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Ideology and Utopia: An Introduction to the Sociology of Knowledge, by Karl Mannheim

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Mannheim, a pioneer in the field of SOCIOLOGY (740), here analyzes the ideologies that are used to stabilize a social order and the wish-dreams that are employed when any transformation of that same order is attempted. Translated and with a Foreword by Louis Wirth and Edward Shils; Preface by Wirth; Indices.

• Sales Rank: #771222 in Books
• Published on: 1955-08-04
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .96" w x 5.25" l, 1.00 pounds
• Binding: Paperback
• 384 pages

Language Notes
Text: English, German (translation)

About the Author
Karl Mannheim (1893-1947) held academic posts at the universities of Heidelberg, Frankfurt, and London. His major works include Ideology and Utopia, Man and Society in an Age of Reconstruction, Diagnosis of Our Time, Essays on the Sociology of Culture, Freedom, Power and Democratic Planning, Structures of Thinking, and Conservatism.

Most helpful customer reviews

15 of 17 people found the following review helpful.
A difficult, dense read--but certainly profound
By Zadig Prospero
Perhaps it was the translation, perhaps it is the author's inherent style, or perhaps it is just too academic but I found this very tedious. That does not stop me from endorsing the material though I reduced my rating based on the fact that this is hardly an enjoyable read and a downright unaccessable read (because of its dense, academic style) for of the vast majority of the public. Nonetheless (is that even a real word?), if one can slog through the first several chapters, Mannheim's attempt to identify the motivations and devices of knowledge and ideology create a esoteric bridge linking this achievement with Aristotle's "Metaphysics", Locke's "An Essay Concerning Human Understanding", and later continued with Foucault's "The Archaeology of Knowledge". This is also an important piece when examined in the historical and geo-political context which existed in the 1920s. I would label this as "neccesary" reading for any graduate sociology student, any self-annointed philosopher, or anyone with extreme time on their hands--such as the incarcerated. (For more on that subject read the chapters by Foucault entitled "Panopticism" and "The Carceral".)

6 of 8 people found the following review helpful.
Review of the edition NOT the book
By Jim M
Kessenger's travesty of an edition, thankfully, no longer appears among the list of currently available Amazon offerings. I leave my review in place, however, in case the thing should attempt to come back to life. I have moved a few brief remarks (somewhat amplified) on the substance of Mannheim's ideas from the last paragraph to the following paragraph in celebration of the Kessenger edition's falling off the earth--or, at least out of Amazon.

Today, the term 'Utopian' is achieving a new currency--this time as an element in the conservative characterization of left wing political ideas. Such reappearance of the concept of 'utopia' within the contemporary ideological contest makes it very timely to visit (or revisit) Mannheim's classic work of critique and analysis in which the originality of the author's contribution consists precisely in his juxtaposing the idea of 'utopian' to 'ideological' rather than, as is usual, to 'realistic' [or to 'realizable']. One of Mannheim's central points is that one's sense of what is and is not, realizable in the world has more to do with the nature of his own socially structured thinking than with the limits imposed upon mankind by what is timelessly and objectively possible. Mannheim does not doubt that such limits exist, but he suggests the word: 'utopian', when employed as an epithet, can reveal more about the speaker's position in life and political orientation than it does about the opponent's loss of a practable sense of reality. Another of Mannheim's points is that utopian thought, which he defines as thinking that transcends the bounds of the existing order, seemingly is, to humanity's loss, actually disappearing. This disappearance ushers in a world that no longer, even in part, orients itself toward possibilities of transcendence to a higher historical and sociological stage.

Mannheim's sense of the loss of utopian aspirations harmonizes compatibly with Critical Theorist Herbert Marcuse's notion of the squelching of dialectical oppositions in the contemporary social universe as leading to mankind's existence being confined to a single dimension--cf that author's One Dimensional Man.

[BELOW IS A RETURN TO THE REVIEW OF THE APPARENTLY NOW-DEFUNCT KESSINGER EDITION]
The publishers of the Kessenger edition are arrant idiots. The book, in its authentic form, is a landmark collection of essays by Karl Mannheim which was first published in German under the title "Ideologie und Utopie." Kessinger Publishing, LLC has mis-titled this volume by inserting the word "An" in front of the translated words: "Ideology and Utopia." They have done this either because members of Kessinger's editorial staff do not know the real title or, more likely, because they figure that such insertion insures that their caricature will appear before any of the authentically titled versions on an Amazon search. For that reason alone this edition would deserve to be avoided--even if that left no alternative but to learn German and read the original. There are alternatives however. These range in price from dirt cheap for a used umpteenth printing to sky high for a collectible edition. Take your pick of those, I advise, but do not choose this Kessinger travesty.

The work itself (in a respectable edition) stands as a highly readable and much discussed introduction to a specialized branch of sociology known as the sociology of knowledge. The two principal exponents of this specialized study are Mannheim and Max Scheler. A search on their names will produce an intriguing list of titles available on Amazon, but "Ideology and Utopia" is the right place to begin for anyone not already familiar with the literature. (Also, worth considering is the volume: "From Karl Mannheim" which contains selections from a broad range of Mannheim's writings together with editors' and translator's introductions that set forth the development and the interpretive tradition of Mannheim's body of work.) "Ideology and Utopia" includes a twenty page preface by Louis Wirth (one of its translators) which well serves the intention of acquainting an English speaking audience with the basics of Mannheim's approach.

Today, the term 'Utopian' is achieving a new currency--this time as an element in the conservative characterization of left wing political ideas. Such reappearance of the concept of 'utopia' within the contemporary ideological contest makes it very timely to visit (or revisit) Mannheim's classic work of critique and analysis in which the originality of the author's contribution consists precisely in his juxtaposing the idea of 'utopian' to 'ideological' rather than, as is usual, to 'realistic' [or to 'realizable'].

The following quote from one of the essays in "Ideology and Utopia" suggests (but does not fully encompass) Mannheim's idea of both the limitations on human thought and the possibilities for its advancement--"Strictly speaking it is incorrect to say that the single individual thinks. Rather it is more correct to insist that he participates in thinking further what other men have thought before him."

On the bottom line: consider the author; experience the work; but avoid the edition.

2 of 2 people found the following review helpful.
Modern Classic
By Blackarse
A very honest and scholarly assessment of the problems in the modern world. It is very much about a social science but is not difficult to read. However it does not have any easy answers, just an idea about the process that could be followed.

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** PDF Download The Culture of Cities, by Lewis Mumford

PDF Download The Culture of Cities, by Lewis Mumford

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The Culture of Cities, by Lewis Mumford

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This offers the first broad treatment of the city in both its historic and its contemporary aspects. “For distinction, entertainment, information, scholarship, and general human interest [this] is one of the most distinguished books” (Forum). Index; photographs.

• Sales Rank: #619696 in Books
• Published on: 1970-10-21
• Original language: English
• Number of items: 1
• Dimensions: 1.65" h x 5.33" w x 7.96" l,
• Binding: Paperback
• 640 pages

Review
?For distinction, entertainment, information, scholarship, and general human interest, Lewis Mumford's The Culture of Cities is one of the most distinguished books of many years.?-Forum

About the Author
No Bio

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17 of 17 people found the following review helpful.
Brilliant and Inspiring
By J Taylor
Lewis Mumford's The Culture of Cities is anything but what can legitimately be expected from a typical book about urban planning, nor does it read like the average history book either. Rather than coming across as a very precise-but dry-discussion of the most technical aspects of the history of urban planning, Mumford wrote this book as a manifesto tackling nothing less than the very meaning of being human and the future of civilization. As he writes in the beginning of the book; "Today we begin to see that the improvement of cities is no matter for small one-sided reforms: the task of city design involves the vaster task of rebuilding our civilization." (p.9) Considering that most academics often set their sights on small goals of dubious importance to anyone but other specialists in their same field, the fact that Mumford dares to address some of the most meaningful and yet most complicated issues imaginable calls for attention and makes his book one that is impossible to remain indifferent to. Most readers will either be seduced by his romantic utopian thinking or will resent it as arrogant and presumptuous. Personally, I'll confess that I fall in the first group.

Expecting a single main thesis to emerge from The Culture of Cities, and all of its nearly 600 pages, may be naïve since many major topics are addressed throughout the book. However, there is one common thread unifying all of them: from page one to the very end Mumford continues to argue that our present model of civilization has entered a dramatic period of crisis, and that our current choices will result in either rebirth or self-destruction for humanity. The entire goal of The Culture of Cities is to highlight the problem areas and offer possible solutions. In Mumford's view, the most critical of these areas are the relationships between human beings and nature, our own bodies, sexuality, and community. Alienation from all of these crucial components of life is, in Mumford's analysis, what characterizes the daily life of most human beings, and this fact is clearly reflected in the cities we build and apartments we live in. In a particularly meaningful, albeit very long quote, Mumford makes this very clear;

"This metropolitan world, then, is a world where flesh and blood is less real than paper and ink and celluloid.... Living thus, year in and year out, at second hand, remote from the nature that is outside them and no less remote from the nature within, handicapped as lovers and as parents by the routine of the metropolis and by the constant specter of insecurity and death that hovers over its bold towers and shadowed streets-living thus the mass of inhabitants remain in a state bordering on the pathological." (p.258)

In other words, modern civilization is an aberration of what human life could be. Rather than being the main subject of the book, urban planning is a symptom of this more widespread crisis facing humanity collectively. Restoring a healthy relationship with nature, both inside and outside of us, is the key for countering the suicidal path we have entered. This main consideration affects all aspects of urban planning in Mumford's mind, from the necessity for green spaces in the midst of the city and a less polluting relationship with the environment to the designing of apartments and parks with the goal of helping love-making be more comfortable and natural. As much as I am trying to restrain myself from quoting too much from the book, Mumford expresses this idea too beautifully not to be quoted one more time;

"Love-making and home-making, eroticism and domesticity, sexual delight and the assiduous nurture of children-these are among the highest human goals of genuine biotechnic planning.... Good design means going back to fundamentals: a child at wok in a stable and reassuring world: a pair of lovers at play in a room where the scent of lilacs may creep through the window, or the shrill piping of crickets be heard in the garden below." (p. 433)

Mumford's ability to connect the most mundane aspects of urban planning with the most central aspects of human existence is-in my mind-his greatest strength. In the discussion of some of the topics he focuses on Mumford demonstrates to be incredibly ahead of his times. Today, the globalization of the world has been revealing that the attachment to fixed boundaries and rigid identities is becoming increasingly more anachronistic. By arguing for the development of a consciousness that is global and local at the same time and by criticizing any kind of patriotism and nationalism as small-minded, Mumford anticipates this idea by a few decades.

This is not to say that The Culture of Cities is immune from weaknesses. His idealization of the medieval city as much more desirable than modern civilization is historically not very convincing. Furthermore, trying to build the future by looking at the medieval past indicates a nostalgia for a mythical "golden age" that may have never existed more than a concrete platform to develop. Overall, Mumford seems much better at bringing to our attention some of the key areas that need to be addressed than he is at getting down to the nitty-gritty and outlining the concrete steps to be taken. Despite these problems, his work is inspiring and brilliant.

12 of 12 people found the following review helpful.
Epic work
By Amazon Customer
This book is a statement of Mumford's views on city planning. It begins with a 300-page history of European and American cities, from the Middle Ages through the 1920s. Following this, Mumford takes up a variety of topics in turn, including regional planning (and why he advocated for it), politics of regionalism, and miscellaneous topics such as agriculture, hygiene, museums, housing, and schools. The book is punctuated every 50 pages or so with pictorial features of black-and-white photographs or drawings together with paragraph-long analyses of these items related to topics from the main text. The book also includes a glossary, a 50-page annotated bibliography, and an index.

This book was seminal in its time. It represented a massive scholarly undertaking, and many of its ideas are still relevant today, some 70 years later. The historical overview is interesting and informative. Mumford points out how residents of cities in the Middle Ages enjoyed freedoms not possessed by land-bound peasants, and how life in the cities of those times did not entail exile from natural surroundings. He goes on to describe how cities lost more and more of their green spaces as they become more densely developed, and how the air and water of industrial cities made these places quite unhealthy. He also describes the original Garden City concept, which aimed at building small livable cities for the working class. These Garden Cities were supposed to be economically self-contained, with several options for industrial employment within their boundaries. Nowadays, when we think of the Garden City concept however, we think of the birth of suburbs, towns in the country where people only keep their beds, and which they leave each morning to go into the big cities for work and shopping. Mumford had a strong distaste for such developments, calling them "dormitories", and he rails against time wasted in workaday commutes. His ideal would be small cities of 30,00-40,000 inhabitants, with dense efficient housing, plenty of green space for everyone, and workplaces within walking distance from home for all.

Mumford's organization of the volume barely conceals a strong underlying message- -that cities in the distant past were pretty good, then they got worse, and now (in the late 1930s) they are heading towards Armageddon. He views the enormous megalopolis of the Twentieth Century as leading inevitably to armed conflict and misery. Given the context of his time, such a belief is quite understandable. Within two years from the publication of the book, his predictions of dire destruction did seem to come true. Nevertheless, world society somehow got through the problems of the 1940s, and people seem perfectly capable of living peacefully with their neighbors in cities that are much larger than any Mumford discussed. Thus, the problems that he claimed to be inevitable with big cities were not inherent in the size of the cities themselves, but more likely were products of an unstable era.

As a scholar in the Western tradition of the 1930s, Mumford may have had little background or interest in cultures beyond Europe or North America. However, as a modern reader, I found his notion that the general history of cities began in Europe in the Middle Ages a bit disconcerting. European cities at that time were in contact either directly or indirectly with the great cities of the East, from Jerusalem to Istanbul, Cochin to Shanghai and beyond. Such a survey of the history of cities, if written today, would need to consider the elements of city life beyond Europe. By using a comparative approach and including the cities of the Incas and Aztecs, one might be able to deduce which factors affecting the development of cities are universal or inevitable, and which are culturally bound.

One additional weakness of Mumford's argumentation is that he relies on comparisons of cities across time to try to identify which elements go into healthy cities. He concludes from these comparisons that as a city gets older, life in the city tends to go downhill, and he tries to identify the factors that make it do so, such as increasing population density. He might have gotten more accurate results by comparing cities synchronically, cities that share the same time and culture, but were developed along different lines with varying results.

In general, Mumford's writing style is delightful to read- -from the first page, I could recognize that he was an author who took pride in his craft. Although some peculiarities of his argumentation do not stand the test of time, many of his ideas are still quite exciting and well worth discussing. It would be great to see an edited volume of this work, with the most important points condensed into a shorter text.

7 of 7 people found the following review helpful.
a correction
By Napoleon Murphy Brock
Just a correction on the previous review, actually. Culture of Cities was written before The City in History. Culture was 1938, and History was 1961. In fact, The City in History was originally going to be a revision of The Culture of Cities.

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^^ Free Ebook The Double, by José Saramago

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The inspiration for the major motion picture "Enemy" starring Jake Gyllenhaal and directed by Denis Villeneuve Tertuliano Máximo Afonso is a divorced, depressed history teacher. To lift his spirits, a colleague suggests he rent a certain video. Tertuliano watches the film, unimpressed. But during the night, when he is awakened by noises in his apartment, he goes into the living room to find that the VCR is replaying the video. He watches in astonishment as a man who looks exactly like him-or, more specifically, exactly like he did five years before, mustachioed and fuller in the face-appears on the screen. He sleeps badly.

Against his better judgment, Tertuliano decides to pursue his double. As he roots out the man's identity, what begins as a whimsical story becomes a "wonderfully twisted meditation on identity and individuality" (The Boston Globe). Saramago displays his remarkable talent in this haunting tale of appearance versus reality.

• Sales Rank: #475444 in Books
• Published on: 2005-10-03
• Released on: 2005-10-03
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .87" w x 5.31" l,
• Binding: Paperback
• 336 pages

From Publishers Weekly
The double motif, which has fascinated authors as diverse as Poe, Dostoyevski and Nabokov, is revived in this surprisingly listless novel by Portuguese master Saramago. Tertuliano Máximo Afonso is a history teacher in an unnamed metropolis (presumably Lisbon). Middle-aged, divorced and in a relationship with a woman, Maria da Paz, he is bored with life. On the suggestion of a colleague, one night Máximo watches a video that changes everything. The video itself is a forgettable comedy, but the actor who plays the minor role of hotel clerk (so minor he isn't listed in the credits) is Afonso's physical double. Soon Afonso is feverishly renting videos, trying to find the actor's name, while hiding his project from his suspicious colleague, his lover and his mother. Finally tracking the man down, he suggests a meeting. The actor, a rather sleazy fellow, resents Afonso's presence, as if his identical appearance were a sort of ontological theft. Soon the two are in a competition that involves sex and power. Narrating in his usual long, rambling sentences, Saramago suspends his characters and their actions in fussy authorial asides. Afonso has several hokey "dialogues" with "common sense"; his situation, which might be the germ for an excellent short story, is stretched out far beyond the length it deserves. This semi-allegory is certainly not one of Saramago's more noteworthy offerings.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
The Double received decidedly mixed reviews. Certain critics applaud the urgency with which Saramago questions the nature of identity in our current age and the "what if" scenario. Others believe that Shakespeare, Dumas, and Nabokov have more effectively employed the twin construct. No one denies that Saramago is a brilliant, engaging writer who has earned his eminent standing. However, most reviewers conclude that neither Afonso nor his double, Claro, are fully developed characters with vital inner lives. They are little more than devices through which Saramago funnels his existentialism. Although Costa receives across-the-board kudos for her faithful and elegant translation, many readers will ditch Saramago’s labyrinthine prose halfway through.

Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
The 1998 winner of the Nobel Prize for Literature continues to garner a reputation and readership far beyond his native Portugal. His latest novel is a provocative meditation on identity: specifically, the story of how ordinary history teacher Tertuliano Maxim Afonso awakens one morning to find a video that he's rented but not yet watched playing on his VCR. And one of the characters--the actor playing the role, that is--is the spitting image of Tertuliano, as he appeared about five years ago. Tertuliano is divorced, lonely, depressed--in other words, susceptible to filling in his time and mind with an obsession, which this situation quickly becomes. He decides to track down the actor who is his double, with disturbing, even dire, consequences. Saramago's typical stream-of-consciousness technique, although not easy for complacent readers, is beautifully lyrical here ("the first, subtle wash of early-morning lightness") and, at the same time, burrows deeply within the protagonist's thought process--entirely suitable and even necessary for such a cerebral yet shockingly personal exploration of what truly makes an individual unique and the concept that somewhere in the world it's possible that one's exact physical double exists. Brad Hooper
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

40 of 43 people found the following review helpful.
A Magical Tale by a Master Writer
By Steve Koss
From the day I discovered BLINDNESS, I have been a great fan of Jose Saramago's work: THE STONE RAFT, THE GOSPEL ACCORDING TO JESUS CHRIST, and THE CAVE to mention a few. I picked up THE DOUBLE with eager anticipation and was not disappointed. The pacing is slow and deliberate, the sentences long and convoluted in typically Saramagian style, but this is a book that I simply did not want to put down. Every time I planned to use a chapter ending as a break point in my reading, my eyes continued on almost involuntarily to the next page, my mind not yet ready to let go of the story.

THE DOUBLE's story line is simple, the cast of characters relatively limited. Tertuliana Maximo Afonso is the most ordinary of ordinary history teachers, a divorced, middle-aged man living a stagnant existence: friendless, cautious to the point of near paralysis, afraid of commitment to an inexplicably-attached girlfriend, and overly attached to his own mother. Then one evening, following the recommendation of a fellow teacher, he watches a rented video and sees a minor actor who is a virtual duplicate of himself as he looked five years earlier, when the movie was made.

With this cinematic revelation of a double, Tertuliano Maximo's world is turned upside down. He begins a comically academic process of investigation, even co-opting his girlfriend Maria da Paz into participating while refusing to reveal the reason. The more he learns about his double, the more shocked he is by their clone-like sameness, down to the matching scars on their knees. Once he learns the other man's true name and address, Maximo cannot resist making contact. Upon discovering their identicalness extends even to birth dates and fingerprints, they are joined in a battle for primogeniture, for the right to exist and occupy the one single place Nature intended for just one human entity, at the unavoidable expense of the other. The consequences are both amusing and tragic, concluding with a surprise twist.

It is tempting to consider THE DOUBLE as Saramago's riff on cloning, but such an interpretation seems overly literal and a bit too facile. Instead, the book can be seen as a modern tale of personal identity: who we think we are, who we portray ourselves to be, and who we really are (or if we can ever even discover that).

Once, double lives were the exclusive province of movie stars and politicians, those who necessarily adopted public personas often far different from their private lives. Today, we have ordinary people taking on new identities courtesy of reality television programs. Thanks to the Internet, we can try on and cast off personalities as easily as changing shirts: projecting chosen identities in chat rooms and via instant messaging, living them out as avatars in simulated life games like The Sims, or portraying ourselves as we wish to be seen on personal web pages. In an Internet world, we can be several people simultaneously. Those who "see" us may have no idea who we really are. After a while, we may not even be sure ourselves which identity is the real "us."

In THE DOUBLE, Saramago pries open the lid on modern identity to examine the consequences of a world in which we can be so easily heard without being seen, where we can represent ourselves to be virtually anything we choose to be. It is no accident that Tertuliano Maximo's doppelganger has a successful career as a supporting actor in movies, appearing in one as a waiter, in another as a hotel receptionist, in still others as a croupier, a dance teacher, a theater impresario. Nor is it a matter of chance that Tertuliano Maximo is a teacher of ancient history, a reader about Mesopotamia, burdened by a laughably outmoded first name and an equally out-of-date automobile, so technophobic he is clueless about how to use a computer. Tertuliano Maximo Afonso is no longer a serviceable identity - it's time to discard it for a newer and better one.

For those unfamiliar with Jose Saramago's work, do not be put off in the first twenty pages by his writing style. His prose is full of involutions and convolutions, turning in on itself playfully and wandering about self-reflexively, revealing wry commentaries and sardonic humor along the way. Saramago's writing is meant to be savored like a fine wine, swirled about the mind and appreciated the way we appreciate the brushstrokes of a master oil painter. The result is magical, more than worth the effort. This is a masterful work from a master writer and deserving Nobelist.

16 of 17 people found the following review helpful.
A rule-breaking and thought-provoking novel
By Bookreporter
Since THE DOUBLE was my first Jose Saramago book, it was eagerly anticipated. I had heard high praise about THE CAVE. The author's name had been mentioned in some surprising circles. So I'm not sure what I expected here. What I got was a book like no other --- in some ways incredible, in other ways bewildering.

Just the lead character's name, Tertuliano Maximo Afonso, strikes a discordant note from the beginning. And Saramago rarely uses less than all three names, and almost never uses the pronoun. He emphasizes the name's rarity first, among many instances, when Tertuliano Maximo Afonso has to identify himself for the clerk at a video rental store. He rents a video from this previously mentioned clerk at the suggestion of a teacher of mathematics at the school where he, Tertuliano Maximo Afonso, teaches history. The video is unremarkable but for one aspect: A supporting actor with barely a speaking part is identical in appearance to Tertuliano Maximo Afonso. Identical.

Tertuliano Maximo Afonso, recently depressed and lethargic --- too depressed and lethargic to extricate himself from a lackluster relationship with long-time paramour Maria da Paz --- discovers a renewed purpose to his days. He embarks on a mission to locate this actor with his face. He muses whether identical looks (right down to years-old scars and mole placements) means identical times of death. He muses about other things, too. In fact, Tertuliano Maximo Afonso muses, it seems, all day long.

Engulfed in his quest for at least a glimpse of his double, Tertuliano Maximo Afonso neglects not only Maria da Paz, who is recently asking some hard questions, but his mother as well, who is also asking some hard questions, just not the same ones. Tertuliano Maximo Afonso's obsession leads him to neglect most areas of his life that do not involve the actor. He may, it turns out, have taken his mission too far.

This is a book to pay attention to. While at first Saramago's style may be off-putting to some (a spectacularly run-on sentence may go on for a full page; paragraphs may go on for three, no quotation marks are used, very few speaker tags, and you will never see a dash or an interrogatory), it brazenly dares the reader to look beyond proper grammatical conventions and simply read the message. It defies all the rules. Saramago has a rhythm to his writing that, once you have it, propels you into the story with enthusiastic speed. THE DOUBLE provides excellent fodder for provoking thought. It is perplexing, comical, even absurd. A guaranteed head shaker.

--- Reviewed by Kate Ayers

17 of 19 people found the following review helpful.
Digressions are the sunshine.
By Cipriano
"Digressions, incontestably, are the sunshine - they are the life, the soul of reading." - Laurence Sterne.

Believing the above statement to be true would really help a reader enjoy Saramago and I happen to be one of the believers. I cannot think of an author who uses the device of digression moreso than Saramago. For me, the near-constant philosophizing of the narrator and the characters is one of the things that I love the most about his work. This is the fifth Saramago book I have read and it has helped me arrive at the conclusion that he is my favorite living author.

There is no point in my re-stating the plot or storyline because the amazon page itself (above) really provides a perfect synopsis. So do the fine reviews that follow mine here on this page. But here is the one thing that I would ask the prospective reader to ponder...

What would it be like to suddenly find that there is another person in the world that is exactly like you, in every respect? Another YOU! A double. A doppelganger.

In its psychological twistings and turnings and in a writing style that is as wonderful and coherent as it is inimitable and unorthodox, this is the very question that Saramago brings the reader FACE to FACE with!

My initial answer to the question was "Hmmm, no big deal. So what? I have a double. Who cares?" With The Double, Saramago has now blown the lid off of such an easy answer. Sure, the book is not ABOUT me or you, but in Tertuliano Maximo we see shades of who we all are. And the thoughtful (and patient) reader will find that they are drawn into a vortex of identity trauma along with the protagonist himself.

Who AM I, if there is another me?

Be patient with the book, especially if you are new to Jose Saramago... give it time, you will be rewarded. Stick with the convolutions and dialogues with "common sense"... the absolutely crazy ending is worth it all.

Saramago. What can one say? He is the literature teacher's worst nightmare! He does not even use "proper" punctuation. Most conventional rules of writing are thrown to the wind. Like one reviewer noted, J.S. even tells you ahead of time what is going to happen to his characters later on in the story. It is crazy.

Is The Double a good book to start with if you are new to Saramago? Not really, in my opinion. The Cave, or Blindness, would be a better pier to jump off of.

But jump. Do it.

Swim with a partner, if need be.

T.y.L.i.I.

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Based on real characters and events, Storm Rider is a vivid historical portrait of Japan and America in the mid-nineteenth century, as well as an exciting high-seas adventure and a moving story of a man lost between two cultures.

At the age of thirteen, Hikotaro is orphaned and left to a life at sea. When the merchant vessel he sails on is caught in a violent storm on the Pacific, an American ship comes to the rescue and takes the young boy to San Francisco. With trepidation and hope, the boy-now dubbed Hikozo-accepts his new country. Still, he dreams of returning to Japan, but shogunate policy forbids reentry to Japanese who have been abroad. He tries anyway, only to be refused and returned to America, where a wealthy American adopts Hikozo and introduces him to a world of influence and power. Some ten years later, Hikozo returns to a Japan stirred into violence by the opening of the country. At the same time, America is in the midst of its bloody Civil War, and Hikozo finds that there is no place he can call home.

• Sales Rank: #3124252 in Books
• Published on: 2005-03-14
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .95" w x 5.50" l, 1.03 pounds
• Binding: Paperback
• 372 pages

Features

• ISBN13: 9780156031783
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
Set in the midâ€"19th century, this fourth of Yoshimura's novels to be translated into English tells the astonishing story of a 13-year-old Japanese boy who becomes a castaway, is rescued by an American ship and brought to San Francisco, and finally returns years later to his native land. Unfortunately, while the circumstances the narrative coversâ€"storms at sea, unspeakable privations, violent rebellions on several continents, amazing coincidences and ironic reversalsâ€"are dramatic and surprising, the novel itself is written (or perhaps translated) in dry circumstantial detail, wooden in affect. Born in a small village on an island on the Inland Sea, Hikotaro, aka Hikozo and Joseph Hiko, traverses more than oceans in a lifelong voyage. He faces the cultural dislocations of an alien in American society and the violent enmity of his countrymen when he returns to Japan as a Westernized employee of the U.S. consulate. His life spans the Taiping Rebellion in China, the U.S. Civil War and the turbulent period before the Meiji Restoration in Japan. Along the way he meets three U.S. Presidentsâ€"Pierce, Buchanan and Lincolnâ€"travels with Commodore Perry's fleet, is promised a job by Secretary of State William Seward and crosses paths with many other notable people. After returning to his homeland, he founds Japan's first newspaper and uses his skill in English to succeed in several businesses. But beneath his achievements lies the sadness of a man without a country. Readers can't fail to find the novel's historical details fascinating, but its protagonist and his shipmates, whose exhaustively detailed experiences are also interpolated into the narrative, lack emotional depth, and Yoshimura's matter-of-fact prose fails to sustain dramatic tension.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
One of Japan's most distinguished novelists appears in English for the fourth time, in a tale of nineteenth-century transpacific life. A Japanese boy is saved at sea by an American ship and taken to San Francisco, which, under the shogun's rule, means that he cannot return to Japan. He tries, sailing with Commodore Perry's expedition to Japan and giving readers a Japanese perspective on that historic mission. But he finds no welcome and must return to an America on the verge of civil war, where he is adopted by a wealthy American. In time the overthrow of the shogunate allows him to return to Japan to play a part in the Meiji Restoration, which most Americans know only from samurai flicks. They deserve the closer encounter Yoshimura's book provides, despite its rather slow pacing and slightly stiff prose, which may be attributable to the translation. As much a work of scholarship as of fiction, it may find its most dedicated readers in the audience for serious historical fiction. Roland Green
Copyright © American Library Association. All rights reserved

Review
Set in the midâ€"19th century, this fourth of Yoshimura's novels to be translated into English tells the astonishing story of a 13-year-old Japanese boy who becomes a castaway, is rescued by an American ship and brought to San Francisco, and finally returns years later to his native land. Unfortunately, while the circumstances the narrative coversâ€"storms at sea, unspeakable privations, violent rebellions on several continents, amazing coincidences and ironic reversalsâ€"are dramatic and surprising, the novel itself is written (or perhaps translated) in dry circumstantial detail, wooden in affect. Born in a small village on an island on the Inland Sea, Hikotaro, aka Hikozo and Joseph Hiko, traverses more than oceans in a lifelong voyage. He faces the cultural dislocations of an alien in American society and the violent enmity of his countrymen when he returns to Japan as a Westernized employee of the U.S. consulate. His life spans the Taiping Rebellion in China, the U.S. Civil War and the turbulent period before the Meiji Restoration in Japan. Along the way he meets three U.S. Presidentsâ€"Pierce, Buchanan and Lincolnâ€"travels with Commodore Perry's fleet, is promised a job by Secretary of State William Seward and crosses paths with many other notable people. After returning to his homeland, he founds Japan's first newspaper and uses his skill in English to succeed in several businesses. But beneath his achievements lies the sadness of a man without a country. Readers can't fail to find the novel's historical details fascinating, but its protagonist and his shipmates, whose exhaustively detailed experiences are also interpolated into the narrative, lack emotional depth, and Yoshimura's matter-of-fact prose fails to sustain dramatic tension.
(Publishers Weekly)

One of Japan's most distinguished novelists appears in English for the fourth time, in a tale of nineteenth-century transpacific life. A Japanese boy is saved at sea by an American ship and taken to San Francisco, which, under the shogun's rule, means that he cannot return to Japan. He tries, sailing with Commodore Perry's expedition to Japan and giving readers a Japanese perspective on that historic mission. But he finds no welcome and must return to an America on the verge of civil war, where he is adopted by a wealthy American. In time the overthrow of the shogunate allows him to return to Japan to play a part in the Meiji Restoration, which most Americans know only from samurai flicks. They deserve the closer encounter Yoshimura's book provides, despite its rather slow pacing and slightly stiff prose, which may be attributable to the translation. As much a work of scholarship as of fiction, it may find its most dedicated readers in the audience for serious historical fiction.
(Booklist - Roland Green)

Most helpful customer reviews

10 of 10 people found the following review helpful.
For history lovers interested in the opening of Japan.
By Mary Whipple
The well known, true story of Manjiro, a young Japanese sailor lost at sea, rescued by American sailors, and brought to the US, where he learned English and later worked as an interpreter, is the framework for this study of the opening of Japan to trade. The fictional Hikotaro, who became Hikozo, and later Joseph Heco, is thirteen in 1850, when he is rescued by an American ship from a rudderless and drifting Japanese fishing boat. Hiko's observations about this strange ship, the Americans who have rescued him, and the cities of San Francisco, Hong Kong, and Macao, to which they travel, establish the cultural differences and the contrast between the Americans' overwhelming desire for trade and the Japanese resistance to it. Hiko knows that he will not be allowed to return his own country because he is considered a criminal, his "crime" being his exposure to the outside world and to Christianity.
Though he never stops wanting to return to Japan, Hiko does the only things he can do--he makes friends among Americans, learns the language, keeps his mind open to new ideas, and travels the world on American ships. Eventually he meets senators, President Buchanan, and even President Lincoln during the Civil War, before finally returning to Japan as an American interpreter when the shogunate opens the country to trade in the 1860s. "Faction samurai" are as opposed to this as many Americans are to the Emancipation Proclamation, and bloodshed and fires directed at foreigners make life for Hiko and the American consular officers for whom he works very dangerous.
For someone interested in the opening of Japan, the novel provides interesting historical insights. As a novel, however, the book is a challenge. The plot has no real dramatic tension or focus, simply following Hiko around for many years. Inexplicably, the narrative also splits several times, following the lives of other Japanese castaways whom Hiko meets as they, too, try to return to Japan. Though this gives additional historical information, it further fragments the reader's already weak identification with Hiko, since he is not present in these side narratives. Episodic and lacking in urgency, the novel feels more like an historical record than a plot which the author has directed. With undeveloped characters, no love story, and no humor to change the tone or mood, this is a novel more geared to the historian than the lover of literature. Mary Whipple

3 of 3 people found the following review helpful.
(2.5) A man of two worlds with no home
By Luan Gaines
After his mother dies unexpectedly, young Hikotaro expects great adventures when he joins his stepfather, who is captain of his own vessel. Later Hizoko, as he is nicknamed, transfers to another ship, training as a cook, learning the dangerous ways of the sailor?s life. Unpredictable weather is a common occurrence for the ships that sail near Japan?s coastline and the men accept this danger as the fate of seamen.
When the ship is caught up in a fierce storm and virtually destroyed after days of incessant pounding from the waves, the increasingly desperate crew is saved by an American ship sailing to San Francisco, in America. So begins Hikozo?s attempt to return to his homeland, a process that is thwarted both by world events and the seclusion policy of Japan. This policy forbids a man?s reentry into Japan after traveling abroad. The strict control is eventually loosened, but not for many years. Meanwhile, Hikozo cannot return to the land of his birth.
Hizoko?s experiences define his life between two continents: he is essentially a man of two countries, in the unique position of observing both, but unable to return to the land of his birth. Through Hizoko?s adventures, the author describes world events from the opening of trade with Japan in 1839 to the American Civil War, as well as the California Gold Rush. Eventually Hizoko does return to Japan, where he uses his Americanized name, Joseph Heco, but his American citizenship stigmatizes the rest of his life.
This novel is a translation of the original and, while historically precise, the reading can be dry and uninspiring. Whether this is due to the original manuscript or the translation is difficult to ascertain. However, this is a rich period in world politics, as America flexes its military muscle, forcing Japan to open to trade and the influx of opportunists who flock to California, infected with gold fever. With the advent of the Civil War, Hizoko chooses not to return to America; rather, he remains a man lost between cultures, a prisoner of history, denied a homeland that recognizes his identity. Luan Gaines/2004.

0 of 0 people found the following review helpful.
Not a great story but interesting history
By Stretchkev
Storm Rider is primarily a story about a young Japanese castaway rescued by American sailors trying to get back to his homeland. Hikotaro, who became Hikozo, and later Joseph Heco becomes a successful interpreter for various commercial enterprises and the US government during the period when Japan was opening itself to western trade again in the 1850's. Even though Hikozo is able to return to his homeland in his heart he is knows that his fellow countrymen will always be considered a criminal for becoming a citizen of his adopted country and converting to Christianity. Never being truly American and not able to assimilate himself back into Japanese society, Hikozo is destined to drift between this cultural divide unsure of where he fits and where his true loyalties lie.

On the surface this would make a compelling story. However, Yoshimura fails to deliver the goods. Instead the reader is presented with an interesting historical perspective of the opening of Japan but not much else. The main plot has no real dramatic tension or motivation. The story simply follows Hikozo around for many years detailing his life and all the people who help him return to Japan, while on some level this is fairly interesting it doesn't make for a very compelling read. On top of that Yoshimura felt it necessary to split the narrative several times, following the lives of other Japanese castaways whom Hikozo meets as they, too, try to return to Japan. All these stories felt like an epilogue sandwiched in the middle without much thought as to how it would affect the pace and overall structure of the story. It's all a bit strange why Yoshimura choose to fragment the story in this way, something I would expect from a first time novelist, not a seasoned veteran. Also, the translation while probably accurate and precise his often very dry and a times seems to breakdown the cadence/rhythm of Yoshimura's writing that is quite jarring and hard and adds breaks to the narrative that shouldn't be there. Really Storm Rider feels like a thinly veiled historical narrative Nakahama Manjiro's life and the opening of Japan. With some judicious editing and a better translator this could have been a really good novel. Or maybe Yoshimura should have just stuck with a historical biography of Nakahama Manjiro and not have tried to fictionalize his life story.

On a positive note Storm Rider has not deterred my desire to read Shipwrecks by the same author. Even though I may not have enjoyed Storm Rider as much as I would have liked, I did find some real potential in Yoshimura's writing. Added bonus I learned about Nakahama Manjiro, an unintentional side effect of googleing. Oh and now I feel I need to learn more about Japanese culture and history to really understand setting and moods of Japanese fiction.

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! Download Ebook Strange Fruit, by Lillian Smith

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When it was first published in 1944, this novel sparked immediate controversy and became a huge bestseller. It captured with devastating accuracy the deep-seated racial conflicts of a tightly knit southern town. The book is as engrossing and incendiary now as the day it was written.

• Sales Rank: #121419 in Books
• Published on: 1992-07-15
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .96" w x 5.25" l, .95 pounds
• Binding: Paperback
• 371 pages

Features

• ISBN13: 9780156856362
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
It's August, it's hot, it's revival time in Maxwell, Georgia. Tracy Deen, the rebel child who always disappoints his self-sacrificing mother, returns home from World War I. It is clear as day, once he is able to put his feelings into words, that he loves Nonnie Anderson. But Tracy Deen is white and Nonnie Anderson isn't. She's from one of the best colored families in Maxwell, even college educated, but she isn't white; and now she's pregnant with Tracy's child and she's glad. Nonnie's brother and sister try to make Nonnie see the problems they all now face. Maxwell is a town where, on the surface, people know their place. But after a white man is murdered in the black part of town, fear takes over and a vigilante group soon appears. A young man laments: "Right now, I have some ideas...If I stay here twenty years, I won't have them. Now I see things without color getting in the way - I won't be able to, then. It'll get me. It gets us all. Like quicksand. The more you struggle, the deeper you sink in it - I'm damned scared to stay -." Strange Fruit, written fifty years ago, confronts problems that have yet to be resolved, that need to be read about and acted upon. -- For great reviews of books for girls, check out Let's Hear It for the Girls: 375 Great Books for Readers 2-14. -- From 500 Great Books by Women; review by Holly Smith

About the Author
Lillian Smith (1897 - 1966) was a novelist, essayist, and one of the first prominent white southerners to denounce racial segregation openly and to work actively against the entrenched and often brutally enforced world of Jim Crow. Author of Killers of the Dream, The Journey, and One Hour and recipient of the Southern Authors Award in 1950, she was both celebrated and condemned for Strange Fruit, her first, and most accomplished, novel.

Most helpful customer reviews

1 of 1 people found the following review helpful.
... my World Literature class this summer and this was easily the most enjoyable of the books
By Alex Cobb
I had to read a bunch of books for my World Literature class this summer and this was easily the most enjoyable of the books.

31 of 34 people found the following review helpful.
Incredible! A definite winner!
By Paz
I don't think I've ever read a book as complete in so many different ways as this one. It had a lot of intelligent insight about people and society, it made my cry, it made me laugh, it made me swoon at the love story, the language was beautiful, and half way through the story, the suspense got really exciting. I can't think what more I could ever ask for in a book. This book is about race relations in the early 20th century South, but it's also about so much more than that. It's about the need we all have to find our place in this world and to be accepted and loved. This book is for anyone who's ever felt like an outcast in society. It's also for anyone who's ever really loved anyone, whether it was a family member or a romantic love, and whether they received love back in return or not.

22 of 25 people found the following review helpful.
Moving portrayal of interracial love in 1920's South
By A Customer
Strange Fruit is an excellent portrayal of race relations inthe deep South of the 1920's. It is a deeply moving story of forbiddenlove, and the inability of both whites and blacks in the early South to shed the long standing racial bigotry and prejudice, so prevalent in that era.

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~~ Download PDF The Zen Koan: Its History and Use in Rinzai Zen, by Isshu Miura, Ruth Fuller Sasaki

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The first scholarly examination in any language of the historical development and traditional method of koan study in Zen Buddhism. Foreword by Ruth Fuller Sasaki; Index; ink drawings by Hakuin Ekaku.A Helen and Kurt Wolff Book.

• Sales Rank: #535759 in Books
• Published on: 1966-10-19
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .45" w x 5.50" l, .53 pounds
• Binding: Paperback
• 176 pages

Features

• ISBN13: 9780156999816
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
Miura Isshu, Zen teacher, Hakuin Rinzai line, dies at 75. The author of "The Zen Koan" along with Ruth Fuller Sasaki.

Ruth Fuller Sasaki (Oct. 31, 1892-Oct. 24, 1967), born Ruth Fuller, was an important figure in the development of Buddhism in the United States. As Ruth Fuller Everett (during her first marriage),she met and studied with D. T. Suzuki in Japan in 1930.[1] In 1938, she became a principal supporter of the Buddhist Society of America (later known as the First Zen Institute of America), in New York. She married Sokei-an, the Zen priest in residence there, in 1944, but he died within a year. She went to Kyoto in 1949 to find another roshi to live and teach in New York, to complete translations of key Zen texts, and to pursue her own Zen training, receiving sanzen from Goto Zuigan. She stayed in Kyoto for most of the rest of her life, becoming in 1958 the first foreigner to be a priest of a Rinzai Zen temple, and the only westerner, and the only woman, yet to be a priest of a Daitoku-ji temple. She was careful to record, however, that she did not perform the usual duties of a priest, "because I was a foreigner, a woman, untrained in temple procedures, and because I needed the years left me to carry on the work of spreading Zen to the west."

 Sasaki was instrumental in the translations into English of many Zen texts. One of the most important was Zen dust; the history of the koan and koan study in Rinzai (Lin-chi) Zen, published in 1966 by her own First Zen Institute. In 2006, Snyder wrote, "Her writings from the sixties were ahead of their time and remain accurate and relevant."

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42 of 43 people found the following review helpful.
A highly successful collaborative effort.
By tepi
THE ZEN KOAN : Its History and Use in Rinzai Zen. By Isshu Miura and Ruth Fuller Sasaki. With Reproductions of Ten Drawings by Hakuin Ekaku. 156 pp. New York : Harcourt Brace Jovanovich, 1965 and Reprinted.
Although the word 'koan' has now entered the English language, there are still many who don't have a clear and accurate idea of just what a koan is, and how it fits into traditional Zen Practice. The present book, as its subtitle indicates, has two aims : 1. To offer us "an essay on the history of the origin and use of the koan by Chinese Ch'an masters and its further development by their heirs, the Rinzai Japan"; 2. To also offer us, in Ruth Fuller Sasaki's English translations, a series of eight talks given in New York by Miura Isshu Roshi on "the system of koan study at present in use in all the Rinzai monasteries in Japan" (page x).
This book therefore, although of course it contains a number of koans, should not be mistaken for a collection of koans, but is rather a very well-written and informative introduction to all such collections, and one that clears away whatever misconceptions we may have. Sasaki emphasizes that :
"The koan is not a conundrum to be solved by nimble wit. It is not a verbal psychiatric device for shocking the disintegrated ego of a student into some kind of stability. Nor ... is it ever a paradoxical statement except to those who view it from outside. When the koan is resolved it is realized to be a simple and clear statement made from the state of consciousness which it has helped to awaken" (pages xi-xii).
In addition to Ruth Fuller Sasaki's 30-page 'History of the Koan in Rinzai,' and Miura Isshu Roshi's eight lectures on koan study, the book also contains two surprising bonuses. The first of these, 'Selections from A Zen Phrase Anthology,' gives us 210 'jakugo' or 'capping phrases' from the 'Zenrin Kushu,' an anthology of famous and beautiful lines "from Buddhist sutras, the records of the Chinese Zen patriarchs, Confucian texts, Taoist writings, and the works of Chinese poets" (page 79).
The Japanese student often memorizes abridged versions of the 'Zenrin Kushu' "for within its thousands of phrases he must find the particular traditional ... "capping phrase" ... for the koan he is studying, and present it to his teacher as the final step in his study of the koan" (page 80). For each of the capping phrases we are given the original Chinese text in Chinese characters (which cannot of course be reproduced here), the romanized Japanese reading, Sasaki's English translation, and sometimes a brief note. Here is an example, with my slash marks to indicate line breaks:
"142. [Chinese characters] / Enzan kagiri naku hekisoso / Endlessly rise the distant mountains, / Blue heaped upon blue" (page 105).
One easily available Japanese edition of the 'Zenrin Kushu' is the abridged version edited by SHIBAYAMA Zenkei (Kyoto : Kichudo, 1952).
Since, as Sasaki explains in her Foreword, the subject of 'The Zen Koan' is Hakuin Ekaku's (1686-1769) system of koan study, and long quotations from him are given in Miura Isshu Roshi's lectures, the work would not be complete without some examples of his brilliant paintings and calligraphy, which he used in teaching Zen, particularly to his lay followers (page xiii).
Hakuin was a sort of Picasso of Zen, and these paintings, all of which have explanatory inscriptions, are for me one of the high points of the book. Once again, besides halftone reproductions of the ink paintings, we have been given printed versions of Hakuin's inscribed texts in the original Sino-Japanese characters, romanized Japanese readings, and very readable English translations by Ruth Fuller Sasaki.
One of my favorites is THE MONKEY, which gives a delightfully comic painting of a young monkey hanging by one arm from a branch, and reaching down with the other towards the water. Sasaki's translation of the inscription reads:
"The monkey is reaching for the moon in the water / Until death overtakes him he'll never give up. / If he'd let go the branch and disappear in the deep pool / The whole world would shine in dazzling pureness" (page 132).
Another of my favorites is the masterpiece, KANNON, for which I'll just have to refer you to the book. 'The Zen Koan' is a highly successful collaborative effort, and should prove of interest to anyone who has the slightest interest at all in the Zen koan.

0 of 0 people found the following review helpful.
Excellent study of Rinzai Zen and the development and use ...
By PRT Eddie
Excellent study of Rinzai Zen and the development and use of the koan. Ruth Sasaki was a true and devout student of traditional Zen Buddhism. Isshu Roshi was a great teacher as well. Glad to see that this book is still available.

19 of 21 people found the following review helpful.
A classic, in its own way
By Hakuyu
This was a ground-breaking work when it first appeared in 1966 - and, it deserved the good reviews received. It is a matter for regret that the larger work this material was extracted from (Zen Dust: The History of the Koan and Koan Study in Rinzai Zen, First Zen Institute, Kyoto, 1966) is out of print. Still, this portion, selected for reprint, has relevance for the general reader. The foreword and Part 1 was contributed by Ruther Fuller(Sasaki), Parts 2 & 3 by Isshu Miura Roshi. Ruth Fuller's introductory remarks provide a useful summary of the background to Rinzai Zen - including its roots in China. Parts 2 & 3 provides a fascinating account of the koan in the context of Rinzai practice - the focus mainly upon Hakuin's teachings. The material from Hakuin's Keiso dokuzui' dealing with the 'Five Ranks'(or Go-I)is particularly relevant, for it has been - and still is, neglected by other translators. This material comprises Hakuin's account of the Go-I teachings, devised by the Chinese Soto (Ts'ao-tung) masters. It is worth noting that Hakuin used to it to 'cap' his own training system. Anyone who feels inclined to make black and white distinctions between Rinzai and Soto Zen - should take a hint from this.

The extracts from the Zenrinkushu were translated beautifully, and these are accompanied by some delightful reproductions of Hakuin's art-work. All in all, this is an engaging and highly useful book. It is packed with fascinating remarks and notes.

I've had copies of this book around for more than thirty years, to show/loan to friends. The first copy was a gift from a friend who moored his boat on the river at the back of my house. Its pages were permeated with the fragrance of aged timber, life on the river, damp ropes, flowing tides, a hint of wood-smoke, kerosene. The atmosphere of the river permeated the book, and the intuitions in the book permeated life on the river. In that sense, it is an old friend.

However, one thing has always made me feel uncomfortable about the book - namely, the approving references - brief though they may be - to the Zen establishment's support of the Japanese militarists in the 20thc. This ought not to have been the case in the 1960's, under Japan's pro-peace constitution. After the war, people like Yanagida Seizan went through agonizing soul searching over this matter, deeply regretting the complicity between the Rinzai Shu and the militarists. The world has moved on, Japan has moved on. The Soto Shu has officially denounced its previous complicity in such matters, and it is high time for the Rinzai Shu to follow suit. How much longer must the names of Rinzai, Hakuin etc., be tied to this sorry matter? Humanity strives - as never before, to build a peaceful world, yet there are still those who would throw the world back into futile conflict. Buddhism is about compassion, and it behooves us to remember that. What's the point in all the precepts, bodhisattva vows - or even satori, if we can't bring peace to the world. Poor Buddha!

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>> Ebook Download Do You Speak American?, by Robert MacNeil, William Cran

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Is the growing influence of Spanish threatening to displace English in the United States? Are America's grammatical standards in serious decline? Has the media saturation of our culture homogenized our speech?

These and other questions catapulted Robert MacNeil and William Cran, coauthors of the language classic The Story of English, on a journey that took them around the country in search of answers. Do You Speak American?, the companion volume to a PBS special, is the tale of the surprising discoveries they made while interviewing a host of native speakers and observing everyday verbal interactions across the country. Examining the histories and controversies surrounding both written and spoken American English, MacNeil and Cran address highly emotional anxieties and assumptions about our language-and offer some unpredictable responses.

With insight and wit, MacNeil and Cran bring us a compelling follow-up to The Story of English that is at once a celebration and a potent study of our singular language.

• Sales Rank: #232811 in Books
• Published on: 2005-11-14
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .60" w x 5.25" l, .60 pounds
• Binding: Paperback
• 240 pages

From Publishers Weekly
The English language is not a thing but a process, not an archaic institution but an experiment that is constantly evolving and re-invigorating itself. According to language experts MacNeil and Cran, no one should understand this better than Americans who, steeped in a culture of diversity, are uniquely equipped to appreciate the exciting, colorful and democratic nature of language. Although not all Americans appreciate this vibrancy-many prominent linguists are found bemoaning the state of English, horrified that people still do not understand the difference between who and whom-the evidence of an ever-changing language is indisputable, from the New York Times printing the word "sleazoid" in a column to the Oxford English Dictionary adding "blogger" to its latest edition. To better understand the diversity of American English, the authors embark on a fascinating journey across the United States, studying the conversations of Boston natives and rural Texans, inner-city blacks and valley-girl teenagers. The result is an exhilarating celebration of the ways that Americans express themselves and a testament to the indestructible power of language, whether one is using "correct" grammar or not. Traditional linguists might not approve of the way modern Americans are talking, but they will never be able to stop the English language from moving forward and, as this book successfully proves, there is nothing more American than that.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–Immigration, migration, class distinction, and mass media are among the tectonic forces shaping and reshaping the language we don't speak with anything approaching universality around North America. The authors take readers on an accessible, energetic, and insightful trip along the Eastern seaboard, down South, out to California, and to some cities in between in the company of several academic linguistics folks who offer explanations that readers don't necessarily see coming. Black English and the role of Spanish in contemporary America each get separate chapters. Americanisms like "beatnik," regionalisms like "pop," and localisms like "yinz" are admired as gems our constantly evolving language continues to press into being, and how American language is passed between generations–or fails to pass–is brought to light. Teens who already love language will take to this book with enthusiasm. Students who aren't in the habit of thinking critically about why we talk the way we do can be introduced to it through the pieces most relevant to them. And there's something relevant to everyone here, whether you talk with or without "r"s or sound just like the kids a thousand miles down the road.–Francisca Goldsmith, Berkeley Public Library, CA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
This is a companion volume to a PBS television series of the same name as well as a sequel to The Story of English (1986), also made into a television series. The authors deliver a surprisingly lively and compelling exploration of American English. Whether talking to crab fishermen in Maryland or country-and-western singers in Tennessee, the authors discover that regional dialects are thriving despite the uniformity of our national tastes in clothing, fast-food chains, and movies. Challenging language elitists, such as critic John Simon, who think grammatical standards are disappearing and that television and radio are homogenizing our speech, the authors show how mobility, immigration, and racial and ethnic mixing are rapidly and profoundly changing the language. One prediction: such diversity in our language may produce more tolerance and appreciation of American speech and less stereotyping. Expressive quotes are often used to make key points; the title comes from a comment by Bono, lead singer of U2, after being fined by the FCC for swearing. This is colorful, witty, and insightful commentary on American speech patterns. Joanne Wilkinson
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

31 of 31 people found the following review helpful.
Good, but thin
By Jon Hunt
"Do You Speak American?" is another fine contribution by Robert MacNeil and William Cran, coauthors of "The Story of English". As this is a companion book to the televised series this recent offering does not stand alone but serves as the program's enhancement.

Those of us who have followed Mr. MacNeil through his many journeys around the world in search of the ways English is enriched will find worthy chapters in "Do You Speak American?" Highlighted areas include the South, Hispanics and Black English....these three chapters encompass close to half of the book. Mr. MacNeil delivers his findings in his usual straightforward, buttoned-down Nova Scotia style. That isn't to say there isn't any humor...there is...but his earnestness keeps everything on track.

My disappointment in "Do You Speak American?" is that it doesn't cover enough ground. While "The Story of English" was a major undertaking, this seems puny by comparison. It was as if the book was written almost in haste to accommodate the tv program (which, by the way, is better than the book). The north and the midwest get far less attention so the book has an unbalanced feeling to it. That said, the portions that the authors delve into most carry a certain fascination and the narrative style to which we have been accustomed is as flawless as ever. The final chapter is an odd one, but an important one....how computers take on their own "language" and how that affects us. Some of the best (and most humorous) paragraphs in the book deal with the speech-recognition system in BMWs and the reaction of owners to it.

Perhaps Mr. MacNeil and Mr. Cran will do a follow-up to "Do You Speak American?" I hope they do. There's so much more to discover and these coauthors are just the men to continue looking into the many facets of "American English".

10 of 10 people found the following review helpful.
An interesting read!
By Armchair Interviews
Language is not constant. It is continually evolving with cultural and ethnic influences impacting a region's speech. Authors Robert MacNeil and William Cran have examined the English language through interviewing native speakers and observing the verbal interactions of people across the country.

I found Do You Speak American? fascinating. As a native speaker from the Midwest, it always surprises me when I'm traveling that people can pinpoint where I'm from. Being from the Midwest, I always thought that I didn't have an "accent." Wrong! My speech patterns, class, choice of words, word order, pronunciation (vowel changes) and perhaps the media's affect on speech, give me away.

The authors' journey across the country, studying regional conversations, is interesting and enlightening and offers explanations that might surprise the reader. I particularly enjoyed the sections on teaching computers to speak American; the one on Hispanic immigration and its impact on American language; and the section on bad-mouthing black English.

While Do You Speak American? is not an in-depth study, it is a wonderful beginning for those who are interested in the subject.

Armchair Interviews says: If you enjoy words and are curious about how Americans speak, you'll enjoy Do You Speak American?

15 of 17 people found the following review helpful.
an excellent, excellent book!... substantiated... current... upbeat...
By James Neville
I read this book because I am fascinated by words and dialects and how (some) linguistics experts can tell where you grew up just from the way you speak.

"Do You Speak American" satisfied my craving to learn more about dialect in the United States but it went WAY beyond my expectations.

In addition to presenting and discussing a FASCINATING map of major dialect regions and changes in the U.S., this book addresses two key current social issues: The (unfounded) phobia that Spanish will take over from English as the dominant language of the United States, and the (still valid) issue that even as "African American English" contributes to our culture, it separates many kids from economic mainstream access through linquistic prejudice (e.g., "if you sound like THAT you must be DUMB")

The book doesn't stop there but continues addressing MORE fascinating topics including the origins of "Valley Girl/Surfer Dude" California dialects (like, totally!) and computer speech recognition efforts by BMW and Microsoft.

I found the overall tone of the book UPBEAT. The research findings and interpretations presented show it's quite possible and quite HUMAN to be "bilingual" in DIALECTS as well as languages. So that we can maintain our language-based identity (where we grew up) AND claim our stake in the mainstream economy.

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