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Selasa, 02 Juni 2015

!! Free PDF Incest: From "A Journal of Love" -The Unexpurgated Diary of Anaïs Nin (1932-1934), by Anaïs Nin

Free PDF Incest: From "A Journal of Love" -The Unexpurgated Diary of Anaïs Nin (1932-1934), by Anaïs Nin

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The continuation of the story begun in Henry and June, exposing the shattering psychological drama that drove Nin to seek absolution from her psychoanalysts for the ultimate transgression. “It is [Nin’s] posthumously published uncensored diaries that will make her immortal” (Booklist). Introduction by Rupert Pole; Index; photographs.

Sales Rank: #356395 in Books
Published on: 1993-09-16
Released on: 1993-09-16
Original language: English
Number of items: 1
Dimensions: 9.00" h x 1.12" w x 6.00" l, 1.35 pounds
Binding: Paperback
432 pages

From Publishers Weekly
Picking up where Henry and June (1986) left off, this portion of Nin's diary, which was cut from the expurgated editions published in her lifetime, records her steamy love affair with Henry Miller in Paris, but here her intense adoration gives way to disillusionment. She describes Miller as crude, egotistic, imitative, childishly irresponsible, "a madman." Her real focus, however, is her father, Joaquin Nin, a Spanish pianist and aristocratic Don Juan who seduced her after a 20-year absence. Her graphic account of their lovemaking and of her incestuous romantic feelings is fairly shocking. Nin sought absolution from her psychiatrist and lover, Otto Rank, who advised her to bed her father, then dump him as punishment for abandoning her when she was 10. Nin's ornate, hothouse prose is much rawer than the chiseled style of the expurgated diaries. She seethes with jealousy at Miller's wife June, swoons over poet and actor Antonin Artaud, neglects her protective husband, Hugh Guiler, and describes her traumatic delivery of a stillborn child. Her extraordinary, tangled self-analysis is a disarming record of her emotional and creative growth. Photos.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
This second volume of the unexpurgated version of Nin's diary spans the period from October 1932 to November 1934. It draws upon previously unpublished material from the period covered by the first volume of the diary as published in 1966. Incest follows Henry & June ( LJ 10/1/86), focusing not only on Nin's continued relationship with author Henry Miller but also on her physical and emotional attachments to four other men. Nin offers intimate details of disturbing events such as her intense incestuous affair with her father and her abortion during her sixth month of pregnancy. Her diary offers direct insight into a narcissistic, passionate, analytical, and complex mind, but the brief introduction does disappointingly little to explain the editorial process that created this version of Nin's diary, which differs dramatically in style and content from its expurgated counterpart. Nevertheless, this is an important supplement to the 1966 diary and is recommended for most literature collections.
- Ellen Finnie Duranceau, MIT Lib.
Copyright 1992 Reed Business Information, Inc.

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.

Most helpful customer reviews

92 of 99 people found the following review helpful.
An Amazing Document
By bookkitten
For the love of ... Are we reviewing the book, or are we critiquing the woman? We're reviewing the book, right? So why so much moralistic brouhaha about the writer's behavior? When Van Gogh's work is auctioned off for a gazillion dollars, is the fact that he was mentally ill of great concern, or is there more interest in his artistry, his skill, and his innovative and altogether original treatment of a mundane subject?
Yes, Anais Nin describes doing some things that we find disturbing. (Regarding the abortion, back in those days when very little was known about the fetus, late-term abortions were common and there was no moral dilemma. We simply can't judge her by our modern understanding. And as for her bizarre relationship with her father, one again would need to understand the context, the extremely complicated history from which the behavior arose.)
So enough of the judgments of Anais Nin's descriptions of her own behavior (does she get points for honesty?) and take a look at the writing. I simply defy anyone to describe such strange events with as much brilliance and poetry. Nin's writing is like a ballet on ice; it is stylized, feminine, passionate and strict at the same time. Who else could divulge the darkest secrets with the delicacy of a geisha serving tea?
Some day Nin's achievement will be recognized by the literary establishment. In the meantime, if you don't count yourself among the squeamish, judgmental, or easily disturbed, buy this book.

0 of 0 people found the following review helpful.
Five Stars
By John Williams
the best of her first three diaries

25 of 29 people found the following review helpful.
But yet, you kept reading ...
By Katie
Regardless of the subject matter, Anais Nin is an incredible writer and her way with words was probably part of her charm in life. Her ability to describe even the most perverted behavior as something transcendent and meaningful probably was the ability that kept her circle of lovers around her. She could make the most petty behavior seem poetic by her descriptions and that's seductive to someone caught in a relationship with such a person.
I read the journals of Anais Nin not because I identify with her, or even sympathise with her, but because I enjoy the way she makes every small event of her life seem like something elevated and rife with meaning. I am fascinated by the lurid details and by the paradox of all her affairs, were these men sexually abusing her, or was she using them? It seems, somehow both.
And there's a little bit of teenage angst still lurking inside me that was never cured. The part of me that still listens to the Smiths and loves Sylvia Plath and Anne Sexton adores Anais Nin and her glorious tragic screwed-upness.

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Senin, 01 Juni 2015

^ Ebook Free The Dying Crapshooter's Blues, by David Fulmer

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On a cold December night in 1920s Atlanta, a drunken white cop shoots a black gambler in one of the worst parts of town, and a cache of jewels goes missing from a mansion in one of the best. Joe Rose—rambler, gambler, and professional thief—has just hit the city. He soon finds himself caught in a three-sided puzzle that involves a black-hearted police officer called "the Captain," the pimp and crapshooter Little Jesse Williams, and a wicked beauty named Pearl Spencer. Behind it all is Atlanta, the city once nothing but dust and ashes, now the richest, busiest metropolis in the South, mixing sin with success and vibrating with mayhem and music. In his acclaimed Storyville series, David Fulmer brought the jazz-soaked streets of New Orleans to life. Now he brings us another absorbing mystery in a new setting raucous with music and rich with history.

Sales Rank: #2621086 in Books
Published on: 2008-01-07
Original language: English
Number of items: 1
Dimensions: 7.94" h x .80" w x 5.76" l, .60 pounds
Binding: Paperback
320 pages

From Publishers Weekly
In this departure from his New Orleans novels featuring Creole detective Valentin St. Cyr (Rampart Street, etc.), Fulmer paints the sprawling vitality of 1920s Atlanta with broad strokes. Joe Rose, an itinerant love 'em and leave 'em–style thief of uncertain racial extraction who moves uneasily in both black and white Atlanta, finds himself in the middle of a murderous mess that highlights the city's rampant racism and corruption as well as the stark contrasts between privilege and poverty. A white cop guns down a Negro gambler, Little Jesse Williams, while a jewelry robbery mars a Yuletide party at one of Atlanta's finest mansions on the other side of town. Joe gets caught in a vise operated by a brutal detective, Capt. Grayton Jackson, intent on "solving" the crime in the quickest way possible. Little Jesse expires over the course of days, Joe promises to discover why he was shot and the odious Jackson squeezes Joe to recover the stolen jewels or pay the price for the crime. Occasionally florid writing clouds this otherwise vital effort from Shamus-winner Fulmer. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
PRAISE FOR THE DYING CRAPSHOOTER'S BLUES "This is a raffish and deceptively simple novel . . . distinguished by a level of detail that makes a vanished world live again." --The Washington Post Book World

From the Inside Flap
On a cold December night in 1920s Atlanta, a drunken white cop shoots a black gambler in one of the worst parts of town; a cache of jewels goes missing from a mansion in one of the best. Joe Rose—rambler, gambler, and professional thief—has just hit the city. He soon finds himself caught in a three-sided puzzle that involves a black-hearted, power-hungry police officer called "the Captain," the pimp and crapshooter Little Jesse Williams, and a wicked, mysterious beauty named Pearl Spencer. Behind it all are the burgeoning, complex worlds of Atlanta, the city once nothing but dust and ashes-- now, suddenly, the richest, busiest metropolis in the South, mixing sin with success and vibrating with mayhem and music.

In his acclaimed Storyville series, David Fulmer brought the jazz-soaked streets of New Orleans to life. Now he brings us another absorbing mystery in a new setting raucous with music and rich with history.

Most helpful customer reviews

3 of 3 people found the following review helpful.
"He went into action like the sneak thief he was."
By Luan Gaines
The setting for Fulmer's new novel is 1920's Atlanta, the heyday of high society, flappers, bootlegging and the usual underworld of illegal enterprise. One Saturday night on Decatur Street, just before Christmas, Little Jesse Williams, a rounder, is shot by a dissolute police officer, JR Logue, and a daring robbery is committed in the very building where the nabobs of society gather for the Annual Charity Christmas Party at the Payne Mansion. Joe Rose, a peripatetic thief who arrives on the scene of the shooting, realizes that he has returned to Atlanta at the wrong time as things go bad from the start. Little Jesse doesn't die immediately from his wound, suffering the agonies of a slow death, his friends gathered around the bedside, including blind Willie McTell, a talented musician who is writing a ballad to commemorate Little Jesse's eventful life.

Rose is sad to see Little Jesse go for all the wrong he's done in his lifetime, this particular segment of society quite forgiving of each other's faults. It has been Joe Rose's habit of late to do a burglary and leave town, striking again when in need of replenishing his funds. A rounder himself, and known to many of the Atlanta criminal element, Joe still has some contacts from his short stint as a police officer and Pinkerton before falling into the life of crime that suits him so well. Like a black widow spider, "the Captain", Grayton Jackson, directs the investigation from the dark confines of a twisted mind, angry over being passed by for a promotion and in a mean mood when it comes to recovering the jewels and solving the robbery.

Determined to locate the cop who shot Little Jesse, Rose seems to be always one step behind, as bodies begin to fall, clouding the investigation by removing any witnesses. Then Joe, Pearl Spencer and her brother, Sweet Spencer are arrested, accused of collusion in the robbery. The beautiful Pearl is one of the reasons Joe has remained in Atlanta against his better judgment. Like moth to flame, Rose can't quit Pearl, even though he suspects she has something to do with the robbery and her brother has warned him off in no uncertain terms. When Rose suggests there may be a connection between Little Jesse's murder and the theft, he meets with much resistance from the Atlanta PD.

The treacherous plot of a devious mind is underscored by the rollicking jazz and soulful blues of Fulmer's Valentin St. Cyr novels, reflecting the author's appreciation for the music of a certain element of society. Mix in an eccentric cast of characters, from Little Jesse Williams and his ladies-of-the-night, to the blind musician, the speak-easy's with an unlimited supply of bootleg liquor, the exotic Pearl and the hard-nosed Chief of Detectives for a heady brew of crime and punishment in Prohibition Atlanta. Once more, the people tell the tale, bringing the era vividly to life, the sweet notes of The Dying Crapshooter's Blues sliding through the night. Luan Gaines/2007.

2 of 2 people found the following review helpful.
Does for early 1900's Atlanta what other Fulmer novels do for early New Orleans
By Neal Reynolds
Music also is at the heart of this as it is for other Fulmer novels...the early soulful blues. The dying Crapshooter of the title is Little Jesse Williams, a thoroughly unsympathetic pimp and crooked gambler, shot for no apparant reason by a drunken cop. Much of the novel portrays blind Willie McTell composing a song for the dying Jesse to be sung before his death and then at his funeral and the scenes dealing with the formation of the blues song create a kind of mood in which one mourns the death of a person who really is not liked by anyone. And so the author creates a kind of mood, but unfortunately doesn't quite succeed in developing it to the ultimate.Nevertheless, the novel proceeds at a suitable pace as former cop and P.I., more recently professional thief, Joe Rose investigates both Jesse's shooting as well as, albeit reluctantly, a jewelry theft in which his girl friend is involved. Overal, this is a quite good though not perfect period myystery well worth the time of early jazz afficinados as well as mystery fans.

1 of 1 people found the following review helpful.
Another wonderful book from Fulmer
By L. J. Roberts
First Sentence: From down the alley, a voice cut through the falling night like a honed blade.

Joe Rose is white or Indian, he doesn't know. He does know he had been a cop, and a Pinkerton man but turned to being a rambler, gambler and professional thief. Joe is back in Atlanta, both attracted to yet trying to stay away from Pearl Spencer, a black working girl, and her brother, Sweet. Within forty-eight hours, he is the prime suspect in the jewel robbery of a wealthy white mansion, and comes across the scene where Jesse, a black gambler. Amongst a setting of racial prejudice, police corruption, and a funeral song being written for Jesse by a blind musician, Joe is trying to protect both his friends and himself.

Fumler is a wonderful, atmospheric writer. As in his New Orleans series, Fulmer focuses on the disadvantaged, gamblers, drunks, [...] and thieves. He humanizes the people and brings the period alive with the underlying strum of the blues in my head. I found the different characters interesting and thought it rather fun that the traditional good guys, the police, here were mainly the bad guys. Following the trail to see how Joe would bring things to resolution, and stay out of jail, was suspenseful and engrossing. I highly recommend this book.

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Minggu, 31 Mei 2015

^ PDF Download Organic, Inc.: Natural Foods and How They Grew, by Samuel Fromartz

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Who would have thought that a natural food supermarket could have been a financial refuge from the dot-com bust? But it had. Sales of organic food had shot up about 20 percent per year since 1990, reaching $11 billion by 2003 . . . Whole Foods managed to sidestep that fray by focusing on, well, people like me. Organic food has become a juggernaut in an otherwise sluggish food industry, growing at 20 percent a year as products like organic ketchup and corn chips vie for shelf space with conventional comestibles. But what is organic food? Is it really better for you? Where did it come from, and why are so many of us buying it? Business writer Samuel Fromartz set out to get the story behind this surprising success after he noticed that his own food choices were changing with the times. In Organic, Inc., Fromartz traces organic food back to its anti-industrial origins more than a century ago. Then he follows it forward again, casting a spotlight on the innovators who created an alternative way of producing food that took root and grew beyond their wildest expectations. In the process he captures how the industry came to risk betraying the very ideals that drove its success in a classically complex case of free-market triumph.

Sales Rank: #1136498 in Books
Brand: Fromartz, Samuel
Published on: 2007-03-05
Released on: 2007-03-05
Original language: English
Number of items: 1
Dimensions: 7.90" h x .84" w x 5.20" l, .70 pounds
Binding: Paperback
336 pages

From Publishers Weekly
In recent decades, organic food—the idealistic, natural alternative to industrial agribusiness and processed packaged foods—has grown into a multibillion-dollar business. Fromartz's portrait of the adolescent industry reveals that that success has prompted an epic identity crisis. Big corporations like Kraft and General Mills own the bulk of the market, and half of all organic sales come from the largest 2% of farms, alienating those most committed to producing chemical-free fruits and vegetables on small family farms, and selling them locally. Business journalist Fromartz uncovers the trailblazers' tactics: how Whole Foods Market developed a religion of "moral hedonism," how Earthbound Farm launched a revolution with bagged salad mix and how Silk soy milk became "the number one brand in the dairy case, among all milk and soy milk brands." But if big business is now the muscle of the organic industry, Fromartz demonstrates that small growers remain at its heart. Fromartz's profiles—of pioneers who sell their produce at farmers' markets and foster cooperatively-owned, local distribution networks—deftly navigate the complexities of pesticide issues, organic production methods and the legal controversies surrounding organic certification. This is a pragmatic, wise assessment of the compromises the organic movement has struck to gain access to the mainstream. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Although initially attracted to organic food from his encounters with it as a cook, business journalist Fromartz scrutinizes this ever--growing industry from an economic perspective. He focuses on the raising of strawberries, a fruit perpetually in high demand nationwide. Citing the example of a California grower who grew berries both conventionally and organically under virtually identical conditions, Fromartz declares organic farming to be indeed economically viable. Fromartz also examines the use of chemical pesticides, initially lauded as agriculture's great savior until the appearance of Rachel Carson made public their baneful long-term effects. Fromartz finds a different but similarly successful road to economic success in the story of Earthbound Farms, whose leafy mesclun mixes now appear in markets all over the country. Lest today's organic food producers become complacent, Fromartz recounts the tale of Kellogg, a company whose founders cherished lofty aims of spreading health and nutrition but who ironically ended up promoting mass-market, sugar-laden cereals quite contrary to what they had originally envisioned. Mark Knoblauch
Copyright © American Library Association. All rights reserved

Review
"With one eye on organic food’s past and one eye cast on its future, Samuel Fromartz has a comprehensive vision of an industry at a crossroads. Here is a voice that reminds us of our power as consumers. Anyone reading Organic, Inc. will be inspired to put his money where his mouth is."
(Dan Barber, chef/owner of Blue Hill and Blue Hill at Stone Barns)

"Sam Fromartz has the ability to transform an important subject into an interesting one, as he does with this vivid, vital book, Organic, Inc. No, it''s not a new wave or diet book. It''s a book that will alter the way we think about what we eat and the business forces that shape what we eat.

(Ken Auletta)

"In Organic, Inc., Samuel Fromartz gives us a uniquely American story—the emergence of Big Organics from humble origins in small, counterculture farms. Fromartz writes with the passion of an organic partisan but his account of the pros and cons of Organics, Big and Small, is unusually balanced, honest, and compelling.

(Marion Nestle, author of Food Politics)

Most helpful customer reviews

6 of 6 people found the following review helpful.
Insight into the organic movement
By Malvin
"Organic Inc" by Samuel Fromartz offers a good introduction to the natural food movement. Written primarily for a popular audience, the book combines research with short histories, case studies and profiles of prominent personalities and companies that have shaped the industry. Although the author's frequent interjections about his own personal experiences and infatuations with organics becomes somewhat annoying, overall the book succeeds in granting insight into the organic movement, its foundational ideals and the possibilities for the future.

Mr. Fromartz provides a brief history of organic farming as an alternative to a deeply flawed agro-industrial production system. We learn that organic methods were developed for ideologically diverse reasons but tends to produce nutritionally superior foods when compared with conventional farming practices. Although yields are usually smaller, the author discusses how organic strawberry farms in California are an example of how organics can outperform when allowing for decreases in energy and fertilizer input.

Mr. Fromartz profiles some of the small organic farmers whose deference to health, environment and community were shaped by the 1960s counterculture. A small but vital network of farmers, distributors and retailers supported a fledgling movement that defined itself by remaining outside the conventional food system. The author describes how such farmers often devised creative marketing strategies by catering to specialty restaurants or selling their produce directly to the public at farmer's markets. As health and safety concerns about pesticides and rBGH growth hormones caught the public's attention, organic farming has become more widespread, emerging as an increasingly important survival strategy for more and more beleagured family farmers.

Mr. Fromartz traces the rise in popularity of pre-packaged salads and refrigerated soy milk to discuss how mass market success has created divisions within the organic community. The development of large-scale organic enterprises has intensified competition and shut down smaller, less efficient producers. Regulation has become a contentious issue, with small farmers seeking to hold large farmers accountable to maintaining high standards. As supermarkets such as Safeway and Wal-Mart have begun to add organic sections to their stores, issues of local production, fair wages and sustainability are heightened. Yet, the author is upbeat in his assessment that small farmers can continue to find their niche by satisfying the needs of the more sophisticated organic consumer.

I recommend this highly readable and informative book to everyone.

8 of 10 people found the following review helpful.
A Tale of Two Different Food Visions
By Bright Wings
Can big agribusiness and local organic farming co-exist and thrive? Samuel Fromartz' new book, Organic, Inc., is a fascinating journey through American agricultural movements, starting around the turn of the century, when farming was still a small-town venture and tracing its development into agribusinesses whose products are now found on most American tables - and the movement into locally grown, organic foods, which represents not so much a return to the past as a return to wholeness and healthy living.

The problem seems to be that the organic movement itself is being challenged by the very agribusinesses it once eschewed. There are really few ways to farm sustainably (which will in most cases mean organically and without genetically modified foods or chemicals) AND use the systems that have come to mean "factory farms" - livestock confined for their entire lifetimes in areas so small they cannot turn around or lie down (chickens, for instance, and pigs), never mind see the sunshine or walk around and enjoy fresh air, eating what they would eat if humans were not around.

Agrisystems, as they exist today, are basically unhealthy - and unsustainable. But they are profitable, and make it easy for "food" (if you want to call it that) to arrive at your table packaged neatly and processed to death. Rare are the children being raised today who knows what "food" looks like in its natural state. Do they know what a carrot or beet looks like, while it's growing in the ground? Do they know that the hamburger they eat comes from a being that has a face and makes sounds, and may (depending on your viewpoint) be sentient?

Being removed from the source and sight and smells and knowledge of how your food comes to you - how it was grown, and what has happened to it all along the way - makes for some dangerous possibilities. We cannot know (or control very well, despite so-called legal safeguards meant to protect us) where our food has been, before it reaches our table, unless we have grown it ourselves (which is not easy or possible for most people) or have bought it from someone in our community whose farming practices we know - and could actually go there and see.

Fromartz comes from a reporting background, and knows how to dig out factoids that will leave you breathless for the sheer scope of what has happened to our food and our food production systems. It should leave you with both concern and hope, at the end.

Organic, Inc. Is not exactly the "story of food" but it truly is the tale of two different visions for how food is produced and made available to consumers. One (local biodynamic farming) is sustainable; the other (multinational, corporate agribusiness) is not.

Fromartz carefully traces how we got where we are, without suggesting where we will go in the future. However, his bias for a sustainable natural foods future is clear - and it's one I share. If you care about what you eat, how it got here, and whether you will be able to find more like it tomorrow, you should read this book, think about what it means, and DO something about what you believe is the best course of action for a world where what we eat determines how healthy we and our future generations will be.

Yours for extraordinary dining -- for everyone,

Nancy Boyd

[...]

3 of 3 people found the following review helpful.
A place for organic in your life
By Armchair Interviews
When you think of organic foods, do you mentally picture aging hippies in co-ops, small roadside stands, and stores with counter-cultural values? That image was probably valid until the 1980's, but has rapidly been displaced since.

Organic foods sales grew at 20 percent per year during the 1990s, attracting the attention of the food business. In the process, organic went mainstream and became an accepted niche market at grocery chains and even big-box retailers such as WalMart and Target. The author's real question is whether this represents "progress" or "problem" for fans of simpler lifestyles and all things organic.

The documented answer is some of both. Fromartz is a highly accomplished business journalist who takes a (mostly) unsentimental look at the business of marketing organic foods. Interviewing small and large merchants plus the `man on the street,' Fromartz discovers that organic is profitable and growing, yet at the same time poses a risk to traditional fans who are unlikely to shop at big boxes for the food they know and love. While the mainstream consumer `discovers' organic, the core organic customer may be wondering if she can trust anyone, anywhere, any more. This dilemma, the author notes, resembles putting up "a neon sign for an organic Twinkie."

After an entertaining and excellent investigative look at the business of organic, Fromartz holds out hope that both kinds of organic - mass market and small market - may find ways to thrive. For the core customer, related values like humane treatment of animals, fair market pricing, and sustainable agriculture may become more relevant indicators of value than the simple phrase `organic.' These savvy shoppers may continue to trust the small, unique brands and identities of traditional organic suppliers.

Meanwhile a certain amount of industrialization, mass-market methods and persuasive advertising messages can be expected to boost sales of anything termed `organic' in the aisles of a mega-retailer near you, where the organic business is currently booming.

Whether you like your organic "all natural" or with "always low prices," you'll be likely to find it readily available. Which type you choose will say a lot about your personal values and expectations.

Armchair Interviews say: The good news, from the author's point of view, is that at least you'll get to choose! In a free market, our choices define our future opportunities.

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Senin, 25 Mei 2015

** Ebook Free Strange Angel: The Otherworldly Life of Rocket Scientist John Whiteside Parsons, by George Pendle

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ROCKET SCIENTIST KILLED IN PASADENA EXPLOSION screamed the headline of the Los Angeles Times. John Parsons, a maverick rocketeer who helped transform the rocket from a derided sci-fi plotline into a reality, was at first mourned as a scientific prodigy. But reporters soon uncovered a more shocking story: Parsons had been a devotee of black magic.

George Pendle re-creates the world of John Parsons in this dazzling portrait of prewar superstition, cold war paranoia, and futuristic possibility. Fueled by childhood dreams of space flight, Parsons was a leader of the motley band of enthusiastic young men who founded the Jet Propulsion Laboratory, a cornerstone of the American space program. But Parsons's wild imagination also led him into the occult- for if he could make rocketry a reality, why not magic?

With a cast of characters including Howard Hughes,
L. Ron Hubbard, and Robert Heinlein, Strange Angel explores the unruly consequences of genius.

Sales Rank: #313550 in Books
Published on: 2006-02-06
Original language: English
Number of items: 1
Dimensions: 8.00" h x .94" w x 5.25" l, .79 pounds
Binding: Paperback
368 pages

From Publishers Weekly
Pendle vividly tells the story of a mysterious and forgotten man who embodied the contradictions of his time. Throughout the 1930s, John Whiteside Parsons (1914–1952) was a pioneer of rocket science, a fixture at Caltech with an uncanny ability to understand and control the dynamics of explosions, though he'd never completed an undergraduate degree. At the same time, Parsons was a key figure in the Los Angeles occult scene, presiding over a world of incantations, black magic and orgiastic excess. Science journalist Pendle (Times of London, Financial Times) follows Parsons on his journey through both science and the occult as he explored the connections between the two at a time when science fiction crashed into science fact (and when the practitioners of one often dabbled in the other. The book tells the story of the research that formed the basis for both missile defense and space flight, but Parsons himself was a tragic figure, left behind by both the science he helped to found and the women he loved. Marshaling a cast of characters ranging from Robert Millikan to L. Ron Hubbard, Pendle offers a fascinating glimpse into a world long past, a story that would make a compelling work of fiction if it weren't so astonishingly true. 8 pages of b&w photos not seen by PW.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
In a riveting tale of rocketry, the occult, and boom-and-bust 1920s and 1930s Los Angeles, science writer Pendle presents the first in-depth portrait of John Whiteside Parsons, a pioneer in rocket propulsion and an eccentric right out of an Ed Woods movie. Pendle shrewdly places handsome and charismatic Parsons--a man of dramatic contradictions and an insouciance that led to his horrific death at age 37 in 1952--on the cusp between the era in which rockets were dismissed as pulp science fiction fantasy (of which Parsons eagerly partook) and the milieu in which rockets and space travel became realities. A self-taught chemist with an affinity for explosives, Parsons teamed up with Frank Malina and the rest of the so-called Suicide Squad in the dangerous quest for dependable rocket technology. Parsons became cofounder of the Jet Propulsion Laboratory and an aerospace company, but he was also a member of the licentious Church of Thelema, a ludicrous invention of the English mystic Aleister Crowley. Equally cogent in interpreting the scientific and personal facets of Parsons' alluringly scandalous and confounding life, Pendle greatly enlivens the story of rocketry. Donna Seaman
Copyright © American Library Association. All rights reserved

Review
"A fascinating glimpse, a story that would make a compelling work of fiction if it weren''t so astonishingly true." (Publishers Weekly)

"This is your book if you want to start reading up on the space age. Highly recommended." (Ray Bradbury)

"[A] rambunctiously funny, deliriously weird, and incredibly true story of a space-science pioneer turned lustful witch." (author of CITY OF QUARTZ Mike Davis)

"A riveting tale of rocketry, the occult, and boom-and-bust 1920s and 1930s Los Angeles." (starred review Booklist)

"An engaging treatment of a time when the modern world moved at the same speed as crazed mania." (The Onion)

"Pendle weaves a fascinating yarn. You don''t have to be a rocket scientist to enjoy it." (Seattle Times)

"A spellbinding story of a man with eccentricities that went well beyond a fascination with rocketry." (American Scientist)

This amazing book is set in a more brightly coloured universe than most scientific lives are. (Daily Telegraph)

"Elegantly written. Pendle, with his graceful, measured prose, skilfully steers us through the quagmire of Parson''s personal life." (Observer - UK)

"Strange Angel could be a hybrid sired by Gravity''s Rainbow out of Foucault''s Pendulum. Explosively fascinating." (Globe and Mail)

Most helpful customer reviews

112 of 118 people found the following review helpful.
Before Star Wars there were starry-eyed dreamers
By Book Fiend
Thank you George Pendle for writing this book. As the daughter of Jack Parson's best friend, Ed Forman, I grew up with a garage-full of explosives that my mother prayed wouldn't go off, fragments of this story as my somewhat exotic but sad family history, and my father's heartbreak that he and Jack were excluded and scorned just as the dreams they delighted in and sweated over took flight in reality.

Until Strange Angel, everything written about Jack and JPL has either been mainstream such as Theodore von Karman's "The Wind and Beyond," or pulp occultist like "Sex and Rockets." Strange Angel tells the untold human stories and re-tells some of the known with the insight of a scholar and empathy of an artist. Pendle illuminates more than the life of a rocket scientist. He captures a vivid era of American thought and aspiration, the adolescence of L.A.---the city world-famous for conjuring dreams, a cast of wild-eyed dreamers who truly believed the sky's the limit, and the cynical forces opposing them.

Pendle is fair-handed with the occult elements of Jack's story. He doesn't sensationalize or condemn. Instead, he informs and gives insight into Jack's and the others' characters to shed light on their attraction to Crowleyism and a shadowy spirituality that was also a reach for the stars. He also covers the birth of science fiction and how the "scientifiction" that my dad and Jack feasted on as boys was actually predictive of the coming space age.

It's a treat when a book combines good research and good storytelling for an entertaining read. You don't need to be a science, sci-fi or occult buff--or a southern Californian--to enjoy Strange Angel! In fact, if you liked the movie The Aviator, the book will immerse you in the same thrilling time and spirit.

1 of 1 people found the following review helpful.
Based off of the description I knew that I would have an inturests in the subject matter but I wasn't fully prepared for the she
By GoodGreifElf
Strange Angel was an angel of a surprise. Based off of the description I knew that I would have an inturests in the subject matter but I wasn't fully prepared for the sheer delight I got from this work. The writing was good, the research sound as far as I cared to check up on it, and the tone was appropriate for the subject matter.

Probably the best part of reading this book was the broad range of subjects that the subject of the book and myself have in common - why was this so delightful? Because this book interacts with people and movements that I care quite a bit about but don't see interact very often. Would recommend this book to fans of silence fiction, occultism, freedom culture, the history of science and anyone who enjoys a good old fashion slice of Americana.

0 of 0 people found the following review helpful.
Much more than rockets
By S. Maleki
The history of the development of rockets is interesting, but this book is much more than that! It is about the early 20th C in the US's scientific, political, economic and social history. All of these are presented through the life history of one central character, but we also get to meet many other players.

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# Ebook Download The Seville Communion, by Arturo Perez-Reverte

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A“diabolically good” hacker puts a message on the pope’s computer, pleading for him to save a seventeenth-century Spanish church—a church that is killing to defend itself.Although Our Lady of the Tears is but a crumbling baroque building in the heart of Seville, it is also the center of a multilayered mystery—one that will force ecclesiastical sleuth Father Lorenzo Quart to question his loyalty, his vow of chastity, and his faith itself.

Sales Rank: #271157 in Books
Brand: Perez-Reverte, Arturo/ Soto, Sonia (TRN)
Published on: 2004-06-07
Released on: 2004-06-07
Original language: English
Number of items: 1
Dimensions: 8.00" h x .90" w x 5.31" l,
Binding: Paperback
375 pages

Amazon.com Review
Spain's Arturo Perez-Reverte continues his string of comfortably old-fashioned, modestly intellectual thrillers with a touching and suspenseful story of faith and duty, set in the timeless and enchanting city of Seville. "In Seville different histories were superimposed and interdependent," he writes, aided by Sonia Soto's seamless translation. "A rosary stringing together time, blood and prayers in different languages beneath a blue sky and wise sun that leveled everything over the centuries. Stone survivors that could still be heard. You just had to forget for a moment the camcorders, postcards, coaches full of tourists and cheeky young girls, and put your ear to the stones and listen." As in his previous surprise bestsellers--The Club Dumas and The Flanders Panel, both available in paperback--Perez-Reverte takes a supposedly cool observer and turns the person into a hot-blooded participant in the action. In The Seville Communion it's Father Lorenzo Quart, who works for an investigative branch of the Vatican that is referred to by an angry, upstaged Archbishop of Seville as "you and your mafiosi in Rome, playing God's police." Father Quart, a very attractive man with prematurely gray hair cropped short, wears expensive suits and has to fight off the women who test his vows of celibacy. His toughest challenge is a breathtaking, titled beauty named Macarena, whose banker husband is at the center of a plot to tear down a historic church. Two people have already been killed because of the intrigue, and more violence threatens as Father Quart is pursued by a trio of ineptly dangerous villains, straight out of Bogart's Beat the Devil, through the gorgeous streets of a city to die for.

From Publishers Weekly
Mysterious, deadly conflicts between history and modernity drive Spanish author Perez-Reverte's latest literate thriller (after The Club Dumas, 1997), an engaging tale of love, greed, faith, betrayal and murder set in contemporary Seville. When a computer hacker penetrates Vatican security to send an urgent, anonymous plea to the pope, Father Lorenzo Quart of the church's Institute of External Affairs?a sort of Vatican CIA?is dispatched to investigate. The hacker's message concerns a troubled 17th-century church in Seville, Our Lady of the Tears. Apparently, the dilapidated church "kills to defend itself." It stands in the way of a huge real estate deal, and two people have died there?in apparent accidents?as they brought pressure to condemn it. A handsome dandy who wears expensive black suits instead of a cassock and knows how to conduct himself in a fistfight, Quart prides himself on his discipline but soon finds it heavily taxed as he's embroiled with a bellicose, elderly parish priest, a blue-jeaned American nun and a stunning Andalusian duchess intent on saving the church from the businessmen (including her husband) who threaten it. Despite some unconvincing plotting and a few heavy-handed moments, Perez-Reverte's characters capture the imagination, and his dramatic Seville seduces his protagonist and readers alike. 75,000 first printing; $100,000 ad/promo; film rights to Canal Plus and Iberoamericana. (Apr.) FYI: The Seville Communion is appearing simultaneously with Vintage's paperback issue of The Club Dumas.
Copyright 1998 Reed Business Information, Inc.

From Library Journal
Top international mystery: a hacker cracks the Vatican's security code and pleads with the Pope to save a cathedral in Seville, two of whose defenders have already met untimely deaths.
Copyright 1997 Reed Business Information, Inc.

Most helpful customer reviews

53 of 55 people found the following review helpful.
Wonderful
By Diana Faillace Von Behren
When an ingenious hacker infiltrates the Vatican's computer system and leaves a message on the Pope's desktop imploring the Vatican to save the soon-to-be demolished Our Lady of the Tears church in Seville, the Vatican deploys its version of a special operations expert in the formidable personage of Fr. Lorenzo Quart. Quart is handsome, rugged and epitomizes the business end of the Vatican while promoting a no-nonsense vision of the Church in Rome that exactly opposes the cozy sanctuary feel of Our Lady of the Tears. The congregation of the old and crumbling church believe that the building itself has an uncanny sense of survival; two murders or accidents have already taken place; the victims, people involved in the church's scheduled demolition. World-toughened Quart believes no such thing, he attributes the church's strange staying power to its motley crew of supporters: an old renegade pastor, his young computer-savy associate, a art-restoring nun from California, a willful yet beautiful aristocrat and her old-fashioned mother with a fetish for Coca Cola. The opposition is just as real--a jilted banker amd his hilarious stoogelike henchmen who envision a more self-serving and lucrative edifice on the Our Lady of Tears property.

The plot however is secondary in this most wonderful of character studies. As Quart discovers the different truths that center around the old church, he ekes out the meaning that the Church has not only for its individual protectors, but also for himself. Like any truely good piece of literature the main character undergoes some metamorphosis; Quart's is profound and well worth the read through the stirring backdrop of beautiful Seville.

Unlike some of the other reviewers, I find the "Seville Communion" incompariable when looked at in the same context as "The Flanders Panel" and "Club Dumas". While I liked these other novels, I was moved by the Seville Communion and I recommend it to anyone who enjoys their characters made of flesh and blood, not just stereotypical ideals.

21 of 21 people found the following review helpful.
The mystery is secondary
By Angela Richardson
Ostensibly, this is the story of a hacker breaking into the Vatican computer system and appealing to the Pope to save a small, neighbourhood church in Seville from being shut down. Father Lorenzo Quart is sent by the Vatican to Seville to uncover just who this hacker, who goes by the code name Vespers, really is.
But really, the mystery is incidental. For me, the book's raison d'etre wasn't really to discover who Vespers was, but to present the reader with vividly drawn characters and situations. The scenes that portrayed the slowly unfolding relationship between Quart and Maccarena, or the funny-sad trio of would-be criminals, or Don Priamo, the aged priest who would sacrifice all for his simple faith were what kept me reading.
I will definitely read more by Perez-Reverte.

22 of 23 people found the following review helpful.
Even his worst works are better that others bests
By McMurdock
In my opinion The Seville Communion (La piel del tambor) is the worst of Perez-Reverte novels. Nevertheless it deserves 4 stars because Mr. Arturo is playing in a different league and even his failures contain countless moments of magic.

The main handicap of the novel is his main character, Father Quart. The super-attactive, strong, charming priest working for a kind of Vatican Secret Service lacks credibility and his romance with the aristocratic lady is somehow predictable (remember the atractive symbology professor of The Da Vinci Code? It is the same kind of dull character).

So, how can a novel stand the weakness of the main character? Response: thanks to a fantastic pleiade of secondary characters: The three villians are simply wonderful, the old priest is touching, the banker is charming.

And then you have some pearls of Reverte's mythology, this peculiar mixture of History and adventure (better, this underlining of the adventures that History hides): pirates in the Cuban War, haunted barroque churches... this is the Perez-Reverte we love and this is what he is good at: treasures, war, puzzles and riddles. Reverte, leave the religious-love stories for those that lack your talent to tell a tale. The descriptions of Seville, its magic and charm, are also a good element of the book

In any case, it would be worth to read this novel if only for two magic moments: the conversation of the two priests about Astronomy and the hilarious moment were the vilians are "set on fire".

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Elements of Literature : Third Course

Sales Rank: #3279463 in Books
Published on: 1989-01
Original language: English
Number of items: 1
Dimensions: 10.50" h x 8.50" w x 1.50" l,
Binding: Hardcover
896 pages

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Virginia Woolf's landmark inquiry into women's role in society

In A Room of One's Own, Virginia Woolf imagines that Shakespeare had a sister—a sister equal to Shakespeare in talent, and equal in genius, but whose legacy is radically different. This imaginary woman never writes a word and dies by her own hand, her genius unexpressed. If only she had found the means to create, argues Woolf, she would have reached the same heights as her immortal sibling. In this classic essay, she takes on the establishment, using her gift of language to dissect the world around her and give voice to those who are without. Her message is a simple one: women must have a fixed income and a room of their own in order to have the freedom to create.

Sales Rank: #4331 in Books
Color: White
Published on: 1989-12-27
Released on: 1989-12-27
Original language: English
Number of items: 1
Dimensions: 8.00" h x .32" w x 5.31" l, .30 pounds
Binding: Paperback
128 pages

Amazon.com Review
Surprisingly, this long essay about society and art and sexism is one of Woolf's most accessible works. Woolf, a major modernist writer and critic, takes us on an erudite yet conversational--and completely entertaining--walk around the history of women in writing, smoothly comparing the architecture of sentences by the likes of William Shakespeare and Jane Austen, all the while lampooning the chauvinistic state of university education in the England of her day. When she concluded that to achieve their full greatness as writers women will need a solid income and a privacy, Woolf pretty much invented modern feminist criticism.

Review
Surprisingly, this long essay about society and art and sexism is one of Woolf's most accessible works. Woolf, a major modernist writer and critic, takes us on an erudite yet conversational--and completely entertaining--walk around the history of women in writing, smoothly comparing the architecture of sentences by the likes of William Shakespeare and Jane Austen, all the while lampooning the chauvinistic state of university education in the England of her day. When she concluded that to achieve their full greatness as writers women will need a solid income and a privacy, Woolf pretty much invented modern feminist criticism.
(Amazon.com Review)

Essay by Virginia Woolf, published in 1929. The work was based on two lectures given by the author in 1928 at Newnham College and Girton College, Cambridge. Woolf addressed the status of women, and women artists in particular, in this famous essay which asserts that a woman must have money and a room of her own if she is to write. Woolf celebrates the work of women writers, including Jane Austen, George Eliot, and the Brontes. In the final section Woolf suggests that great minds are androgynous. She argues that intellectual freedom requires financial freedom, and she entreats her audience to write not only fiction but poetry, criticism, and scholarly works as well. The essay, written in lively, graceful prose, displays the same impressive descriptive powers evident in Woolf's novels and reflects her compelling conversational style. (The Merriam-Webster Encyclopedia of Literature)

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176 of 181 people found the following review helpful.
An Extraordinary Essay on Women and Fiction
By A Customer
In 1928, Virginia Woolf was asked to speak on the topic of "women and fiction". The result, based upon two papers she delivered to literary societies at Newnham and Girton in October of that year, was "A Room of One's Own", an extended essay on women as both writers of fiction and as characters in fiction. And, while Woolf suggests that, "when a subject is highly controversial-and any question about sex is that-one cannot hope to tell the truth," her essay is, in fact, an extraordinarily even-handed, thoughtful and perceptive reflection on the topic.
Woolf begins with a simple and enigmatic opinion: "A woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unresolved." From this spare beginning, Woolf deftly explores the difference between how women had been portrayed in fiction, and how they actually lived in the world, during the preceding centuries. "A very queer, composite being emerges. Imaginatively, she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history. She dominates the lives of kings and conquerors in fiction; in fact she was a slave of any boy whose parents forced a ring upon her finger."
The source of dissonance between how women were portrayed in fiction, and how they actually lived, was the fact that most fiction prior to the nineteenth century was written by men. As Woolf astutely points out, "[i]t was strange to think that all the great women of fiction were, until Jane Austen's day, not only seen by the other sex, but seen only in relation to the other sex." Woolf's observation is no feminist polemic; it is, rather, an incisive comment on how fiction was impoverished when it was written only by men.
Even when fiction was written by women, it was powerfully influenced by patriarchal notions of virtue and the proper role of women. Thus, Woolf suggests there could be no female Shakespeare in sixteenth century England because no women would be tolerated who lived in the real world like the Bard. "No girl could have walked to London and stood at a stage door and forced her way into the presence of actor-managers without doing herself violence and suffering an anguish which may have been irrational-for chastity may be a fetish invented by societies for unknown reasons-but were none the less inevitable." Indeed, this "relic of the sense of chastity" dictated that more daring female authors-George Eliot, George Sand, Currer Bell-maintain anonymity as late as the nineteenth century.
When female writers did find a "room of their own," they were still limited by social and cultural imperatives. Thus, the first of the great women novelists-Jane Austen, the Brontes, George Eliot-wrote largely from the drawing room, not from the experiences of the larger world-the very conditions of their writing life being as cramped as the their restricted lives. As Woolf notes, in commenting on Charlotte Bronte, "[s]he knew, no one better, how enormously her genius would have profited if it had not spent itself in solitary visions over distant fields; if experience and intercourse and travel had been granted her. But they were not granted, they were withheld."
Ultimately, Woolf suggests that the "true" nature of women will only be approached in fiction when women are sufficiently independent-not only in a financial sense, but in the sense of being freed from societal and cultural restraints-to explore the quotidian, the everyday lives of people in the world. This is the aspect of the fictional world that, in Woolf's view, was absent from the male-dominated novel prior to the nineteenth century.
Woolf further suggests that the "true" nature of fiction is expressed only through those writers who can transcend their narrow sexual roles-become "man-womanly" or "woman-manly"-so as to convey the fullness of the real world. As Woolf notes, "Coleridge perhaps meant this when he said that a great mind is androgynous. It is when this fusion takes place that the mind is fully fertilised and uses all of its faculties." Based on this criterion, Woolf promulgates her own canon of English male writers, a canon which includes Shakespeare, Keats, Sterne, Cowper, Lamb, Coleridge, and Proust (who "was perhaps wholly androgynous, if not perhaps a little too much of a woman").
"A Room of One's Own" is, in sum, a fascinating, thoughtful and perceptive essay on women and fiction written by one of the Twentieth century's most formidable writers and thinkers, a woman who truly succeeded in creating a room of her own in the canon of modern English literature.

92 of 92 people found the following review helpful.
Accessible Woolf!
By Peggy Vincent
Some of Virginia Woolf's writing is difficult for the modern reader to plough through - loooong sentences, convoluted construction, excessive naval gazing (in fictional form). But A Room of One's Own, a very long essay about feminism, independence, writing, and becoming one's own person, is actually quite readable, quite educational, and quite wonderful. The reader, at least this one, feels she's in the presence of a great mind at work as it ruminates on and on about these topics in a somewhat rambling but engaging personal reflection. Although written in 1929, the situation for women artists hasn't changed all that much, so it's far from dated.
A must-read.

38 of 39 people found the following review helpful.
Witty and Intelligent Argument on Behalf of Female Writers
By A Customer
Virginia Woolf is a writer of intelligence and grace. A Room of One's Own is a skinny little treasure of a book with words and wisdom that will stay with the reader long after it is read. The essay contained in the book is the result of two papers that Ms. Woolf read to the Arts Society at newnham and Odtaa at Girton (England) in October of 1928. She was asked to speak about the topic of "Women and Fiction", and after doing so, she expanded her papers and later published them as this book.
Woolf begins the essay by writing, "I soon saw that [the subject of women and fiction] had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer- to hand you after an hour's discourse a nugget of pure truth to wrap up between the pages of your notebooks and keep on the mantelpiece for ever. All I could do was to offer you an opinion upon one minor point- a woman must have money and a room of her own if she is to write fiction... At any rate, when a subject is highly controversial- and any question about sex is that- one cannot hope to tell the truth. One can only show how one came to hold whatever opionion one does hold. One can only give one's audience the chance of drawing their own conslusions as they observe the limitations, the prejudices, the idiosyncrasies of the speaker."
It is in this straightforward and honest manner that Woolf writes about women and fiction. Although the speech was given and the book was published in 1929, all of its points are still important for women- and especially women writers and artists- today. In A Room of One's Own Woolf examines classic literary works of the past and wonders why most, until the 19th Century, were written by men, and why most of the works published by women in the 19th Century were fiction. She comes to the logical conclusion that women in the past had little to no time to write because of their childbearing and raising responsibilities. There is also the fact that they were not educated and were forbidden or discouraged from writing. When they did begin to write, they only had the common sitting rooms of Elizabethan homes to do so in, which did not provide much solitude or peace of mind, as it was open to any interruption and distraction that came along.
Woolf argues passionately that true independence comes with economic well-being. This is true for countries, governments, individuals, and writers, especially female writers. Without financial security it is impossible for any writer to have the luxury of writing for writing's sake. It is also a very inspiring book for any aspiring write to read. I end this review with Virginia Woolf's own hopes for women in the future:
"... I would ask you to write all kinds of books, hesitating at no subject however trivial or however vast. By hook or by crook, I hope that you will possess yourselves of money enough to travel and to idle, to contemplate the future or the past of the world, to dream over books and loiter at street corners and let the line of thought dip deep into the stream."
(If you liked this review, please read my other book reviews under my Amazon profile...)

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