Minggu, 18 Januari 2015

## Free Ebook The Origins of Totalitarianism, by Hannah Arendt

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The Origins of Totalitarianism, by Hannah Arendt

Hannah Arendt's definitive work on totalitarianism and an essential component of any study of twentieth-century political history

 

The Origins of Totalitarianism begins with the rise of anti-Semitism in central and western Europe in the 1800s and continues with an examination of European colonial imperialism from 1884 to the outbreak of World War I. Arendt explores the institutions and operations of totalitarian movements, focusing on the two genuine forms of totalitarian government in our time—Nazi Germany and Stalinist Russia—which she adroitly recognizes were two sides of the same coin, rather than opposing philosophies of Right and Left. From this vantage point, she discusses the evolution of classes into masses, the role of propaganda in dealing with the nontotalitarian world, the use of terror, and the nature of isolation and loneliness as preconditions for total domination.

  • Sales Rank: #31075 in Books
  • Published on: 1973-03-21
  • Released on: 1973-03-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 1.45" w x 5.31" l, .97 pounds
  • Binding: Paperback
  • 576 pages

Review
Schocken's is the first hardcover edition of Arendt's 1951 volume to be available in decades. The book begins its study with European anti-Semitism in the 1800s and moves up to Stalinist Russia and Nazi Germany, which the author fled in the 1930s. This edition sports a new introduction by Pulitzer Prize winner Samantha (Library Journal )

About the Author
Hannah Arendt (1906-1975) was an influential German political theorist and philosopher whose works include The Origins of Totalitarianism, The Human Condition, and Eichmann in Jerusalem.

Most helpful customer reviews

246 of 260 people found the following review helpful.
Totalitarianism: Nazism and Communism.
By New Age of Barbarism
Hannah Arendt's _The Origins of Totalitarianism_ is a book that takes a hard look at two rival totalitarian movements in the twentieth century, Soviet Communism and Nazism, and traces their historical roots. The book is divided into three volumes focusing on Antisemitism, Imperialism, and Totalitarianism. The first of these volumes is concerned with the historical origins of Antisemitism. Arendt examines some of the ways historians have dealt with the historical roots of Antisemitism. For example, some historians have argued based on a "scapegoat theory" that the Jews were used as an innocent scapegoat for the world's ills. Arendt concludes that such approaches are flawed because they fail to take into account the full historical situation of the Jews. Arendt explores the rise of Antisemitism in the birth of the nation-state, the emancipation of the Jews, the rise of the Jewish financiers, the roles of Jews within society, and the infamous Dreyfus affair. Of particular interest here is the role of conpiracy theories concerning such individuals as Benjamin Disraeli or the infamous forgery The Protocols of the Elders of Zion. The idea that the Jews constitute a race or are members of secret societies or clubs played an important role in the historical development of Antisemitism. The second of the volumes in this book is concerned with the rise of Imperialism. Here, a discussion of racism and racial thinking is examined involving such racial theorists as Count Arthur de Gobineau and various forms of Social Darwinism. The role of the Boers in South Africa is looked at and a thorough examination of the lives of such individuals as Cecil Rhodes, who called for the creation of a secret society of aristocratic Nordic elite, is made. The great Pan Movements, Pan-Slavism, Pan-Germanism, and the Pan-Arabism of T. E. Lawrence are dealt with and their subsequent roles in the creation of the totalitarian states is explored. The final volume of this book is concerned with Totalitarianism proper. Here, the role of propaganda and the secret police, as well as terror and the concentration camps are dealt with in their place in Nazi Germany and Soviet Russia. Arendt explores each of these issues and shows why they are so particularly disturbing. Arendt contends that totalitarianism sought to annihilate the nature of man completely. Repression and terror abound within the totalitarian state and freedom is virtually nonexistent. Written during the Cold War period and just after the Second World War, this book takes an important look into the minds of such totalitarian leaders as Adolf Hitler and Josef Stalin. Their movements of Nazism and Soviet Communism continue to haunt the modern world even though they have been largely extinguished. The book is important today not only for historical reasons, but also because it gives a unique view of the world within a totalitarian society and the unique political danger that such totalitarian movements and institutions causes for the modern world.

88 of 92 people found the following review helpful.
The foundational study of totalitarianism.
By Amazon Customer
Over half a century after its original publication, "The Origins of Totalitarianism" is still the most important treatise on totalitarianism in government. Arendt's book is also just as relevant and important today as it was in the mid-20th Century.

The book is divided into three main sections: Antisemitism, Imperialism, and Totalitarianism. In the first section, Arendt tracks the rise of antisemitism in Europe, looking mainly at 19th Century events and situations that aided the spread of this phenomenon through European culture. The Dreyfus Affair, which sharply divided France and ultimately became a political battle between antisemites and their opponents at the end of the 19th Century, gets more attention than any other event in this chapter.

In the middle section on imperialism, Arendt shows how the rise and fall of the continental European imperialist movements of the 19th Century (mainly, Pan-Germanism and Pan-Slavism) helped set the stage for their 20th Century totalitarian successors. As she puts it in opening the chapter on "the Pan Movements": "Nazism and Bolshevism owe more to Pan-Germanism and Pan-Slavism (respectively) than to any other ideology or political movement. This is most evident in foreign politics, where the strategies of Nazi Germany and Soviet Russia have followed so closely the well-known programs of conquest outlined by the pan-movements before and during the first World War that totalitarian aims have frequently been mistaken for the pursuance of some permanent German or Russian interests. While neither Hitler nor Stalin has ever acknowledged his debt to imperialism in the development of his methods of rule, neither has hesitated to admit his indebtedness to the pan-movements' ideology or to imitate their slogans." It's a testament to the truth and prescience of Arendt's work that the preceding passage remains as timely as ever, given the ongoing collapse of the Pan-Arabist movement which dominated the Middle East during the second half of the 20th Century and the battle between democracy and totalitarian Islamofascism over which will rise up next.

The first two sections lead perfectly into the third and most important part of the book: the section on totalitarianism. Arendt shows how Nazism and Bolshevism were much more similar in their goals, practices, ideologies, and enemies than many people often believe or want to admit. They were both mass movements that sprang from cultures that had largely dismissed any objective truths. (Arendt: "The ideal subject of totalitarianism is not the convinced Nazi or the convinced Communist, but people for whom the distinction between fact and fiction and the distinction between true and false no longer exist.") Both movements sought power for the sake of power, were rigidly ideological, made widespread use of terror, sought not only to punish and kill their enemies (as many brutal governments before them had done) but to dehumanize them and erase any trace of their existence from the memories of the governments' other subjects, a phenomenon introduced to the world by these 20th Century totalitarian governments.

Many people have said in the decades since the Holocaust and the Soviet Gulag that the world should never let these atrocities happen again. But the sad irony is that many of these same people then promote a materialist, existentialist worldview that are the breeding grounds for the same radical totalitarian governments that ultimately carry out these atrocities. Arendt recognized this problem: "...We actually have nothing to fall back on in order to understand a phenomenon that nevertheless confronts us with its overpowering reality and breaks down all standards we know. There is only one thing that seems to be discernible: we may say that radical evil has emerged in connection with a system in which all men have become equally superfluous. The manipulators of this system believe in their own superfluousness as much as in that of all others, and the totalitarian murderers are all the more dangerous because they do not care if they themselves are alive or dead, if they ever lived or never were born... Totalitarian solutions may well survive the fall of totalitarian regimes in the form of strong temptations which will come up whenever it seems impossible to alleviate political, social, or economic misery in a manner worthy of man."

So where do we go from here? "Never again?" I'd love to think so, but I'm not betting on it. I don't think Hannah Arendt would either.

145 of 158 people found the following review helpful.
Comprehensive
By Adam Glesser
If you have a couple of months to spare and an interest not only in the Totalitarian regimes in the former Soviet Union and Germany, but also a desire to learn about antisemitism and imperialism then this is the book for you. If you just want to know about Totalitarianism, get the volume only containing that portion. This is an incredibly dense and comprehensive history that takes both patience and time to wade through. The journey is well worth it, though, as Hannah Arendt shows the incredibly destructive nature of all that makes one human under a totalitarian rule. It isn't a fun read, but definitely a rewarding one.

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** Ebook There Is a River: The Black Struggle for Freedom in America (Harvest Book), by Vincent Harding

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There Is a River: The Black Struggle for Freedom in America (Harvest Book), by Vincent Harding

From an unflinchingly black perspective, Harding writes of the struggle of heroic African americans to achieve freedom from slavery. Index; photographs.

  • Sales Rank: #464996 in Books
  • Published on: 1993-01-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.17" w x 6.00" l, 1.38 pounds
  • Binding: Paperback
  • 472 pages

About the Author
Civil rights activist Vincent Harding was a friend and colleague of King and worked with Coretta Scott King to establish the King Center in Atlanta, serving as its first director. A distinguished theologian and historian, he is the award-winning author of several books and lives in Denver, Colorado.

Most helpful customer reviews

0 of 0 people found the following review helpful.
I love this book
By Amazon Customer
I love this book. I read it years ago. I wanted this copy to put on my bookshelf. Anyone that believe in equality of Native Americans/African Americans/ Black/ Brown people should own a copy of this book!!! Anyone who think equality exist should buy this book and read it!!!

33 of 38 people found the following review helpful.
A must for anyone organizing against oppression of any kind
By Sabida
Vincent Harding has introduced to us a well researched and well presented picture of the opposing forces to America's economic system based on slave and cheap labor. He chronicles the parallel between the systems of oppression and the systems of resistance against oppression. The River of resistance will forever run through a society where opportunity is squelched by the formation of inequality.
He removes the fictionalized view of the plantation and the relationship between master and slave and replaces it with documented reality.
Where there is oppression there is resistance to that oppression. This reality has been lost in the Hollywood depictions of slave uprisings, and the "run away slave". It is made clear that Harriet Tubman did not "run away" she was part of a well thought out and masterful organized effort to abolish slavery. There are many well researched and documented instances of organized resistance as well as individual acts of rebellion. These make up the river of resistance that flowed and continues to flow in the presence of human bigotry and oppression. This is a must read for individuals and groups of all races, cultures and nationalities who want to understand their own motives and actions against economic and social tyranny in America and abroad. Mr. Harding makes it quite clear that there are well thought out schemes and timing which are present with both the oppressor and those resisting and overturning oppression.
This is not a novel, but a text book well worth studying. He does not sensationalize nor create images of heroism. I have three copies of this book and refer to it often. Mr. Harding is a gifted researcher and scholar.

10 of 10 people found the following review helpful.
The essential book of African-American history
By L. L. Yates
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Jumat, 16 Januari 2015

~ Free Ebook A Soldier of the Great War, by Mark Helprin

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A Soldier of the Great War, by Mark Helprin

From acclaimed novelist Mark Helprin, a lush, literary epic about love, beauty, and the world at war

 

Alessandro Giuliani, the young son of a prosperous Roman lawyer, enjoys an idyllic life full of privilege: he races horses across the country to the sea, he climbs mountains in the Alps, and, while a student of painting at the ancient university in Bologna, he falls in love. Then the Great War intervenes. Half a century later, in August of 1964, Alessandro, a white-haired professor, tall and proud, meets an illiterate young factory worker on the road. As they walk toward Monte Prato, a village seventy kilometers away, the old man—a soldier and a hero who became a prisoner and then a deserter, wandering in the hell that claimed Europe—tells him how he tragically lost one family and gained another. The boy, envying the richness and drama of Alessandro's experiences, realizes that this magnificent tale is not merely a story: it's a recapitulation of his life, his reckoning with mortality, and above all, a love song for his family.

  • Sales Rank: #35040 in Books
  • Brand: Helprin, Mark
  • Published on: 2005-06-01
  • Released on: 2005-06-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 1.58" w x 5.31" l, 1.79 pounds
  • Binding: Paperback
  • 880 pages

From Publishers Weekly
Energetic prose, poetic images of great intensity and an antic imagination combine in this gripping moral fable narrated by a septuagenarian irrevocably altered by WW I. This BOMC main selection was on PW 's hardcover bestseller list for eight weeks.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
In summer 1964, a distinguished-looking gentleman in his seventies dismounts on principle from a streetcar that was to carry him from Rome to a distant village, instead accompanying on foot a boy denied a fare. As they walk, he tells the boy the story of his life. A young aesthete from a privileged Roman family, Alesandro Giuliani found his charmed existence shattered by the coming of World War I. The war led to an onerous tour of duty, inadvertent desertion, near-execution, forced labor, service high in the Italian Alps that took advantage of his (and Helprin's) skill at mountain climbing, capture by the enemy, and return home, dispossessed of most of his friends and family. Along the way, he gains, loses, and eventually rediscovers love. This rousingly good story of survival is all the more remarkable in the telling. The language is rich without cloying, complex yet luminous in Helprin's best style. In a number of thoughtful philosophical passages as engaging as any adventure story, Alesandro struggles to reconcile his appreciation of beauty and his religious faith with the horror around him. That he finally persuades us to believe in a "God without any hope, in a God of splendor and terror" is testimony to the indomitable human spirit. Highly recommended. Previewed in Prepub Alert, LJ 2/15/91.
-Barbara Hoffert, "Library Journal"
Copyright 1991 Reed Business Information, Inc.

Review
"A rousing tale ... riotous energy and sustainedbrilliance ... Helprin lights his own way, in his ownsingular direction." -- --Time

"Extraordinary... a vast, ambitious, spiritually lusty, all-guzzling, all-encompassing novel" -- --The New York Times Book Review

"Intense, memorable ... magnificent ... a massive, soaring novel of ideas and ordeals." -- --Entertainment weekly

Most helpful customer reviews

161 of 169 people found the following review helpful.
Greatest American Novel of the Late 20th Century
By G P Padillo
One of the truly great works of American fiction. I will go so far to say as it is the finest work of fiction I've read written in the last half of the 20th century.

In "A Soldier of the Great War" Mark Helprin creates a story encompassing the whole of humanity weaving reality with a world of fantastic wonder. The unbelievable becomes real and what seems simple is only deceptively so and bends into the fascinatingly complex.

Helprin's style is enigmatic; his tale told in equal parts masculine bravado and contemplative delicacy. It is nothing short of astonishing.

Beginning with the preparation for a visit to his daughter, we follow the elderly Alessandro Giuliani on a seemingly routine bus journey. Things turn and a short journey turns into adventure when the old man comes to the aid of a teenager and he begins sharing his story and the lessons learned over a life rich and eventful. A life of youthful privilege gives way to the horrors of WWI and discoveries of love, loss and destiny.

Helprin elevates American fiction to that pantheon we reserve for storytellers the likes of Dickens, Cervantes, Dumas and Hesse. With this book (and to a certain degree "Winter's Tale")- he tightens the gap between great writers of "then" and "now" bringing contemporary fiction a true and rare respectability.

All adulation would, of course, mean nothing if this were receiving accolades solely on style and structure and ignoring the "readability" factor. On that front, I can only say this is a book I cannot imagine anyone not falling in love with and that, my friends, is the rarest book of all.

294 of 317 people found the following review helpful.
Helprin's richest work. Immerse yourself in its beauties.
By Bob Zeidler
Mark Helprin once offered this advice to an aspiring writer on how best to construct a work, to grab the attention of the reader (and here I can only paraphrase, as I have misplaced the source document): "Treat your story as if a stone thrown into a still pool, coming to rest at the bottom. Then dive in after it." The paraphrase is accurate enough for my purposes, and the message is clear: Know well the end of your journey before you begin it.

Little did I know then, when I had meandered across Helprin's advice, that it would be central to my ability to write my thoughts on "A Soldier of the Great War." For about the same length of time as that advice had been imprinted somewhere in my brain, I had also been faced with the daunting prospect of commenting on a thrice-read book, now bulging with scores of page markers as reminders to me of phrases, sentences, paragraphs, and even full pages, all worthy of comment. And, it seemed, the longer I put this task off, the more daunting it became.

Fortunately, this block was broken in the recent past, when I needed to give careful thought to a birthday gift for a friend. The gift couldn't appear to be too lavish, except in the riches of its contents. It needed to be something that would be new to this friend (and here I was at some risk), and at the same time something that would not soon - if ever - be forgotten. In the end, I decided to chance it with "A Soldier of the Great War," enclosing a brief note regarding what was in store. And the working through of that note was the curative that I needed for providing my comments on this Helprin work. So I threw my own stone into the pool and dove in after it.

"A Soldier of the Great War" flows over with great themes, the long arc of which is the relating of its protagonist's - Alessandro Giuliani's - life story, told in retrospect from Alessandro's memories of that life to a youth who accompanies him on a seemingly short journey from Rome to a near-distant village. And, following his own advice regarding the stone thrown in the pool, Helprin's lyrical, singing prose begins with the story's first paragraph, drawing the reader, too, to dive in, and doesn't let up until the very last page (where it then lingers for a very long while).

The overarching themes are classic: love and war; of love discovered, then lost, then found once again; of the blunt impersonality and the lunacy of war. They - and others - are all juxtaposed with typical Helprinian brilliance. There are maniacally funny set-pieces, interwoven so seamlessly into the narrative that one is not aware at first of Helprin's skill with the set-piece device as one is drawn in. (These include an excursion to the plains of Eastern Hungary that is one of the most remarkable of such pieces ever written.) There are passages of heartrending grief quite beyond one's ability to deal with them. And the story teems with characters both bigger than life and smaller and meaner than dirt.

But, at its core, "A Soldier of the Great War" is a story about love and beauty and the permutations one can make of those two words. And it is for this reason that I chose it. If you're like me, it will take you forever and a day to read it, as you find yourself re-reading - often several times, and on occasion out-loud just to hear what Helprin's words sound like - passage after passage after soaring passage.

This book is, also, everything that has already been written about it. Like Helprin's other major works, it has autobiographical content of both experience and opinion interspersed throughout. (One need not be aware of this before the fact; it is inessential to the story.) The story is indeed a classic Bildungsroman - a "novel of formation" that traces Alessandro Giuliani's growth in spirit over his life - and one of the very best of its genre. There is a certain convenience that, at least alphabetically, Helprin fits comfortably between Heller and Hemingway. But use this convenience wisely, as when browsing under "Helprin" in a bookstore: This story is every bit the equal of "Catch 22" in its often manic depiction of the lunacy of war, but is far more lyrical; a love song where Heller's work clearly is not. And, if "A Farewell to Arms" captured the Great War from Hemingway's uniquely American perspective, Helprin, by opting for an Italian protagonist, finds a universality that eludes Hemingway, and with prose that a century hence will continue to sing, unlike Hemingway's, which already seems stilted by comparison.

Finally, I am unsure as to whether I envy those who, like my friend, are experiencing this work for the first time (but I think that I do). Newcomers likely will be torn between lingering on each page and turning to the next, as the story races to its astonishing, yet in hindsight, perfectly-crafted and satisfying end: Helprin's stone indeed has landed in the deepest part of his pool. For re-readers like me, it matters not that one knows in advance how the story ends; there is a distinct pleasure to be derived from a lingering journey that is its own reward.

So, at long last, and not without solemnity, I can carefully remove those scores of page markers, needing them no longer. And thus I begin my fourth traversal of this work, this time with a sixth sense that a guiding force will keep my friend and me on the same page. While there are factors which make it an uncertain thing that we will read these pages aloud, perhaps in my meanderings I will find evidence elsewhere that this gift, like Helprin's stone, has come to rest at the right place.

Bob Zeidler

44 of 45 people found the following review helpful.
Rousing adventures, romance amid war's horrors
By Tim Smith
I'd read many of Helprin's editorials in the Wall Street Journal and was impressed with the literary skill he exhibited. So, when I ran across this book I thought I would give it a try. I really didn't know what to expect, although I did know it had had some glowing reviews. I read about thirty of the previous reviews here and nearly all of them contain valuable insights, including those mentioning the book's flaws. However, none of the reviews I read explicitly mentioned the fact that this is one of the better anti-war books written this century. It is best because of its optimism. Helprin describes, vividly, how war degrades or destroys all that is beautiful and lovely in our world: idyllic childhoods, family relationships, precious traditions, neighborhoods, society and its mores, love and romance, religious sensibilities, art - even the seemingly impregnable mountains are violated. Yet, despite numerous horrific experiences, Alessandro is saved in the end because he never lost his appreciation for "beautiful things", symbolized throughout the book by Giorgio's painting. There is much humor in this book. Some of it is bawdy. There are also many scenes of heart-wrenching sadness and exhilarating joy. However, there are sections that drag on too long, and after at least one of Alessandro's lucky breaks I found myself rolling my eyes and thinking, "Oh, brother." Despite these flaws, Mark Helprin is a gifted writer who has the rare ability to make you completely lose yourself while reading his work. Highly recommended!

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Selasa, 13 Januari 2015

^^ Ebook Free The Diary of Anais Nin, Vol. 6: 1955-1966, by Anais Nin

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The Diary of Anais Nin, Vol. 6: 1955-1966, by Anais Nin

Nin continues her debate on the use of drugs versus the artist's imagination, portrays many famous people in the arts, and recounts her visits to Sweden, the Brussels World's Fair, Paris, and Venice. "[Nin] looks at life, love, and art with a blend of gentility and acuity that is rare in contemporary writing" (John Barkham Reviews). Edited and with a Preface by Gunther Stuhlmann; Index.

  • Sales Rank: #584209 in Books
  • Published on: 1977-11-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 1.08" w x 5.50" l, 1.24 pounds
  • Binding: Paperback
  • 432 pages
Features
  • ISBN13: 9780156260329
  • 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
Ana-s Nin (1903-1977) was born in Paris and aspired at an early age to be a writer. An influential artist and thinker, she was the author of several novels, short stories, critical studies, a collection of essays, two volumes of erotica, and nine published volumes of her Diary.

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102 of 110 people found the following review helpful.
BREATHTAKING PORTRAIT OF A WOMAN!
By Marion
I first read the diaries in the 1970's and have reread them several times since. Anais shows the world the mind, psyche, soul and intellect of a woman seeking to squeeze every little drop out of life that she can. And she does. Her writing is pure poetry and never fails to inspire me. I highly recommend all of her diaries and her fiction. Never before in history has a woman so completely documented her inner life and dreams. Some of the most beautiful writing I've ever read.

118 of 133 people found the following review helpful.
A bubble punctured
By Scribe53
It took me a long time, but I finally tracked down and read all the volumes of Nin's autobiography. The first time was in the days before Amazon, so it was not easy. At first I loved them. I had already read her novels and short stories. But gradually I got the sense of a person who rewrote her history to make herself look better. That was a disappointment. Then I discovered that she had omitted so much, lied about so much. If she had admitted that this was a reworking of her life I'd have accepted it. But her great claim was that, like Henry Miller, she wrote unadorned truth. I remember Miller and Durrell once describing her as a pathological liar. Then, later, even her sympathetic biographers discovered the same. We did not accept the hoax of J T Leroy (I saw through that one straight away) or James Frey. I now wonder why we should be any kinder to Nin. They are still an interesting read. But they require not a pinch, but a barrel of salt. Sometimes her fiction was more truthful than her journals.

Yes, I know this will be marked down as unhelpful. I do that to less than positive reviews too. But I am a disappointed fan.

0 of 0 people found the following review helpful.
I've only recently begun to read Anais Nin. Her ...
By J. Milazzo
I've only recently begun to read Anais Nin. Her writing is simply arresting.
She displays a character that one doesn't encounter these days. I wish I'd known her.
Her work is descriptive, entertaining and thought provoking.

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Minggu, 11 Januari 2015

^ Download Ebook Criminal Procedure (Audiocassette) (Law School Legends Series), by Whitebread

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Criminal Procedure (Audiocassette) (Law School Legends Series), by Whitebread

We found the truly gifted law professors most law students can only dream about – the professors who draw rave reviews, not only for their scholarship, but for their ability to make the law easy to understand. We asked these select few professors to condense their courses into a single lecture. And it’s these lectures you’ll find in the Law School Legends Series. With Law School Legends, you’ll get a brilliant law professor explaining an entire subject to you in one simple, dynamic lecture. The Law School Legends make even the most difficult concepts crystal clear. You’ll understand the big picture, and how all the concepts fit together. You’ll get hundred of examples and exam tips, honed over decades in the classroom. But best of all, you’ll get insights you can only get from America’s greatest law professors!

  • Sales Rank: #10516311 in Books
  • Published on: 1994-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.25" h x 7.75" w x 1.50" l,
  • Binding: Audio Cassette

About the Author
Professor Charles H. Whitebread is an alumnus of Princeton University and Yale Law School, where he was an editor of the Yale Law Journal, and is currently the George T. Pfleger Professor at the University of Southern California Law Center. He has written numerous books on Criminal Law and Criminal Procedure, including the popular hornbook Criminal Procedure by Foundation Press.

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4 of 4 people found the following review helpful.
Outstanding presentation of the material
By Ernie
This is an excellent text. I was floundering in criminal procedure in that the assigned casebook was in my opinion unreadable. I was fortunate to find this book which far exceeded in quality my assigned book (Kassimer/LaFave, Basic Criminal Procedure, 11th edition).

The author divides the subject in several coherent topics and discusses the relevant principles and black letter law derived from the most important cases. At the end of each chapter, a summary is presented of the crucial points. In my opinion, this author's approach was very effective and I actually understood the material. As one example, the author clearly seperates the issues of Miranda Rights (5th amendment right to silence and/or attorney during questioning), 6th amendment right of counsel at trial, and involuntary confession violating due process rights. Each topic is discussed in detail with a summary at the end. This may seem basic to some but most books blend the topics into one thereby blurring the distinctions. The author's style is very straightforward and this makes for easy reading.

I would whole-heartedly recommend this book either as a primary text or as a supplement for learning the basics of criminal procedure. After reading this book, I went back and read the assigned text and, although I understood the material better the second time around, I kept thinking what a good book Prof. Whitebread's text is in comparison.

0 of 0 people found the following review helpful.
bad quality
By Ryan Barlow
Book is very useful crim text, more like a treatise. Summarizes important cases withiut much depth. Quality of repair was not as advertised.

0 of 0 people found the following review helpful.
Three Stars
By najla
the book cove wasn't great and a lot of writing and higgling inside.

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Sabtu, 10 Januari 2015

# Download Ebook Pinkerton's Sister, by Peter Rushforth

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Pinkerton's Sister, by Peter Rushforth

Trapped in a suffocating life of convention and party chatter, Alice Pinkerton has turned to the liberating worlds she finds in literature. Like a character from one of her favorite novels, Alice holds a biting, eccentric, but expansive view of life; she wears only white, has a stutter, and knows her peers call her a madwoman in the attic. Various period cures-hydrotherapy, hypnotherapy, electrotherapy, a sanitarium-fail to turn this thirty-two-year-old, highly imaginative, caustically funny woman into one of the silly damsels of 1903's New York Society. Hauntingly, beneath all this lies a dark family secret.

Pinkerton's Sister is a novel for readers, who will thrill to recognize a kindred in Alice's references to our most beloved literary characters: Jo March, Jane Eyre, Leo Bloom, and Hester Prynne, among many others, grace these pages. This intertextual, playful work certainly qualifies as "the ultimate book-geek's guilty pleasure" (Creative Loafing Atlanta).

  • Sales Rank: #354280 in Books
  • Published on: 2006-05-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.31" h x 5.30" w x 8.02" l, 1.67 pounds
  • Binding: Paperback
  • 752 pages

Amazon.com Review
Within the bounds of realism, a more fantastic or original novel than Peter Rushforth's Pinkerton's Sister would be hard to imagine. Alice Pinkerton is a New York spinster of 1905, raised to join the middle-class matrons in her respectable, status-conscious neighborhood, but cursed from childhood with the gift of seeing through humbug. Her ecstatic immersion in English literature has only made things worse, so that by the age of 30, she is too clever, quirky, and dark-mustached to be anything but an object of scorn in the eyes of her peers. When not submitting to her psychologist's latest enthusiasms (she suffers his passing fancies for phrenology, massage, hot water immersion, cold water immersion, dream interpretation, cloud reading, and hypnosis) Alice occupies herself with word games and arabesques, indulging in lengthy fantasies of gender-reversal, spontaneous ballet, and other embarrassments for the doctors, clergymen, merchants, and matrons who patrol the social boundaries that keep bluestockings like Alice locked away as "madwomen," rather than writing and selling books.

There's very little in the way of plot in Rushforth's second novel (the first, Kindergarten, appeared to acclaim about 25 years ago), except for the piecemeal recollection of her childhood friendship with a black servant named Annie. Not much older than Alice herself, Annie was a worthy playmate who tried to protect Alice from her father and the never-spelled-out abuses he and a friend inflicted on them both. Alice's hatred of her father burns even hotter than her love of Annie, and she remains convinced he was responsible for Annie¹s disappearance and probable death. These passions--and a handful of other childhood memories--hold together an otherwise loose, disorderly sequence of satirical jokes and verbal flourishes and sometimes overly long frolics. Don't expect the rustling skirts and repressed emotions of a Merchant Ivory film. Pinkerton's Sister reads like an absinthe-fueled, all-night collaboration between Edith Wharton, Angela Carter, and Monty Python. --Regina Marler

From Publishers Weekly
Rushforth's pyrotechnic second novel (appearing 25 years after the publication of his acclaimed debut, Kindergarten) seeks to capture, in one day, the play of forces—literary, musical, medical and sexual—that made Edwardian New York society. At the center is Alice Pinkerton, nearly 35-year-old "spinster," the "madwoman in the attic" of Longfellow Park. Actually, she is not confined to an attic: she writes, goes to church and takes care of her mother. But these details are almost hidden in the deluge of Alice's inner life flowing over these pages, with a richness comparable to Leopold Bloom's in Ulysses. Alice, it appears, suffers from hypertrophy of childhood memories and a consequent emotional vacancy of adult experience. Does it stem from her discovery, at 20, of the body of her father, who committed suicide in his study? Perhaps the real key to Alice's condition goes back to twinned mysteries: the disappearance of her beloved childhood maid, and the source of her hatred for her father. Alice's fantasies and musings are stuffed with references to Shakespeare, 19th-century novels and poetry (particularly Stevenson's The Children's Hour, which exerts a surprisingly sinister influence in her life), opera and popular music; these are both buffers against reality and a means of mythologizing her neighbors. The flaw is that Rushforth has created no character in the book to counterbalance Alice; you sometimes feel that, in this mansion of a novel, you are locked in a small crowded closet.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
Rushforth's second novel, which took him twenty-five years to write, is set in Edwardian New York and takes place on a single day, largely in the avid mind of its heroine, Alice Pinkerton, a bibliophilic spinster with a stammer and a penchant for dressing in white. Something of a cross between Harriet the Spy and Jane Eyre, she passes her days devising ways to expose "the humorless of Longfellow Park," as epitomized by her nemesis, the dowager Mrs. Albert Comstock. She is regarded, unsurprisingly, as the neighborhood eccentric and undergoes various period cures, like hypnotism. Rushforth weaves Alice's often fantastical musings together with bits of the classics, popular novels, doggerel, and even advertisements for dentures and corsets. Although the author's reliance on allusion occasionally shades into the merely curatorial, his novel constitutes an epic inquiry into literature's role as an engine of interior life.
Copyright © 2005 The New Yorker

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31 of 32 people found the following review helpful.
(3.5) Diary of a "madwoman"
By Luan Gaines
This is really an astonishing piece of work, weighty in the extreme and filled with literary references that evoke beloved classic masterpieces. From the first page, Alice Pinkerton muses about her life as a woman of the 20th century, still controlled by the rigid Victorian mores that govern every element of society. Likening herself to Rochester's wife, the madwoman in Jane Eyre, Alice is hardly mad, rather a lady of exquisite intellectual sensibilities who does not live incarcerated, attending church and performing other duties required by her station. Rather, it is Alice's mind that is imprisoned, for the entire work, takes place in the character's mind, segueing from one connection to another.

Hers is a fascinating dialog, one that questions, pokes, prods and eviscerates the common mentality. Clearly, Alice is a woman born before her time. The forces that converge in Alice's thoughts, literary, musical, sometimes vaguely threatening, run from simple observations to more convoluted ideas. Were she a man, Alice would be considered a literary master of ideas and revolutionary concepts.

That said, this is a stream-of-consciousness novel with Alice as the only character, driven by her own inner dialog, without the respite of other points of view. Although I tried, I could not continue the journey with Alice, eventually exhausted by the sheer force of words spinning through her intellect. This book is staggering in the number of pages and range of ideas, especially the literary references, which mine long-forgotten, if once beloved novels. I just could not continue past the first 200 pages. Alice proved too much for me.

Such enormous energy is expended in the 727 pages that there must be a welcoming audience for this novel. I envision the author, churning out endless pages, falling deeper into Alice's mind and I cannot imagine that this literary monument should go unappreciated. There is an audience for stream-of-consciousness novels and I hope this one receives its share of applause. Luan Gaines/ 2005.

7 of 8 people found the following review helpful.
Like being alone inside someone's mind.
By S. Becker
The first thing to warn potential readers of this book about - it isn't a story so much as the dialogue happening in a woman's mind. Imagine sitting down in the morning and daydreaming and reminiscing all day. Then sit down and write the whole thing down over 727 pages. That is what Pinkerton's Sister is like to read. Comparisons to James Joyce's "Ulysses" are apt. There is no "action", nothing actually happens. It is just thoughts written down (and it skips and jumps between topics like real thoughts do). So if you place a high value on plot, Pinkerton's Sister is best avoided.

Having said that, the thoughts of Alice, the 35 year-old Victorian spinster, who "reads too much" are interesting. There are witty, cynical observations about the people in her neighbourhood and their social pretensions. There are numerous references to literary classics, from "The Scarlet Letter" to "Frankenstein", "Jane Eyre" and even the Bible. Alice Pinkerton relates all the characters and events in books to those people she knows in real life, and the two become intertwined. A play of reality and fiction forms in her mind, and the reader is invited inside.

In the cave of Alice's mind we find bitterness, frustration and contempt for the world around her, all expressed with witty sarcasm. Alice realises the problem isn't with her, but with the society she lives in. A society where women who are unmarried and read literature are considered mad, and sent to see psychoanalists. She mocks this narrow world by comparing it to the rich and varied one she finds in books, the world of her mind.

The writing style and literary knowledge of the author are great. The insights of Alice are beautiful despite their brutal truth. But unfortunately, I couldn't take 700+ pages of thought without any sort of events. With no "external stimulation" so to speak, I got wearing reading at times. It was like being stuck in an elevator, with nothing to do or see, just your thoughts. At times you just had to "get off" and take a break before returning to the "seclusion" of the book.

If that doesn't bother you, I recommend it. As for me, I sort of wish it had been shorter. The experience was good, and I was glad of it, but it lasted too long. You get the flavour of Alice's thoughts in about 250 pages. After that, they begin to feel repetitive. I resented the loss of time I could have spent reading other books.

2 of 2 people found the following review helpful.
What Alice knew ...
By baroquemaniac
Whenever Alice, the novel's protagonist, turns her acerbic wit on the stuffy philistines surrounding her, the results are simply hilarious, and I honestly consider rereading some of these chapters to better savour their verbal acrobatics.
Traversing this novel, however, was by no means an unalloyed pleasure: first, as Alice's fellow citizens tend to come across as cardboard caricatures, the sheer length of the harangues does not always seem justified; and what is more, these entertaining bits come in between expansive stretches of densely allusive prose, littered with literary references and snatches of verse.
These parts definitely exhausted my patience and went beyond my intellectual grasp, but I still wonder if to some extent this is not simply a novel that wants to be too clever by half and in doing so diminishes the impact of the monstrosities lurking at its dark core.

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Jumat, 09 Januari 2015

~ Download PDF The Sea Lady, by Margaret Drabble

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The Sea Lady, by Margaret Drabble

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The Sea Lady, by Margaret Drabble

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The Sea Lady, by Margaret Drabble

Humphrey Clark and Ailsa Kelman spent a summer together as children in Ornemouth, a town by the gray North Sea. Now, as they journey back to receive honorary degrees from a new university there—Humphrey on the train, Ailsa flying—they take stock of their lives, their careers, and their shared personal entanglements, romantic and otherwise. Humphrey is a successful marine biologist, happiest under water, but now retired; Ailsa, scholar and feminist, is celebrated for her pioneering studies of gender. Their mutual pasts unfold in an exquisite portrait of English social life in the latter half of the twentieth century.

  • Sales Rank: #1880298 in Books
  • Brand: Mariner Books
  • Published on: 2008-05-12
  • Released on: 2008-05-12
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .85" w x 5.31" l, .74 pounds
  • Binding: Paperback
  • 368 pages
Features
  • Great product!

Amazon.com Review
Margaret Drabble has brought all her many gifts to bear in this excellent novel, The Sea Lady. It is scientific, sociological, romantic, psychological, ironic, satiric, poignant, downright funny, and even rather mysterious in some parts.

It is the story of Humphrey Clark and Ailsa Kelman, now in their sixties and traveling--separately--to receive honorary degrees from a university in Ornemouth, a town on the North Sea. They met in Ornemouth when they were children, spent one summer together along with a local boy, Sandy Clegg, and Ailsa's brother, Tommy. It was that kind of summer which, however brief, has a bearing on the rest of one's life. Humphrey Clark's introduction to the sea sets him on his career path. Newly minted personalities were coming into being, the cruelty of children was all around, every moment was writ large in the minds of all of them, especially Humphrey.

Now, more than 50 years have passed and both Ailsa and Humphrey are reminiscing--Ailsa, typically, on an airplane, and Humphrey, just as typically, on a train. Their accounts of the last 50-plus years are unsparing, recounting their successes and failures, the places where their lives intersected and the results of those meetings, their professional and personal lives--all that has brought them to this day. Their memories are attenuated through the prism of their individual differences of temperament and interests. Humphrey is an innocent and a bit of a plodder, having made his name as a marine biologist, while Ailsa, the feminist, is a wild card: "Ailsa Kelman lacks method, but what she lacks in method she makes up for in energy and originality and output and panache." They could not be more different, but when did that ever stand in the way of connection? They have been brought to this ceremony by Sandy Clegg, now Alistair Macfarlane, whose own story is worth knowing.

The sea and its creatures are the metaphors that inform the story and at the end, we see that this meeting between Ailsa and Humphrey is "a journey of purification." This is Drabble at her very best. --Valerie Ryan

From Publishers Weekly
The bold latest from by the ever-inventive Drabble (The Red Queen, etc.) tells the tale of two aging academics—Ailsa Kelman, flamboyant feminist activist and TV talking head, and marine biologist Humphrey Clark—who are traveling separately to the North Sea coastal town of Ornemouth: she's presenting a book award that he, unknowingly, will receive. The two met at Ornemouth as children one summer toward the end of WWII; they lost track of one another and haven't seen each other since their brief, disastrous marriage in 1960s London. A cocky narrator reveals the charged memories, of childhood and beyond, that the trip triggers for both—and occasionally breaks free to fill in narrative gaps and pose destiny-altering scenarios. Neither is content: Humphrey is lonely and dissatisfied by his scholarship's mere competence; Ailsa, twice divorced, is uncertain if she's a success or a caricature of success (her cervix has been on TV). Secondaries include red-headed local boy Sandy Clegg, and Ailsa's rich, unscrupulous brother Tommy, in thick with the royals. Nothing as simple as a love story, this prismatic novel shines as a faceted portrait of England's changing mores, as an ode on childhood's joys and injustices, and a primer for marine biology, complete with hermaphrodite crayfish and fossils of sea lilies. Seductive as the tides, it pulls the reader in. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
In her 17th novel, Margaret Drabble takes the reader on a tour of the last 50 years of the 20th century as she examines questions of character, aging, and memory. Though critics generally praised her evocative prose, vivid descriptions of post-war Europe, and well-developed, eccentric characters, some considered the plot uneven and the romance between Ailsa and Humphrey unlikely. The constant marine symbolism and sea-related metaphors irritated some but amused others. The Public Orator was also a point of contention for critics, who found the contrivance unnecessary. Fans of Drabble will most likely be pleased with this literary novel, but readers looking for a straight story about relationships and the route to intimacy may be annoyed by the many detours.
Copyright © 2004 Phillips & Nelson Media, Inc.

Most helpful customer reviews

37 of 37 people found the following review helpful.
Absorbing and Entertaining
By Lauren Hahn
If you fell in love with Drabble's novels while reading her early material from the 1970's, then you might not be as enthusiastic about this work. It's an uneven novel, but contains some of the loveliest evocations of childhood I think I've ever read. The novel is also, in part, a love letter to English coastal regions. Also I found the main characters, Ailsa and Humphrey, delightful. If you like witty dialogue and surprising plot twists, you'll love this. And quite honestly, I have no idea what the other earlier reviewer is talking about with "anti-Americanism." Is he/she writing about a completely different book?

30 of 30 people found the following review helpful.
An Amazing Novel!
By April Wilson
I wish I could find a more imaginative way to endorse this delightfully inventive novel.

Initially, I was impatient with the slow pace of the second chapter, and I also found the Public Orator to be intrusive and unnecessary. I wanted

Humphrey and Ailsa to get together more quickly than they did. However, once I trusted the author, and was

able to read the novel on its own terms, I began to like it better and better. I realized the value of the Public Orator only at the end of the novel when I knew more about him.

Although I am not especially interested in fish, the descriptions

of them also grew on me. I liked

the sea squirts who were born with

spines, and then lost them over time.

I liked the spiffy fish who apparently committed suicide,

rather than remaining confined in a tank.

I liked the depictions of childhood,

and of approaching old age, and the

theme of how to come to terms with

one's life after most of it is over.

I found The Sea Lady to be surprisingly reassuring.

(Sorry about the wretchedly irregular

lines. This is the best my computer

could do -- and I tried.)

26 of 26 people found the following review helpful.
Aging, Longing, and Loving in Upper-Middle Class Britain
By Stephen Schwartz
For some reason I seem lately to have been reading several novels about aging, depressed, and lonely academics or members of the media or arts community--E.g. Shroud, by Banville; Amsterdam by McEwan, and A Foreign Affair by Lurie, among others. The Sea Lady is another and one of the best of this flourishing genre. As in The Sea Lady the protagonists seem always to be highly successful (unlike most of us real aging academics reading or writing amazon reviews), very depressed about their miserable lives (but it's not always clear why and sometimes seems self-indulgent), are divorced or in any case alone and lonely (but many of us real retired academics are still married, with squabbles of grand children), and are almost obsessively self-involved (aren't we all?--or perhaps I should only speak for myself here).

The Sea Lady is the compressed life story of several children who meet one or two summers shortly after World War II vacationing on the seashore of England near the border with Scotland on the North Sea. Two, Ailsa and Humphrey, meet again later in life, fall in love and marry, divorce, etc. Then meet yet again in their sixties, etc., etc. All the children turn out to be famous or wealthy as adults; all are successful, miserable, lonely, aging or aged now in 2006 (the story is told seamlessly with flashbacks).

Drabble is a fine writer with a sensitive simple style that is very similar to Ian McEwan's but without the twisted, dark tones of McEwan. Although nothing happens in the novel, there is no violence, little lurid sex, or anything else of moment, I found it gripping and enjoyable. This is life, a mirror for us aging academics. Even if we're not successful or miserable and lonely there is much in this novel that illuminates and perhaps quiets our own demons.

Some of the things I very much liked about The Sea Lady: Drabble manages to weave a lot of trivia about life in England since WW II into her narrative. This novel evoked England for me better than many others that I've read lately (I'm a confirmed anglophile). Also Drabble uses quotes and snippets from Shakespeare in a creative and charming way that enhances the story. (I'm also a life-long Shakespeare fan.)

I must say that I am amazed by Drabble's talent. I wonder how she can breathe such life, such intensity into her story and characters. I admire and wonder at this talent, this genius. As with other fine writers, I wonder how they can know so much, sense so many things and get them on the page and make them live off the page. This is the first of Drabble's novels that I have read and I came upon it by accident, but I plan to read more of her works. Congratulations!

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