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Coy is a sailor without a ship.Tánger Soto is a woman with an obsession to find the Dei Gloria, a ship sunk during the seventeenth century, and El Piloto is an old man with the sailboat on which all three set out to seek their fortune together. Or do they?

• Sales Rank: #893634 in Books
• Published on: 2004-06-07
• Released on: 2004-06-07
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x 1.14" w x 5.31" l,
• Binding: Paperback
• 480 pages

Amazon.com Review
A treasure hunt for a Jesuit ship sunk by pirates off the coast of Spain is the plot on which Perez-Reverte's new novel turns, but a love story is the real heart of this nicely crafted, carefully told adventure. A suspended sailor happens on a maritime auction in Barcelona, where he meets the beautiful Tanger Soto, a museum curator whose winning bid buys her a 17th-century atlas that may reveal the final resting place of the Dei Gloria. Coy, the sailor, is totally smitten, so it's no surprise that he signs on to help Tanger track the sunken ship to its grave in waters he's sailed since childhood. Enlisting the aid of a diver friend, Coy and Tanger stay a few steps ahead of the crooked salvagers who've been trying to get the atlas, outmaneuvering the attempts on their lives and the efforts to keep them from the treasure. Perez-Reverte (The Fencing Master, The Club Dumas) is better at plumbing the mysteries of the human heart than those of the sea, but The Nautical Chart manages to combine history, suspense, and obsessive love in a slow-paced but ultimately engrossing read. --Jane Adams

From Publishers Weekly
Popular Spanish novelist Perez-Reverte (The Fencing Master; The Club Dumas) is known as "the master of the intellectual thriller." But his customarily skillful blend of pop erudition and conscious borrowing of literary precedents threatens to capsize this tale of a race to retrieve a fortune in emeralds that sank off the Mediterranean coast of Spain in 1767. Manuel Coy is now in the Conrad phase of his life, having previously lived a Stevenson period and a Melville period. He is a "sailor exiled from the sea," his pilot's license suspended for two years after he ran a merchant ship onto an uncharted rock in the Indian Ocean. Attending an auction of nautical relics in Barcelona (in his "Lord Jim jacket"), Coy watches a beautiful young blonde woman outmaneuver a menacing ponytailed man to purchase a 17th-century nautical chart of the Spanish coast by Urrutia Salcedo. The woman is Tanger Soto, of Madrid's Museo Naval; the ponytailed man is a famed pirate of sea salvage, Nino Palermo. Coy comes to Tanger's defense when he sees her being threatened outside the auction house by Palermo thus putting himself in the service of a woman he is sure will eventually betray him. The characters are only too aware of the affinities of their story with The Maltese Falcon, and with a whole library of sea literature. Perez-Reverte is too accomplished a novelist to write a truly dull book, and the underwater sequences that climax the story are masterfully done. But any sea adventure that is more than half over before it makes it to the sea has to be in some kind of trouble. (Oct.)Forecast: This may not be Perez-Reverte at his best, but his second-best will be more than good enough for most readers. A first printing of 125,000 copies and a five-city author tour are in the works.

Copyright 2001 Cahners Business Information, Inc.

From School Library Journal
A suspended sailor and a gorgeous woman who works at Madrid's Naval Museum join forces to uncover a sunken galleon and find themselves in hot water. From the author of intellectual thrillers like The Flanders Panel.
Copyright 2001 Reed Business Information, Inc.

Most helpful customer reviews

48 of 51 people found the following review helpful.
Unlike His Other Work 3.5 Stars
By taking a rest
Mr. Perez Reverte's previous books have always maintained a level of tension throughout the unfolding mystery. He has always brought well-planned and complex tales that revolved around great literature, great art, or even the art of classic sport, as he did with, "The Fencing Master". He always has piqued the curiosity of the inquisitive reader from the outset of his tale, and while sharing pieces of the outcome as the story progressed; he never pulled the curtain entirely back until the very end. "The Nautical Chart", is a very good story, however the author takes too long to tell his tale, and while he provides an ending that unfolds to the very end, unlike his other works this one can be seen clearly if not completely well before the close.
Throughout the book there is a great amount of detail regarding the operation of 18th century sailing vessels. As the reader progresses with the story there is no way of knowing how critical this information may be. The frustration arises as only those readers with very specialized knowledge of sailing and its terminology will be able to follow the reconstruction of the tales within the tale. I don't see why a few drawings of the craft in question could not have been provided. The detail would have enhanced the read, and kept the pace more brisk as those without the knowledge would not feel left out, and wonder how much they were missing.
The main players are hard to like as well, as for the most part they loathe one another. One is particularly annoying as he seems to go through his days confirming his and everyone else's low expectations of him, and he catalogues it all with acronyms. There just was not as much substance and depth to these characters as the author has delivered in the past. Virtually all are driven by the same base motive, and even that is hard to get involved with.
I love this author's work, however of the novels he has written to date, this is the one I favor the least. I certainly will once again pick up his next work, and I look forward to the tales that are of the caliber of his first four novels.

15 of 15 people found the following review helpful.
Engaging, but not Amazing
By A. Ross
Perez-Reverte's literary mysteries, as wonderful and entertaining as they tend to be, all follow a somewhat similar template, one that is faithfully reproduced here. It all starts with a somewhat highbrow subject-chess and painting restoration in The Flanders Panel, antiquarian books in The Club Dumas, the Vatican and Catholicism in The Seville Communion, fencing in the Fencing Master-which is represented here by cartography and sailing. Then he adds a hero who is an expert in the subject, and somewhat of a loner, removed from the mundane world around him or her. The expert/hero is activated by powerful persons whose interest in the hero's area of expertise is ultimately revealed to be linked to some murky historical episode which proves vital to the story. And finally there is a ending that is often surprising or ambiguous. That this template works over and over is a testament both to the skill with which Pérez-Reverte weaves his plots, and to his ability to carry the reader deep into the details of whatever subject happens to be the focus of that book.
In this book, Pérez-Reverte presents a fairly compelling hero, Coy, a born to the ocean, jazz loving sailor at loose ends. He's quickly embroiled in a treasure hunt led by the beautiful and always in control Tanger, who's in a race with a slimy Gibralterian professional treasure hunter and his sadistic Argentine dwarf enforcer. Simpler than any of his previous books, the story both directly and indirectly references the Dashed Hammett classic, The Maltese Falcon. As in that tale, most of the suspense is created by lack of information, which is slowly released to Coy in dribs and drabs, as well as the question of who's double-crossing who. This makes the main characters conversations a shade too melodramatic at times to be realistic, but this is balanced by his naunced capturing of Coy's total attraction to Tanger and her manipulation of it.
As so much of the book involves Coy and Tanger crouched over old maps, or discussing them, one wishes the publisher would have included some reproductions to help the reader out. Similarly, it would have helped a great deal to have an illustration of the two maint ships being hunted for, as there are pages upon pages describing their duel. This is rather frustrating, as without some basic knowledge of sailing and its terms, the reader is unlikely to be able to follow chunks of the writing. The book takes a bit too long to get going, although when it does, it is quite suspenseful, although the clues are a little more visible than usual in Pérez-Reverte's work. Unfortunately the ending doesn't live up to its buildup, and one suspects this eminently filmable thriller will have its climax tweaked for the big screen. All in all, it's not among his best, but still entertaining and highly readable.

26 of 29 people found the following review helpful.
Good book? Poor translation?
By Patrick Burnett
Someone once said of Peter DeVries, "I love his book. I read it every time he writes it." Arturo Perez-Reverte has cemented his claim to such backhanded praise with this release, "The Nautical Chart".
This book follows the standard Perez-Reverte formula, one that became almost tiresome after "The Flanders Panel" was released.
Here we are offered Coy, a down-on-his-luck sailor with barely enough knowledge to get the job done, a man who thinks and acts with his fists as opposed to his wits, Tanger Soto, a single-minded femme fatale who echoes Hammett's Bridget O'Shaughnessy (from "The Maltese Falcon", which this book references and echoes)and a pair of villains as cruel and unlikely as Gutman and Joel Cairo. The group are all in search of a vast treasure buried beneath the sea centuries ago. That's pretty much all there is to the story.
It's not the repeat of the old formula that bothers me so, rather it is the change in writing style that seems to have sucked the joy out of my reading of Perez-Reverte, and I don't know whether to blame this on the author or his translater. Former translator Sonia Soto had a flair for language and helped ease The Club Dumas and The Flanders Panel into the American consciousness by imbuing these books with a fluid formality that seemed just right for the content. New translator Margaret Sayers Peden has a wooden ear, seemingly translating some sections exactly as written (which makes them seem odd and flat to an English speaker) and others by trying to inject modern slang and make the book sound more contemporary.
It is a fact that, unless we read the original language, we are at the mercy of the translator when reading foreign literature. A good one can make the work sing and a bad one will make it squawk. Sadly, without a strong, fresh framework from Perez-Reverte, this translation merely squawks.

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~~ Fee Download Cat and Mouse, by Gunter Grass

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The setting is Danzig during World War II. The narrator recalls a boyhood scene in which a black cat pounces on his friend Mahlke’s “mouse”-his prominent Adam’s apple. This incident sets off a wild series of events that ultimately leads to Mahlke’s becoming a national hero. Translated by Ralph Manheim. A Helen and Kurt Wolff Book

• Sales Rank: #530258 in Books
• Published on: 1991-10-31
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .48" w x 5.25" l, .45 pounds
• Binding: Paperback
• 189 pages

Features

• White paperback with black and red lettering and cartoon design of the cat.
• 189 pages

Review
"'Gunter Grass' second novel is quite different in character from The Tin Drum." less of a showcase for an obstreperous talent (although there are still scenes of caricature and occasional scabrous humor), it is a more controlled book and far more internalized. This time the German-realist-surrealist, while again using many symbolic allusions, has subdued some of the abstractions, some of the elements of the absurd. The latter is chiefly apparent in the physical disfigurement of the central character which again singularizes him: the demonic Oskar Matzerath was a dwarf; now it is the protuberant Adam's apple which jumps conspicuously like a mouse, the neck of Mahlke whose story is told by his friend Pilenz. Both boys grow up together in a small Danzig town and the always solicitous, increasingly admiring Pilenz follows Mahlke, in a sense an unlikely hero, odd, quiet, solemn, devout, as he performs his amazing feats. These extend from the childish games, when- as an underwater diver- he brings up trophies from a sunken minesweeper in the bay, to the atrocities of war and his spectacular performance in action. Little by little, however, there is the erosion of the individual by the system and Mahlke, the "mouse", the "clown", but most of all the "redeemer" with his resounding faith, goes deliberately to his death. It is the gesture of the individual against the philistinism which has always dominated German life and which was so much a part of the earlier book.... A tantalizing, eloquent, strange and strangely moving book, filled with remarkable scenes, a tragi-comic vitality and a transcendental vision. " (Kirkus Reviews)

Language Notes
Text: English (translation)
Original Language: German

About the Author
GÜNTER GRASS (1927–2015), Germany's most celebrated contemporary writer, attained worldwide renown with the publication of his novel The Tin Drum in 1959. A man of remarkable versatility, Grass was a poet, playwright, social critic, graphic artist, and novelist. He was awarded the Nobel Prize for literature in 1999.
 

Most helpful customer reviews

29 of 31 people found the following review helpful.
The second part of the Danzig Trilogy holds up just as well
By Robert Beveridge
I first read Cat and Mouse without the benefit of having read The Tin Drum beforehand, and I missed a lot. Cat and Mouse is the second book in Grass' Danzig Trilogy, three books that look at life in Danzig under the Nazi regime from three different points of view (the tales are told concurrently, and time can be fixed by seeing the same event from different points of view; for example, the picnic taken by the jazz trio and Schmuh in Book III of The Tin Drum shows up towards the end of Cat and Mouse, and Matern, one of the main characters of Dog Years, shows up in The Onion Cellar, where Oskar's jazz band is retained, in The Tin Drum).

Cat and Mouse is actually a novella, originally a part of Dog Years that broke off and took on a life of its own; on the surface it is the tale of Joachim Mahlke, a high school student with a protruding adam's apple (the Mouse of the title), and his fascination with a sunken Polish minesweeper after he learns to swim at the age of thirteen. It is also the story of Pilenz, the narrator and Mahlke's best friend. The two spend their high school years in wartime Poland, reacting to various things, and that's about as much plot as this little slice of life needs.

The interesting thing about Cat and Mouse is its complete difference in tone from the other two novels. Both The Tin Drum and (what I've read so far of) Dog Years have the same high-pitched, almost hysterical humor combined with a profound sense of teleology (not surprising given the apocalyptic nature of life in Danzig under the Nazis); Grass attempts to confront the horror with over-the-top slapstick, because only through that kind of comparison is it possible to make the reader understand. But while Cat and Mouse has its moments of the same kind of ribald humor, it is more dignified, in a sense, and closer to reality; enough so, at least, that when the book reaches its inevitable climax and denoument, one feels more genuine, or more human, reactions to the fates of Pilenz and Mahlke than one does to Oskar, the hero of The Tin Drum. Perhaps that is why it was segmented off from Dog Years; perhaps there was another reason. Whatever the case, it stands on its own and as an integral part of Grass' magnum opus.

16 of 18 people found the following review helpful.
Why is it I always end up liking books I read in school?
By Thomas Edgar
Okay, I'll admit freely: "Katz und Maus" was required reading in school, which obviously biased me against it immediately. What's worse, it was German postwar literature, which never fails to be depressing and downbeat. I knew I was in for a greuling read.
And then, suddenly, it wasn't. In fact, I started liking it from the first line, and carried on until the end, which I'd give away if I said wasn't an end, so I'll let you read it yourself.
The story is complicated and non-linear. It is told from a first person narrative, the exact reliability of which is consatantly brought into question, either by the fog of the years or deliberate misconstruction due to feelings of guilt, the narrator never seems too sure about what happened, often offering several different versions of the same story at the same time, and even going so far as to admit his own fictitiousness. The story that serves as a Leitmotiv, as well as title of the book, is the cat that attacked Mahlke's adam's apple, and exactly how it got there.
What I found most striking about the book on first glance was the descriptions of the places and characters that the novella is centered on. At the same time, you have a feeling that it's merely a part of a greater whole. It fits in with the other two books in the so-called Danzig Trilogy seamlessly, yet still sets itself apart.
I have another confession to make: I attend a German high school, and so I read it in German. In my opinion, though what I've read of the excerpts seems like a decent translation, Günter Grass is an author who uses the German language to its full extent, emplying every manner of grammatical and syntactical tricks to underline the story. These, unfotunately, are completely lost in the translation. If you understand German decently, I would strongly encourage you to seek out an original language text.

14 of 17 people found the following review helpful.
Clever, moving, insightful; instantly a classic
By Yaumo Gaucho
This is a sensitively written tale of Joachim Mahlke and his "mouse" (that up-and-down-bobbing Adam's apple of his) -- through the eyes of an unreliable narrator reminiscing about his youth, and life, and morals, and how ordinary, decent people, some of them children, lived in Hitler's Germany. Realistic, telling, bittersweet. Lots of little chases and reflections: hence cat and mouse. Often uproariously funny, sometimes with a deeper message, sometimes just for humor.
Cat and Mouse is the most purely enjoyable book I've read in a long time. Perhaps not the most challenging to read (that's not always a bad thing), but definitely the most enjoyable.
There's lots of subsurface musing about war and the morality of killing... for an American, it reminds one of the collective guilt brought about by Vietnam. (But it is never in-your-face war-musings a la Tim O'Brien or anyone like that.) Yes, these teenage boys joined the Hitler Youth and aspired to shoot at British airplanes; but can we blame them? And can they morally redeem themselves decades later -- and need they?
A side point: I was shocked by one frequent error among reviewers here. How can people read this book and think that it is set in Poland! Its German setting is perhaps its most salient feature. It is set in what was then Germany, although that part of Germany became Poland after WW2.

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> Download PDF A Collection of Essays, by George Orwell

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George Orwell's collected nonfiction, written in the clear-eyed and uncompromising style that earned him a critical following

 

One of the most thought-provoking and vivid essayists of the twentieth century, George Orwell fought the injustices of his time with singular vigor through pen and paper. In this selection of essays, he ranges from reflections on his boyhood schooling and the profession of writing to his views on the Spanish Civil War and British imperialism. The pieces collected here include the relatively unfamiliar and the more celebrated, making it an ideal compilation for both new and dedicated readers of Orwell's work.

• Sales Rank: #72215 in Books
• Published on: 1970-10-21
• Released on: 1970-10-21
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .83" w x 5.31" l, .70 pounds
• Binding: Paperback
• 336 pages

Amazon.com Review
Imagine any of today's writers of "creative nonfiction" dispatching a rogue elephant before an audience of several thousand. Now, imagine the essay that would result. Can we say "narcissism"? As part of the Imperial Police in Burma, George Orwell actually found himself aiming the gun, and his record--first published in 1936--comprises eight of the highest voltage pages of English prose you'll ever read. In "Shooting an Elephant," Orwell illumines the shoddy recesses of his own character, illustrates the morally corrupting nature of imperialism, and indicts you, the reader, in the creature's death, a process so vividly reported it's likely to show up in your nightmares ever after. "The owner was furious, but he was only an Indian and could do nothing.... Among the Europeans opinion was divided. The older men said I was right, the younger men said it was a damn shame to shoot an elephant for killing a coolie, because an elephant was worth much more than any damn Coringhee coolie."

This essay alone would be worth the cover price, and the dozen other pieces collected here prove that, given the right thinker/writer, today's journalism actually can become tomorrow's literature. "The Art of Donald McGill," ostensibly an appreciation of the jokey, vaguely obscene illustrated postcards beloved of the working classes, uses the lens of popular culture to examine the battle lines and rules of engagement in the war of the sexes, circa 1941. "Politics and the English Language" is a prose working-out of Orwell's perceptions about the slippery relationship of word and thought that becomes a key premise of 1984. "Looking Back on the Spanish War" is as clear-eyed a veteran's memoir of the nature of war as you're likely to find, and Orwell's long ruminations on the wildly popular "good bad" writers Charles Dickens and Rudyard Kipling showcase his singular virtues--searing honesty and independent thinking. From English boarding schools to Gandhi's character to an early appreciation of Henry Miller's Tropic of Cancer, these pieces give an idiosyncratic tour of the first half of the passing century in the company of an articulate and engaged guide. Don't let the idea that Orwell is an "important" writer put you off reading him. He's really too good, and too human, to miss. --Joyce Thompson

About the Author
GEORGE ORWELL (1903–1950) was born in India and served with the Imperial Police in Burma before joining the Republican Army in the Spanish Civil War. Orwell was the author of six novels as well as numerous essays and nonfiction works.

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114 of 117 people found the following review helpful.
Good Stuff, Mostly
By Sarang Gopalakrishnan
Note that all the essays in this collection are available online, most of them at multiple sites.
This sample of Orwell's essays is representative but perhaps a little too small. At least two other essays, "A Hanging" and "Lear, Tolstoy and the Fool" should have been included.
"Such, Such Were the Joys" is a moving reminiscence of boarding school, where Orwell had a miserable time as a frail student on "reduced fees".
"Charles Dickens" is a long piece of literary-social criticism. It is insightful on Dickens the man and his politics, and how they relate to his work. Orwell notes the class limitations on Dickens's outlook, but feels that in spite of them, Dickens is a "free intelligence".
"Rudyard Kipling" is an essay in the same style. Orwell admits Kipling's faults but feels that despite them, he produced better poetry than most of his contemporaries. This is put down to his writing about/for a class with a sense of responsibility.
"The Art of Donald McGill", "Raffles and Miss Blandish" and "Boys' Weeklies" are essays that analyse public sentiment through a survey of popular literature and art. These essays are the best in the genre, and definitely among Orwell's best essays.
"Inside the Whale" is an essay about contemporary (1920-1940) serious literature. Parts I and III praise Henry Miller's Tropic of Cancer; part II reviews literature between the wars. The image of a transparent whale (inside which Henry Miller sits) is arresting, but this essay is not otherwise a very good one. Orwell says several obvious or false things about 1920s writers, misrepresents the Auden group, and is somewhat hyperbolic about Henry Miller.
"England your England" is an essay about the English national spirit, and is very revealing about Orwell's own patriotism.
"Looking Back on the Spanish War" -- Orwell fought with a Trotskyist militia in Spain; his experiences are recounted in Homage to Catalonia. This is a brief reminiscence. Hopefully it will inspire you to read the book.
"Politics and the English Language" has been very influential; its thesis is that the use of cliches and euphemisms leads to muddy thinking which makes totalitarianism bearable. It includes his six rules of good writing. Orwell also makes this point in the brilliant appendix to 1984.
"Marrakech" and "Shooting an Elephant" are essays about colonialism. The latter describes it from much closer range; it describes an experience Orwell had as a colonial administrator in Burma and is one of his most famous essays.
"Reflections on Gandhi" discusses Gandhi's personal ethics and political philosophy. Orwell's critique of Gandhi is memorable:
"The essence of being human is that one does not seek perfection, that one is sometimes willing to commit sins for the sake of loyalty, that one does not push asceticism to the point where it makes friendly intercourse impossible, and that one is prepared in the end to be defeated and broken up by life, which is the inevitable price of fastening one's love upon other human individuals. No doubt alcohol, tobacco, and so forth, are things that a saint must avoid, but sainthood is also a thing that human beings must avoid."
"Why I Write" is an account of Orwell's development as a writer. Orwell claims that the political purpose was foremost in all his writing, and ends this essay with the famous aphorism that "good prose is like a windowpane."

32 of 32 people found the following review helpful.
Value for money
By Manuel Haas
If you want to find out about Europe in the first half of the 20th century, this is the book you should book. These 300 pages offer excellent value for money; Orwell writes about the most diverse aspects of life: elitist literature and pulp magazines, the horrors of boarding schools or what it felt like to be a colonial officer in Burma. What he writes is full of insight and first-hand experience. You will find yourself telling others about what you have learned from this collection.
Orwell's style is not just transparent "like a window pane"; it is just beautiful in its rhythms and deadpan humour. - My personal recommendation is the essay on "Boys' Weeklies". These magazines did not only inspire Rowlings' Harry Potter, but seem to have been an early form of the theatre of the absurd as well...
The only setback of this edition is that it does not say where the essays where first published.

0 of 0 people found the following review helpful.
A Great Read
By Mitchell Honan
Orwell writes with such a clear and cutting voice. His critiques and suggestions not only put a reader in the mindset of the mid-20th century western thinker, but also span decades of experience and insight. Orwell is best known for Animal Farm and 1984, but these essays offer a much deeper perspective into his earlier life and the many experiences that he had. I would highly recommend at least reading "Shooting an Elephant" as it delivers a thought-provoking perspective on colonialism.

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~~ PDF Download Best Of Bad Hemingway, Vol 2: More Choice Entries from Harry's Bar & American Grill Imitation Hemingway Competition, by Harry's Bar & Amer

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With all the wickedly clever intonations of the original volume, Volume Two contains fifty-two Heminway parodies selected from the thousands of entries submitted over eleven years to the Imitation Hemingway Competition. Introduction by Digby Diehl; caricatures.

• Sales Rank: #514243 in Books
• Published on: 1991-10-15
• Released on: 1991-10-15
• Original language: English
• Number of items: 1
• Dimensions: 7.25" h x 5.25" w x .50" l,
• Binding: Paperback
• 126 pages

From Publishers Weekly
Faulkner's immortal Yoknapatawpha County has been renamed after the shaman of Star Wars , Obieonekenobie. The Sartoris family--whose saga made for some of Faulkner's finest fiction--has had its ancestry traced by Jay Martel to "the primordial Sartorisaurus and its scalyno comma/pk ill-fated broods of Sartorisauruses." And Sam Staggs satirizes Faulkner's sometimes exuberant verbosity in "As I Lay Dieting." Those are just some of the myriad indignities the author suffers in these perversely inventive parodies from American Way magazine and Faulkner Newsletter' s faux Faulkner contest, which read like an entertainingly cracked set of Cliff's Notes. The volume also includes earlier faux Faulkner, such as Kenneth Tynan's parody of "that old diurnal round of sufferin' and expiatin' and spoutin' sentences two pages long" of Faulkner's characters. As if to prove old Bill was not above a laugh at his own expense, Wells--Faulkner's niece and editor of Faulkner Newsletter --reprints his self-parody "Afternoon of a Cow," which, due to self-consciousness perhaps, never quite achieves the impish charm of the volume's other satires. Illustrations not seen by PW.
Copyright 1991 Reed Business Information, Inc.

About the Author
No Bio

Most helpful customer reviews

0 of 0 people found the following review helpful.
Hemingway
By Literati
I teach literature so I purchased both volumes to help students parody a work, namely Hemingway. Both books are interesting, though a number of the parodies are boring and as a requirement of the contest, they must all mention Harry's Bar & Grill, which is where this book stems from. The contest is no longer judged but this is a fun example of different parodies, none-the-less. If it is cheap enough, it is a fun book to have around.

0 of 0 people found the following review helpful.
Funny parodies
By Bruce A. Bebb
Funny parodies, if you're old enough to remember when Hemingway was considered one of the greatest novelists of the century.. Mine's on pp. 22-23

1 of 2 people found the following review helpful.
Quit while you're ahead.
By Peter Garland
This first volume of this work by a great American was funny. This follow-up by other people was bad. O, well.

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^^ Fee Download POPism: The Warhol Sixties, by Andy Warhol, Pat Hackett

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Anecdotal, funny, frank, POPism is Warhol’s personal view of the Pop phenomenon in New York in the 1960s and a look back at the relationships that made up the scene at the Factory, including his rela­tionship with Edie Sedgewick, focus of the upcoming film Factory Girl. In the detached, back-fence gossip style he was famous for, Warhol tells all—the ultimate inside story of a decade of cultural revolution.

• Sales Rank: #106645 in Books
• Brand: Warhol, Andy/ Hackett, Pat
• Published on: 2006-09-05
• Released on: 2006-09-05
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x 1.07" w x 5.31" l, .93 pounds
• Binding: Paperback
• 400 pages

Review
PRAISE FOR POPISM
 
"A vivid re-creation of a great time to live and a great time to die."--Martin Scorsese

From the Back Cover
"It is as absorbing as the best telephone gossip, funny yet full of insights."—Christopher Isherwood
 
A cultural storm swept through the 1960s—Pop Art, Bob Dylan, psychedelia, happenings, underground movies, the British Invasion—and at its center sat a bemused young artist with silver hair: Andy Warhol. Andy knew everybody—from the cultural commissioner of New York to drug-driven drag queens—and everybody knew Andy.
His studio, The Factory, was the place: where he created the large canvases of soup cans and Pop icons that defined Pop Art, where one could listen to Lou Reed and the Velvet Underground and rub elbows with Edie Sedgwick, where The Chelsea Girls and Warhol’s other underground classics were shot, and where Warhol himself could observe the comings and goings of the avant garde.
Anecdotal, funny, and frank, POPism is where Warhol tells it all—the ultimate inside story of a decade of cultural revolution.
 
"POPism reads like a novel . . . Social history of the rarest kind, set down in ultra-sharp focus by someone who helped shape the events he describes."—Calvin Tomkins, The New Yorker
 
Andy Warhol (1928-1987) was a painter, graphic artist, filmmaker, and leader of the Pop Art movement. He was born in McKeesport, Pennsylvania, and died in New York in 1987.
 
Pat Hackett worked closely with Andy Warhol for twenty years, coauthoring two books and a screenplay as well as serving as his diarist.

About the Author
Andy Warhol, a painter and graphic artist, also produced a significant body of film work, including his famous Chelsea Girls. He was equally well known in the late sixties and early seventies as resident host at his studio, The Factory, where one could listen to Lou Reed and the Velvet Underground and rub elbows with Edie Sedgwick. Warhold died in New York in 1987.

Most helpful customer reviews

0 of 0 people found the following review helpful.
I would give it five stars but I am not sure this is a book for everyone but I loved it.
By Amazon Customer
Well, that book was something. Kind of made me wish I knew him. He writes glibly about a crazy time in history, against the backdrop of that time (the 6o's mostly) and his influence on the art and pop scene was modestly and funnily written about. I would give it five stars but I am not sure this is a book for everyone but I loved it.

18 of 18 people found the following review helpful.
The Good News of Andy Warhol
By calmly
Why wait for others to come along years later to write your Gospels? With Pat Hackett, Andy got out the Word.

If you've only read what others wrote about Warhol, you might be surprised to learn here to what extent the others seem to be using "Popism" as a source. You may wish you'd saved the money you spent on the other accounts. Few seem to present Warhol as well as he and Pat did.

It is to be wondered how many of the biographers and critics understood him. This guy who "lacked social skills" but somehow during the 60's seemed to have 10-20 friends with him whenever he went out for dinner shows in "Popism" what an extraordinary social magnet AND social observer he was. Sex and drugs and rock n' roll rarely get pushed this far.

"Popism" is surprising conventional in form, however unusual the people it describes. It flows easily. It is among the best publicity of Warhol and his circle. There's a helpful 8 page index of the people mentioned. To name a few: Brigid Polk, International Velvet, John Cale, Ultra Violet, Jackie Curtis, Joe Dallesandro, Candy Darling, Duchess, Baby Jane Holzer, Fred Hughes, Gerard Malanga, Mario Montez, Paul Morrissey, Billy Name, Nico, Ondine, Lou Reed, Edie Sedgwick, Ingrid Superstar, and Viva. You may never have been to The Factory, never seen a Warhol movie, never even seen a Warhol silkscreen, never heard Velvet Underground music, but, if you read "Popism" you'll feel like you know all these people and more.

Warhol's description of being shot and his recovery is especially fascinating. How was he able to be so objective? Andy and Pat are among the best storytellers.

After reading this book, treat yourself to watching "I Shot Andy Warhol" for another good presentation of what this scene may have been like.

Warhol lives.

8 of 8 people found the following review helpful.
book review : POPISM the WARHOL SIXTIES by andy warhol & pat hackett 1980 harcourt brace.
By Clinton S. Freeman
book review : POPISM the WARHOL SIXTIES by andy warhol & pat hackett 1980 harcourt brace.

this marvelous autobiography is andy warhol's first person narrative from 1960-1969, focussing primarily on his art & film work, but also including many famous stars, & infamous Factory characters, various trips he made to california, michigan, paris, and elsewhere, and also depicting the cultural/historical backdrop to that era. It's always interesting to read andy's interpretations of popular songs, films & celebrities, the parties & clubs he attended, and his film-making process, which seemingly took up as much of his time in the mid-late 60s as his painting did. The theme/meaning of POP is explored frequently in the book, warhol analyzing events like nightlife/discos, politics and society, fashion from Mod to unisex, the Pope's 1965 NY visit, music both pop & radical, the Beatles & hippie, all in terms of "POP."

Here are some of the details & events described that I found particularly interesting:

1960-63: travelling to the fox theatre in brooklyn with ivan karp to see murrey the k's rock & roll shows, incl. many motown acts.

his friendships with larry rivers, rauschenberg & other art peers, and the suspicious reception he received from the abstract expressionist painters of the 1950s, an earlier, more earnest generation, as opposed to the cool, ironic POP.

his relationship with underground cinema curator jonas mekas, who encouraged andy's alternative cinema style & projected almost all his films.

outrageous characters reappear throughout the decade, like Pope Ondine, The Duchess, Billy Name, Edie Sedgwick, Taylor Mead, International Velvet, Ultra Violet, Fred Hughes. Candy Carling, all brought to life in chronological order as Andy met & worked with them.

The evolution of the Factory, from east 89th st in 1963 to east 47th in by 1965 to union square west by the end of the 60s.

1964: hanging out with the rolling stones, mick, keith & brian jones, and Bob Dylan.

1966: the velvet underground & nico become the Factory's focus, from their debut LP to multi-media gigs/performances in the village & in selected cities. any rock fan will be fascinated to hear stories about hanging out with nico, lou reed, john cale & the crazed performances they innovated that year, S&M dances, light shows, sex & drug charged discoteques, confrontational noise performances, radical visuals & music -- essential underground nightlife & art historical events as they occurred. afterhours clubs with guide lou reed. the hostile reception the velvets got in LA & SF .

discos like the cheetah and the ultimate latenight hangout max's kansas city.

1967: happenings/be-ins in central park organized by tom hoving. "chelsea girls" the 4 hour, double screen film at last winning worldwide recognition for his cinema, incl. shocking sex, drugs & a bizarre cast of personjalities, in documentary style- no scripts!

1968-69 . turning over filmmaking to paul morrissey, warhol re-dedicated himself to silk-screening, photography & publishing. nico's solo career with chelsea girl & marble index. andy getting shot by valerie solanas in summer 1968 and almost dying. how his shooting affected his work & social routines for the rest of his life. his daily use of polaroid cameras & cassete recorders in every situation. "andy warhol enterprises" was run as a business by the end of the 60s, the Factory was no longer an open house for flamboyant and damaged personalities to act out their their spontaneous psycho-dramas on film.

"POPiSM" is a fascinating chronicle of an amazing era in nycs cultural history, especially the underground music, cinema & nightlife worlds, told with a unique perspective from warhol,. the artist who was behind so many of the ideas that we now associate with that ground-breaking era, who was there & analyzes but always from a dis-engaged viewpoint.

warhol applies his signature Pop interpretations to events both personal, social, historiocal, worldwide from this time. his Pop perspective & many of the art music & film ideas he pioneered in the 60s -- the cult of celebrity, media as art, noise rock, independant, underground verite cinema, multi-media discos & performances, uptown vs downtown, trans-gender roles in fashion & lifestyle-- remain pertinent today, & contunue to impact art, music, culture, communication, & media in the 21st century.

RATING: A

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We don’t just live in the air; we live because of it. It’s the most miraculous substance on earth, responsible for our food, our weather, our water, and our ability to hear. In this exuberant book, gifted science writer Gabrielle Walker peels back the layers of our atmosphere with the stories of the people who uncovered its secrets:

• A flamboyant Renaissance Italian discovers how heavy our air really is: The air filling Carnegie Hall, for example, weighs seventy thousand pounds.

• A one-eyed barnstorming pilot finds a set of winds that constantly blow five miles above our heads.

• An impoverished American farmer figures out why hurricanes move in a circle by carving equations with his pitchfork on a barn door.

• A well-meaning inventor nearly destroys the ozone layer.

• A reclusive mathematical genius predicts, thirty years before he’s proved right, that the sky contains a layer of floating metal fed by the glowing tails of shooting stars.

• Sales Rank: #119854 in Books
• Published on: 2008-08-04
• Released on: 2008-08-04
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .72" w x 5.25" l, .76 pounds
• Binding: Paperback
• 288 pages

Features

• ISBN13: 9780156034142
• Condition: Used - Very Good
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
Most of the time we hardly notice that we're moving through air. But when a storm system whips it into a whirling mass that grows into a tornado or a hurricane, then the air around us makes headlines. Science consultant Walker (Snowball Earth) presents a lively history of scientists' and adventurers' exploration of this important and complex contributor to life on Earth, from Galileo's early attempts to show that it has weight to the explorations by 20th-century scientists Oliver Heaviside and Edward Appleton of the ionosphere, which acts as a giant mirror bouncing radio waves from one side of the globe to another. Walker provides readers with easy-to-follow discussions of the science behind the discovery that carbon dioxide levels are rising exponentially; the theoretician who left her computer for Antarctica and discovered a huge ozone hole created by chlorofluorocarbons; why hurricanes form only in the tropics and why global warming may lead to more violent storms. She goes far afield at times, spending too much time on the Van Allen belts, for instance, but readers will find this informative book to be a breath of fresh air. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
Although Gabrielle Walker, author of Snowball Earth (2003), holds a Cambridge doctorate in chemistry, her ear for storytelling is perfect for popular science. One critic praises her lyrical style; others praise her use of detail, anecdote, and science that wouldn't be out of place in Meteorology 101. Critics inevitably compare Walker to Dava Sobel (Longitude; Galileo's Daughter; The Planets, *** Jan/Feb 2006), one of the genre's most popular writers. Walker has honed her skills as a contributing editor of Scientific American, and her breezy tone fits her subject perfectly. Even though her choice to start from square one may frustrate readers with some previous knowledge in the area, Walker has penned an engaging, readable book-nothing too heavy, and worth the reader's every breath.

Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
For anyone who has ever wished somebody would sit down and, once and for all, explain global warming to him or her, this book is the proverbial ray of energy-efficient, biorenewable, ecologically sustainable light. Name a current concern or future solution—from rising sea levels to shrinking ice shelves, biofuels to greenhouse gases, the Kyoto Protocol to industrial innovation—and the authors clearly and precisely articulate the often confusing, if not conflicting, positions and statistics currently in play. Walker is an acclaimed scientist and journalist, and Sir David King is the UK’s chief science advisor, and together they comprise one of the foremost authoritarian teams analyzing the global warming phenomenon. Equitably and explicitly unraveling the overwhelmingly diverse aspects of the climate-control conundrum, the authors deftly dispel the hype and earnestly dispense hope. Theirs is an impartial, and yet impassioned, examination of the science, technology, and politics of global warming, and their lucid, cohesive treatise is destined to become the go-to guide to the climate-control crisis. --Carol Haggas

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Alicia K
Well written and informative. Who knew air was so exciting?

24 of 25 people found the following review helpful.
An Absolutely Fascinating Adventure, Not To Be Missed
By Dr. Jonathan Dolhenty
I will say this right at the outset: This is one of the best books about a scientific topic, written for a popular audience, that I have ever read (and, believe me, I've read a lot of them). If there is such a thing as a genuine "page-turner" in the field of popular science, "An Ocean of Air" certainly qualifies to be in such a category. I can understand why Gabrielle Walker is advertised as an award-winning science writer. If I offered an award for fine writing, especially about a subject as complex as the earth's atmosphere, she would top my list of potential recipients. In my considered opinion (and thankfully!), it just goes to prove that being an "academic" and possessing a Ph.D. (which she has) does not condemn one to write books forever as one writes a doctoral dissertation (which tend to be very stilted and hopelessly boring).

Creative-writing instructors have always told me that the first sentence and paragraph of a book are most important. They are the "hook" that grabs the reader and propels him or her forward onto page two, then page three, then page four, and so on, until the reader reaches the last page, excited but exhausted, forced to exhale a lung's-worth of air, declaring "what a wild ride!" Walker's book provided that experience for me, and I am not exaggerating.

The story opens twenty miles above New Mexico with Joe Kittinger "hanging in the sky." It is the 16th of August in 1960. (I had just graduated from college.) Then, "For eleven minutes he remained there, poised in an open gondola that twisted slowly beneath a vast helium balloon." But, "Far below, where Earth's surface curved away to the horizon, a glowing blue halo stood out against the blackness of space." Then, on the next page we are informed, Kittinger "took a single breath of pure oxygen from within his tightly sealed helmet . . . And then he jumped."

Now, we're talking twenty miles up in the air here! The highest I've ever been is around eight miles up, courtesy of a small private jet taking me to Colorado in 2005 for a philosophy conference. I was nervous during that hours-long journey because I have a real problem with heights. So, I was immediately "hooked," as they say, by Walker's opening paragraphs. I could visualize exactly what was taking place and how Kittinger must have felt. Finally the author tells us: "Captain Joseph W. Kittinger Jr. of the U.S. Air Force is the man who fell to Earth and lived. Nobody has ever managed to emulate his feat."

The author's point in telling this little anecdote is to illustrate for us something important about the "ocean" of air above us and around us. As Walker says: ". . .[T]he message from Kittinger's flight, and from every one of the pioneers who have sought to understand our atmosphere" is, "We don't just live 'in' the air. We live 'because' of it." This anecdote, by the way, is told in the Prologue to the book. The reader hasn't even begun Chapter One yet. But Walker has, indeed, provided the "hook" that will force any reader who loves adventure stories to continue on through the next seven chapters where, of course, we will encounter many other "pioneers" in this narrative about the ocean of air and its mysteries.

Many of these characters will be familiar to most knowledgeable readers: Galileo Galilei, Robert Boyle, Joseph Priestley, Antoine Lavoisier, Christopher Columbus, James Van Allen, Blaise Pascal, and Guglielmo Marconi. Many will be unfamiliar to most readers, as a few were to me: Evangelista Torricelli, Joseph Black, Svante Arrhenius, William Ferrel, Oliver Heaviside, and Gilbert Plass. Even Wiley Post comes into the story, that daring and courageous pilot, an early aviation pioneer, who was killed (along with famous American humorist Will Rogers) in a 1935 airplane crash in Alaska. As the reader can see, the list of those involved in this fascinating chronicle about our ocean of air range from philosophers and scientists to mathematicians and world explorers, with an aviator or two thrown in for good measure.

Walker's book, to be sure, is mainly about the ocean of air above us and around us which permits us to live and thrive; but it certainly is about more than just that. She discusses topics like climate change, the effects of chlorofluorocarbons on the atmosphere, carbon dioxide levels and their repercussions, and other subjects one would expect in a book such as this one. For me, however, the important information that the author provides is about "how" we have come to think about our ocean of air "through" the insights and experiments of the historical figures who were themselves enraptured with the phenomenon. In other words, I was mostly captured by the "history" of the intellectual thought behind our evolving understanding of the atmosphere wherein we reside.

This book ends with an appropriate flourish in the Epilogue, an anecdote as compelling as the one in the Prologue. It is October 2003. This is when "a series of explosions rocked the outer surface of the sun. A massive flare flash fried Earth with x-rays equivalent to five thousands suns." However, none of us on this planet felt a thing. And now comes the place where the reader exhales and declares "What a ride!" Walker concludes this little anecdote and her book with these parting words: "The most massive solar flare since records began and one of the biggest radioactive maelstroms in history together met a far more formidable foe. They each arrived, and then, one by one they simply bounced off . . . thin air." Thin air? Ah, my! What a way to finish a most interesting adventure.

"An Ocean of Air" is a superb piece of writing, an exciting and very readable exploration into something we ordinary people simply take for granted. The author also provides some suggestions for further reading, extensive endnotes, and a helpful index of topics. Believe me, this book is not to be missed and I give it my highest recommendation.

11 of 11 people found the following review helpful.
How We Came to Understand the Air Around Us
By Rob Hardy
If we have a bottle that has no liquid in it, or a box that has had all objects removed from it, we will say that the bottle or the box is empty. The idea that there is nothing there but nothingness is one that goes far back, and it is only common sense: you can't see or feel anything there, so there is nothing there. Science, for all its common-sense methods, might be seen as an attack on common sense; the Earth is not flat, for instance, and the Sun does not go around it (You can just see it! It's just common sense!) And that bottle and box are not empty, but full of air. That the air is something of infinite complexity (rather than being some manifestation of nothingness) was a revelation that was centuries in coming, but the way it happened is delightfully told in _An Ocean of Air: Why the Wind Blows and Other Mysteries of the Atmosphere_ (Harcourt) by Gabrielle Walker. Chapters here detail the attack of science upon different aspects of the air, like its molecular composition, the drive of the winds, the protective nature of the ozone layer, jet streams, and the effects of humans upon it. There is one example after another of how science has harnessed observation, speculation, experiment, and eventual theories to come to an understanding that, as Walker says, "We don't just live _in_ the air. We live _because_ of it." And this is not just because we need it to breathe.

Walker starts with Galileo and his associate Torricelli, who had the heretical idea that vacuums existed (the church said they didn't). Galileo's calculations from clever experiments showed with good accuracy that air weighed one four-hundredth as much as water. This does not sound like much, but Walker points out that the air inside Carnegie Hall weighs seventy thousand pounds. But if air is not nothing and is made of something, what is it made of? For us animals, the important component for our breathing is oxygen, which was discovered by the combined efforts of Joseph Priestley in England and Antoine Lavoisier in France. The forgotten Scottish genius Joseph Black in 1754 was the first to isolate carbon dioxide, but he performed a huge number of experiments in different realms. He hardly published anything about them, writes Walker: "He didn't want to be the first, nor did he want to be famous; he simply wanted to _know_." The Irishman John Tyndall was a scientific showman; "He choreographed his lectures as for a Broadway show," packing houses so that the masses might share in scientific insight. Around 1860 he showed how important carbon dioxide was in soaking up warmth from the Sun, the beginning of our understanding of the Greenhouse Effect. Lieutenant Matthew Maury was no scientific genius, but he thought he was. He compiled tables and charts of air movement and air pressure around the world, but his wild explanations for them included thundering justifications from the Old Testament. It took a real genius, the West Virginian William Ferrel, to make sense of Maury's raw data, mathematically deriving the models of trade winds and westerlies that would have to arise in a turning globe with an atmosphere. Thomas Midgley was a jovial, beaming enthusiast, who loved a new engineering puzzle, and was praised in his time for his vastly influential inventions. The poor man died in blissful ignorance that "he would be inadvertently responsible for more damage to Earth's atmosphere than any other single organism that has ever lived." It was bad enough that Midgley invented leaded gasoline; he also invented Freon, which was supposed to be safe and inert, but decades later was shown to be causing holes in the ozone layer, a part of the ocean of air which protects us from ultraviolet rays.

The centuries of scientific advance have meant that we do have a pretty good understanding of the atmosphere, but as in the case of the ozone layer, our technologies have made changes in the air that other technologies are just now, perhaps too belatedly, uncovering. Walker's book is not specifically about the science of global warming, but it gives a good explanation of how gradually scientists became aware of the threat. The assumptions that we do not create enough carbon dioxide to cause a problem, that it does not accumulate in the atmosphere because it is absorbed in the oceans, or that it does not cause extra warmth have all been shown wrong. She has provided a structure for understanding the problem of global warming which is a scary issue, but Walker's book is not alarmist. It is rather a celebration of the unusual personalities and often tangled paths by which we have come to scientific understanding of the most vital part of our environment.

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• Sales Rank: #5050639 in Books
• Published on: 1999-05
• Original language: English
• Dimensions: 8.75" h x 6.00" w x .50" l,
• Binding: Paperback

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