Sunday Globe
 
“Grand and elaborate . . . [Mitchell] creates a world and language at once foreign and strange, yet strikingly familiar and intimate.”—Los Angeles Times

• Sales Rank: #62239 in Books
• Brand: Mitchell, David
• Published on: 2012-11-20
• Released on: 2012-11-20
• Original language: English
• Number of items: 1
• Dimensions: 8.30" h x 1.20" w x 5.70" l, 1.40 pounds
• Binding: Hardcover
• 528 pages

From Publishers Weekly
At once audacious, dazzling, pretentious and infuriating, Mitchell's third novel weaves history, science, suspense, humor and pathos through six separate but loosely related narratives. Like Mitchell's previous works, Ghostwritten and number9dream (which was shortlisted for the Booker Prize), this latest foray relies on a kaleidoscopic plot structure that showcases the author's stylistic virtuosity. Each of the narratives is set in a different time and place, each is written in a different prose style, each is broken off mid-action and brought to conclusion in the second half of the book. Among the volume's most engaging story lines is a witty 1930s-era chronicle, via letters, of a young musician's effort to become an amanuensis for a renowned, blind composer and a hilarious account of a modern-day vanity publisher who is institutionalized by a stroke and plans a madcap escape in order to return to his literary empire (such as it is). Mitchell's ability to throw his voice may remind some readers of David Foster Wallace, though the intermittent hollowness of his ventriloquism frustrates. Still, readers who enjoy the "novel as puzzle" will find much to savor in this original and occasionally very entertaining work.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
Mitchell's virtuosic novel presents six narratives that evoke an array of genres, from Melvillean high-seas drama to California noir and dystopian fantasy. There is a naïve clerk on a nineteenth-century Polynesian voyage; an aspiring composer who insinuates himself into the home of a syphilitic genius; a journalist investigating a nuclear plant; a publisher with a dangerous best-seller on his hands; and a cloned human being created for slave labor. These five stories are bisected and arranged around a sixth, the oral history of a post-apocalyptic island, which forms the heart of the novel. Only after this do the second halves of the stories fall into place, pulling the novel's themes into focus: the ease with which one group enslaves another, and the constant rewriting of the past by those who control the present. Against such forces, Mitchell's characters reveal a quiet tenacity. When the clerk is told that his life amounts to "no more than one drop in a limitless ocean," he asks, "Yet what is any ocean but a multitude of drops?"
Copyright © 2005 The New Yorker

From Bookmarks Magazine
Critics on both sides of the Atlantic rave over Cloud Atlas, British novelist Mitchell’s third novel. Many of the accolades focus on his flair for setting and character. He seems just as comfortable in far-future Hilo as in contemporary England, and he crafts believable voices for characters as different as the rakish Frobisher and the simple tribesman Zachry. One reviewer found the Luisa Rey storyline less convincing than others, while another got bogged down in Zachry’s tale. Mitchell may jump around in time, but his skill remains consistent.

This skill—the technical expertise that allows Mitchell to adopt a different genre for each of his six storylines—gets him into a little trouble. The New York Times Book Review complains that Mitchell’s writing “too often seems android,” that his chameleon-like shifts render his work coldly impressive rather than “fallibly human.” However, most reviewers found Mitchell’s unorthodox structure captivating. After an initial period of confusion, Cloud Atlas becomes a challenging puzzle most were eager to solve. When the storylines finally coalesce, the result is a novel that stands above its peers in both emotional impact and philosophical import. As the Los Angeles Times notes, “Cloud Atlas offers too many powerful insights to be dismissed as a mere exercise in style.” By all accounts, Mitchell has produced in Cloud Atlas a wholly original work. For most, it is also wholly satisfying.

Copyright © 2004 Phillips & Nelson Media, Inc.

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1957 of 2018 people found the following review helpful.
Loved this book but not for everyone
By sb-lynn
This goes down as one of my favorite books of the year.

Story in a nutshell (without spoilers):

Cloud Atlas consists of 6 [slightly] interlinking stories, told from the viewpoint of 6 different individuals at different points in time. The first story consists of the letters of Adam Ewing, and his fateful trip on a ship in the Pacific in the mid 1850's.

From there we go to the second story, which takes place in the 1930's and is told from the viewpoint of Robert Frobisher, a talented disinherited muscial composer who visits an infirm maestro and his family in an attempt to get work and advantage. His story is told through his letters to a scientist friend/lover named Rufus Sixsmith.

The next story takes place in the 1970's, and has to do with reporter Luisa Rey, and her exposure of corporate malfeasance that could result in disaster. Sixsmith is a scientist there, and plays an important part of the story.

Next, (and my personal favorite), is the story of Timothy Cavendish, in present day England, and the tale of his (mis) adventures as a book publisher. Utterly hilarious and poignant.

The second to last story becomes a sci/fi read of future corporate controlled Korea, complete with cloned humans. And the final story is one that takes place in post apocalyptic Hawaii.

And then we go back to each story, in opposite order, and put the pieces together and complete the cliffhanger endings from the first half.

I think this book is brilliant. I often found myself rereading various sections because I found them so ingenius and profound. I think David Mitchell is one of the most talented new writers around.

My only complaint? Sometimes I think that the author was a bit taken with his own writing, and was too clever for his own good. At points the writing became tedious, although never to the point that I wanted to throw in the towel.

Note...I personally had trouble getting through chapter one, but then I was hooked by chapter two. If you find yourself getting impatient, hang in there.

Highly recommended, with the reservations expressed above.

515 of 555 people found the following review helpful.
A profound page-turner
By S. Bush
Cloud Atlas is a series of six interlocked tales - encompassing a wide array of eras, locales, and genres -in which the protagonist in each story is impacted in some significant manner by the tale told in the preceding section (or the following section, as the book's tales wind out in reverse order in the second half).

So...the stories we tell, and the sense we make of things, have meaning. I'm not sure if Mitchell intended this a straightforward(ish) reincarnation tale, or if the larger theme has something to do with the idea that the stories we tell survive us, perhaps at least partially define what it means to be human, or enable us to retain some vestige of humanity in the face of forces (imperialism, slavery, corportization, or just our own worst impulses) designed to strip that away. The centerpiece of the book does take place in a future world in which civilization has been literally reduced to the ability to remember, and relay that rememberance forward in a sort of verbal folklore.

This is a good, moving, well-written, and entertaining book. One's patience for it is probably dependent on one's degree of exposure to genre fiction - I think someone approaching this from the perspective of classic "literary fiction" might find it off-putting - part of the fun here is the manner in which Mitchell plays with the tropes and cliche of various genres (sci-fi, hardboiled crime fiction, belles lettres, etc) across the six tales. That said, there's lots of "high literary" enjoyment to be had here - the writing is stellar, and there's lots of good thematic linkage (boats, bridges, musical themes, etc.) that add quite a bit of depth.

I would also like to dispel the notion that this is a "difficult" book in the style of David Foster Wallace, Thomas Pynchon, etc. It is just extraordinarily fun to read. The novel's overarching themes are challenging and profound, but it is also a page-turner of the highest order, and in that sense a real celebration of the various genres it exploits and parodies. Highly recommended.

417 of 458 people found the following review helpful.
Extraordinary work
By Leah Shafer
I've just finished this phenomenal book by David Mitchell, a present from a friend who recommended I read it immediately.

So glad I did. It has aspects of the dystopian future scenarios that I so loved in The Handmaid's Tale, Dune, and The Sparrow coupled with recent past and long-past stories. It addresses basic questions of where we are going as a species, following one soul reincarnated through six lives. That soul is on a trajectory that traces the basic human desire for domination, the often-myopic thinking of the powerful, and the fate of the powerless. It is on a grand scale, beautifully told, and quite enthralling.

The structure is what had me hooked to start--it is a mirror of itself. Rough breakdown: The first and twelfth chapters are "The Pacific Journal of Adam Ewing," a story of subterfuge, gullibility, and poison on a ship bound from the South Seas to London.

Second and tenth chapters are epistolary, taking place in 1939 through the correspondence of Frobisher--a bit of a cad and scammer--to his friend Sixsmith. Frobisher is a brilliant musician but the family shame, in the process of writing his great masterpiece while apprenticing under a syphilitic genius composer.

Third and ninth chapters follow the efforts of investigative journalist Luisa Rey to uncover serious evil at a soon-to-be opened nuclear facility in the mid-70s. One of her primary sources in the mystery Sixsmith, Frobisher's correspondent from the last chapter, but now 35 years older.

Fourth and eighth chapters are the disturbing and frequently funny tales of Timothy Cavendish, a bumbling, arrogant, failure of a publisher in London during roughly our current times, maybe a little later.

Fifth and seventh chapter are my favorites--here Mitchell hits the sci-fi, dystopian future part with full gusto. Sonmi~451 is a human clone of sorts, grown in a womb tank (like all "fabricants," as they are called) and born into service to Papa Song Company. The world as we read about it is governed and shaped around corporate structures and the economy is based on the slave labor of these fabricants.

This chapter is her testimony about her ascension from fabricant to full human thinking and feeling. She observes the world outside Papa Song restaurant and ventures into the broader culture (a scary place, indeed).

I don't do these chapters justice. Sonmi~451 weaves a wonderful tale about this future world, using neologisms and appropriated words that make perfect sense based on how we are using language now. The links and connections to life in the 21st century make it compelling.

The peak chapter, "Sloosha's Crossin' an' Ev'rythin' After," describes a fallen world, one that has collapsed in on itself leaving the vast majority of humans in a new Dark Age where violence and predatory actions are the way of those who want to live very long. The strong dominate and destroy the weak. The protagonist, a goat herder, refers to the "Civ'lized days before the fall when people was ler'nd." It's written in this dialect and he tells a hard-wrought tale of lawless times.

But it's all believable. Mitchell never stretches his story in any part of the book beyond what we can imagine. He begins with a tale of dishonesty in the 1800s and spins it into the future, following some of our baser instincts to their logical, if stunning and frightening, conclusion.

This book is complicated and ambitious--it's a little over 500 pages of teeny, tiny print and plot lines that crisscross over chapters, lives, and hundreds, maybe thousands, of years.

The reincarnation theme is only hinted at in the vaguest of terms--it's not even a central part of the book, but it does weave the narrative thread from character to character. I can't begin to fathom how many Post-it notes and spreadsheets it took Mitchell to keep track of all this.

Cloud Atlas was the most thought-provoking novel I've read in years and I found myself meditating on the lives of the characters long after I'd put it down and moved onto something else. Extraordinary work.

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## Ebook Free Cloud Atlas: A Novel (Modern Library), by David Mitchell Doc

## Ebook Free Cloud Atlas: A Novel (Modern Library), by David Mitchell Doc

## Ebook Free Cloud Atlas: A Novel (Modern Library), by David Mitchell Doc