Selasa, 25 September 2012

[L812.Ebook] PDF Download Timothy O'Sullivan: America's Forgotten Photographer, by James David Horan

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Timothy O'Sullivan:  America's Forgotten Photographer, by James David Horan

Brings together a biographical profile and more than four hundred of O'Sullivan's photographs.

  • Sales Rank: #472452 in Books
  • Published on: 1982-08
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 334 pages

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12 of 12 people found the following review helpful.
Five stars for quality material: however, negative one and a half stars for its misinformation = overall 3 � stars
By Dan Sherman
First, a note: I have published a review on Amazon and elsewhere of "Framing the West: The Western Survey Photographs of Timothy H. O'Sullivan", Toby Jurovics, et al, Yale University Press, 2010. In that review I state that "Framing the West" is as excellent complimentary companion to earlier publications like James Horan's (1966) "Timothy O'Sullivan: America's Forgotten Photographer ", ...

The above statement holds true, but with certain qualifications. "Timothy O'Sullivan, America's Forgotten Photographer" appears to have been meticulously researched, with Horan including numerous facsimile copies of original documents involving O'Sullivan; an impressive feature seldom found it a biographical survey of this nature. However: although the book is loaded with very good in-depth information, it also contains a number of glaring errors. I do recommend it, provided caution is exercised when using it; use it in conjunction with one or more of the other books on O'Sullivan --- Framing the West (above), Joel Snyder (1981) "American Frontiers - the Photographs of Timothy H. O'Sullivan, 1867 - 1874", Keith F. Davis and Jane L. Aspinwall (2011) Timothy H. O'Sullivan: The King Survey Photographs (Nelson-Atkins Museum of Art). Despite being sprinkled with misinformation, "Forgotten Photographer" has very good material that is not found elsewhere.

SOME OF THE PROBLEMS

The first incorrect item in the book is the caption under the front piece photo. This misinformation, however, is not the fault of Horan. This book was first published in 1966, with a reprint in 1982. Horan researched this book from the mid 1950's through the mid 1960's; during that time period this photo was believed to be a self-portrait of O'Sullivan while working on the Darien Survey in 1870; it has since been determined to be John Moran with the Darien Expedition in 1871 (Russell Norton, Stereo World Vol. 3, No. 2). Determining attribution of photographs taken on the Darien Surveys can be problematic. Naval Commander T. O. Selfridge led survey parties to the Isthmus of Darien (Panama) in 1870, 1871 and 1873. Timothy O'Sullivan was the photographer in 1870, John Moran was with the 1871 expedition as their photographer, and there was no photographer in 1873. It appears the Navy lumped all the negatives together without listing the photographer or the year they were taken -- this, however, is part of another story. The photograph mentioned above has an "official" caption of "Photographer at Pinogana", it has been determined that O'Sullivan was not at Pinogana; the attribution of some of the Darien Expedition photos can be sorted out in this manner. I do not know specifically when the first known photograph of Timothy O'Sullivan entered the public realm, but I believe it may have been in the 1970's. It was at that time that E. Marshall Pywell donated some Pywell Family documents to the National Archives, this included a photograph of Timothy O'Sullivan. Also the Library of Congress, prints and photographs division has photographs of Timothy O'Sullivan and his wife Laura Pywell that they acquired from E. Marshall Pywell in 2010; E. Marshall Pywell is the great-grand nephew of Laura Pywell.

On pages one and two Horan has some serious misinformation relating to the photo shown (pg.2) and the accompanying text (pg.1 & 2). He captions it "O'Sullivan's view of Brady in the wheat field, scene of General McPherson's death at Gettysburg." The negative for this photo is at the National Archives (NWDNS-111-B-111) and is titled "Woods in Which General John F. Reynolds Was Killed. Gettysburg, Pennsylvania, 1863." The picture is of McPherson's Woods where General Reynolds died. I believe that most Civil War scholars and experts on Civil War photography would agree that Brady is one of the people shown in this photo, but I do not believe any of them would attribute it to O'Sullivan; O'Sullivan was no longer with Brady at the time of Gettysburg, he was with Alexander Gardner. Horan himself acknowledges that O'Sullivan was not with Brady at this time; on page xii, he states "O'Sullivan served his apprenticeship with Brady but left the old photographer to join Alexander Gardner, that intellectual Scot, when Gardner and Brady parted shortly after the start of the Civil War." Civil War photo historian Bob Zeller places the Brady / Gardner split somewhere between November 1862 and May 1863 (The Blue and Gray in Black and White, page 101); Gettysburg occurred from 1 - 3 July, 1863, after O'Sullivan had left Brady. In the text accompanying this photo, Horan describes a possible scenario involving O'Sullivan and Brady at this scene. He also attempts to personify O'Sullivan here and elsewhere throughout the book. He tries to paint a picture for us of what O'Sullivan was like at the personal level, what his character and traits were. He even entitles chapter one "A Shy Man"; he writes on page 2 "... Timothy H. O'Sullivan was a shy man, perhaps even a lonely man who never sought praise or credit." This contradicts accounts from his contemporaries; although O'Sullivan never kept a diary or journal, many of his contemporaries did. Despite all of the in depth research done by Horan, he apparently did not consult the journals kept by other members of Clarence King's fortieth parallel survey or those of the Wheeler expedition; he makes no mention of them in the text or in his notes, except in his acknowledgments on page xiii, that he did see G. K. Gilbert's field notes of the accent of the Colorado River by the Wheeler expedition in 1871. He may not have known where these journals were, or for that matter he may not have even been aware of their existence, he conducted his research in the 1950s and 60s; it was a far different time and environment in which to conduct research of this nature. Also, he was the first one to tackle the subject of who O'Sullivan was; he did not have the work of others to build on. Two things in the historical record tell me O'Sullivan was not a shy man. (1) - It is well documented throughout the King and Wheeler reports that when the party split into various groups O'Sullivan was placed in charge of some of these side parties. Both King and Wheeler repeatedly placed him in positions of authority and leadership; a shy man is not an ideal leader. Perhaps, soft spoken and somewhat reserved, but not shy; a leader must have the ability to be assertive when the circumstances require it. (2) - The journals and records of O'Sullivan's contemporaries draw a different portrait of O'Sullivan. Chapter one is labeled "A Shy Man" then on page 34 he writes "O'Sullivan was never a boastful man."

William W. Bailey, the botanist on King's 40th parallel survey, writes in his diary on May 11, 1867 after leaving New York aboard a steamer for Aspinwall, Panama in transit to California, "Messrs King and Custer occupied one of these rooms and O'Sullivan, Ridgeway and myself the other, and most jolly times we had in them." Bailey and O'Sullivan developed a close friendship, as Bailey writes of O'Sullivan later in his journal (page 40) "He and I became great friends always tenting together and chumming generally." Bailey likely knew O'Sullivan better than most of the other members of the 40th Parallel Expedition. Therefore, we can consider Bailey a bit of an authority on O'Sullivan when he refers to him in a letter to his brother Loring Bailey on August 14, 1867 that "His [O'Sullivan] chief fault is his reminiscences of the Potomac Army ... One would think he had slept with Grant and Meade and was the direct confident of Stanton" (Loring Woart Bailey papers, Huntington Library, San Marino, California). This does not sound like a shy and never boastful man that never sought praise or credit. He may not have been soft spoken either; Grove Karl Gilbert, geologist with the Wheeler Survey, writes in his journal on 21 September 1871 that it was a very windy day and states " ... it interfered with photography and kept O'Sullivan in a perpetual state of profanity." I have to at least somewhat fault Horan for attempting to personify O'Sullivan when he had such an extremely limited amount of data to work with. Also, on page 42 Horan creates a scenario involving O'Sullivan with the engineers building pontoon bridges during the Civil War - they come under attack - he writes: "Men screamed and fell. O'Sullivan calmly went on taking his pictures." Where did he get that information?

Chapter 4 is about O'Sullivan and the King Survey from 1867 through 1869. Despite the fact that researching O'Sullivan in the `50s and `60s was far different than today, I do not know how Horan missed the fact that O'Sullivan returned to Clarence King's 40th Parallel Expedition in 1872; on page 254, in reference to the year 1872, Horan writes "where O'Sullivan went that year or what he did we don't know, but he did return to Wheeler's Expedition in 1873 and again in 1875." We do know where O'Sullivan was in 1872; he was back with the King Survey. Also, how did Horan arrive at "Wheeler's Expedition in 1873 and again in 1875?" On page 257 he states "in 1874 O'Sullivan again was missing but he returned to the West in 1875 for the last time", informing us O'Sullivan was with Wheeler's Expedition in 1871, 1873 and 1875. O'Sullivan was with Wheeler in 1871, 1873 and 1874, not 1875; even the stereographic photos he took in 1874 are prominently labeled "Expedition of 1874".

Also, on page 254, in reference to the year 1872 and the Wheeler Survey, Horan states, "the following year O'Sullivan's place was taken by Dr. Bell, an adventurous English physician who was an expert photographer." The William Bell that replaced O'Sullivan in 1872 was "an expert photographer", but was not the English physician Dr. William Bell. There has been a lot of confusion over these two people, contemporaries, both with the name William Bell. One was a Medical Doctor that went to work as a photographer for Union Pacific Railroad, eastern division (later Kansas Pacific Railway) in 1867. The other a photographer that worked after the Civil War for the Army Medical Museum as its chief photographer and spent much of 1865 making photographs of soldiers with various diseases, wounds, and amputations, many of which were published in the book, "Medical and Surgical History of the War of the Rebellion." We have two contemporaries with the same name, one a medical doctor that became a photographer (briefly) and the other a photographer that took medical pictures, this is the William Bell that replaced O'Sullivan on Wheeler's 1872 survey. Over the years various researchers have sorted out the who, where, when, etc of these two people. Today the identity of each "William Bell" is quite well established. Despite the fact that "who's who" is generally well known, people today still misidentify these two individuals.

Another misidentified item, that may only be partially Horan's fault, is on page 39; he has captioned the photograph at the top of the page "A lightweight photographer's wagon carrying a box labeled "Brady's." The man on the left is believed to be O'Sullivan ..." This photograph is identified in the Library of Congress collection (LC-B8184-B-5077) as "Brady's photo outfit in front of Petersburg, Va", (date created 1864?) The Petersburg area was under assault from General Grant from June 1864 through March 1865, therefore, the exact date this photo may have been taken is uncertain. Although no known photos of O'Sullivan were in the public realm at the time Horan wrote this, with which to compare this one, one thing was known and was certain; O'Sullivan was not with Brady during the "Siege of Petersburg." The two people seated in front of the wagon are identified by Susan E. Williams as Egbert G. Fowx and Thomas C. Roche, two of Brady's photographers ("Richmond Again Taken" The Virginia Magazine of History and Biography, 2002 - Vol. 110, No 4, p 443). I have not contacted Susan to determine her source for identifying these two individuals, but I am aware that she has conducted extensive research in collaboration with the Smithsonian Institution and the Virginia Historical Society involving the question of mis-attribution of Civil War photography.

There are other errors and shortcomings in this book, but this is just a general review, not a complete comprehensive appraisal of his work. The book has a lot of good information, but Horan is at times a bit inconsistent. He keeps putting O'Sullivan back with Brady after Gardner and O'Sullivan split from Brady. He also contradicts himself (albeit a rather minor incident) after mentioning O'Sullivan's work in Alexander Gardner's "Sketch Book of the Civil War", he states on page xi, "over half the negatives were made by O'Sullivan", on page 172 he reports this number to be 42 of 100, then on page 319 he writes that it is 45 of 100; my count is 44 of 100.

Again, provided caution is exercised when using it, I do recommend it. His inclusion of facsimile copies of historical documents is a valued feature. I find most of the problems in this book are located in his treatment of O'Sullivan during the Civil War and his attempt to personify O'Sullivan; he apparently did not have the journals / diaries of O'Sullivan's contemporaries to consult regarding O'Sullivan's personal life and his personality, to me it seems he did not have any real facts to work with - he was just guessing. Although I fault some aspects of his work, he is to be commended in others.

0 of 0 people found the following review helpful.
Excellent highly recommend!
By .
Exceptional book. Fantastic photos. Truly a great photographer of historic America.

0 of 0 people found the following review helpful.
good book about our Western photographer
By dolie thompson
fast shipping, love the book

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Minggu, 23 September 2012

[N308.Ebook] Download PDF Leon and the Place Between, by Angela McAllister

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Leon and the Place Between, by Angela McAllister

"Angela McAllister and Grahame Baker-Smith’s stunning picture book combines shadowy collage, painting, photography, and gilding to overwhelm readers with the power of magic." — THE TIMES (London)


Leon and his brothers and sister go to a magic show, but this is no ordinary show and Abdul Kazam is no ordinary magician. Take a journey right through the die-cut pages of this book into the Place Between, where magic becomes truly real. Angela McAllister has conjured a spellbinding story that unfolds in the mysterious world of Grahame Baker-Smith’s stunning illustrations.

  • Sales Rank: #2639975 in Books
  • Brand: Brand: Templar
  • Published on: 2009-08-25
  • Released on: 2009-08-25
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.63" h x .43" w x 10.12" l, 1.32 pounds
  • Binding: Hardcover
  • 48 pages
Features
  • Used Book in Good Condition

From School Library Journal
Grade 1–4—A spectacular blend of fantasy and reality results in a whimsical wonderland. When Leon and his siblings visit a magic show, they view the jugglers' amazing athletic feats, the mechanical toys as they whiz and whirl, and the enchanted carousel's lulling tunes—until the imposing Abdul Kazam appears. With a twist of his cape and a gleam in his eye, the formidable magician calls Leon into his act, transporting him to the "place between." Baker-Smith utilizes dramatic foldouts to depict the glorious night scenes. Digital illustrations provide richness and depth; majestic purple backgrounds dominate, and swirling golden lines support the dynamic, fluid spreads. Balanced between shadow and light, expressive angular faces convey the audience's astonishment. McAllister's descriptive text provides powerful emphasis through taut dialogue; shifting font varies for added emphasis. Phrases build momentum to a natural crescendo as Leon shares with the others that his place between exists for "anyone who believes." The result is a magical delight for both skeptics and believers.—Meg Smith, Cumberland County Public Library, Fayetteville, NC END

About the Author
Angela McAllister has written more than fifty books for children. She lives in Hampshire, England, with her husband and children.

Grahame Baker-Smith is a self-taught illustrator. He lives in Bath, England, with his wife and children.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Review from www.firrkids.com
By www.firrkids.com
Reading this book is like attending your very own carnival and magic show, minus the crowd and dirty fairgrounds. Prepare to be completely swept away by the rich colors and enchanting illustrations.

Leon and his siblings have conflicting opinions about the magic show they are about to see. Tom and Pete are quick to announce that it will only be tricks not real magic, and Little Jo looks disappointed that her brothers might be speaking the truth. Leon shushes them, knowing there will be magic - you just have to believe.

The curtains slowly part and the show begins. After a group of wild jugglers and a swirl of mechanical toys, it is finally time for the main act. With a puff of purple smoke, Abdul Kazam takes center stage and Leon can practically smell the magic rolling off the magician in waves. When Abdul asks for a volunteer, Leon immediately knows it must be him. Without hesitation, he climbs straight into the magic box and falls deep into another world. Leon has discovered the Place Between.

The Place Between is where magic sends you. Everything that disappears by magic appears here, waiting to be called back. Leon watches as magicians' assistants appear and disappear, as well as scarves, coins and rings. Doves and cards flutter about and gold stars swirl everywhere. This is an amazing world, alive with magic. Just as he is settling in, Leon hears his name - he is being called back by the magician!

The illustrations, the colors and the fonts all lend themselves to a most magical experience for the reader. Pages practically glow in tones of deep plum and rich gold, with gleaming strains of stars swirling in the margins. The text is printed in a different sizes and fonts - they replicate a poster board or program. You could read this half a dozen times and never come close to seeing all the tiny background details that make this book so special. It is an amazing work of art and goes to show if you believe in magic, it does exist.

2 of 2 people found the following review helpful.
An absolutely magical experience
By SZAA
Well, I have a new favorite picture book. You need to read this book, you need to get others to read it...I promise, you won't regret it.

The first "thing" that really drew me into this book was the amazing and incredibly unique illustrations, which start with the cover design. The talent level of Baker-Smith it just huge and the mixed media take on illustrating this magical story, was really a magic-based experience for me as a reader.

The story is a sweet and comforting ride to the place between...the place where magic sends you. Leon and his friends go to a magic show, where Leon definitely expects to see some real magic and the others aren't quite sure they believe in anything magical. When the magician takes the stage and chooses Leon to be his assistant, the trio know they will be finding out what's real and what's not.

Leon experiences this place between here and there and shows that believing in something others think is silly, really does pay off in the end. His magical journey is real and wonderful, allowing him to fully understand just what magic means to us all, while helping to convince his friends that it's ok to believe in something others may not. Leon is a wonderful character, so believable, and I just felt an instant connection with him (which is hard to do in these short picture books).

The text is even presented in a unique way, allowing for great visual imagery and making this book a fabulous choice for a read aloud. The story is compelling enough, but the page spreads are just magnificent.

I cannot rave about this book enough. Go get one, buy one, get it from the library, buy it as a gift. It's a fabulous story to share with your family and it's now one of my new favorites.

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Jumat, 21 September 2012

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  • Published on: 2009-05-29
  • Binding: Paperback

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0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
Good book for the open minded

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Rabu, 19 September 2012

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  • Sales Rank: #447484 in eBooks
  • Published on: 2015-04-25
  • Released on: 2015-04-25
  • Format: Kindle eBook

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Sabtu, 15 September 2012

[J360.Ebook] Ebook The Thinking Heart: Three levels of psychoanalytic therapy with disturbed children, by Anne Alvarez

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The Thinking Heart: Three levels of psychoanalytic therapy with disturbed children, by Anne Alvarez

How do we talk about feelings to children who are cut off from feeling? How do we raise hope and a sense of safety in despairing and terrified children without offering false hope? How do we reach the unreachable child and interest the hardened child?

The Thinking Heart is a natural sequel to Live Company, Anne Alvarez' highly influential and now classic book about working with severely disturbed and damaged children. Building on 50 years experience as a child and adolescent psychotherapist, Alvarez uses detailed and vivid clinical examples of different interactions between therapist and client, and explores the reasons why one type of therapeutic understanding can work rather than another. She also addresses what happens when the therapist gets it wrong.

In The Thinking Heart, Alvarez identifies three different levels of analytic work and communication:

•�the explanatory level – the "why - because"

•�the descriptive level - the "whatness" of what the child feels

•�the intensified vitalizing level� - gaining access to feeling itself for children with chronic dissociation, despairing apathy or 'undrawn' autism.

The book offers a structured schema drawing on and updating some of her classic work. It is designed to help the therapist to find the right level of interpretation in work with clients and, provides particular help with the unreachable child. It will be of use to Psychotherapists, Psychoanalysts, Clinical and Educational Psychologists, Child Psychiatrists, Social Workers, Special needs teachers and carers of disturbed children.

Anne Alvarez is a Consultant Child and Adolescent Psychotherapist and is retired Co-Chair for The Autism Service at the Tavistock Clinic, London. She is currently a visiting teacher and lecturer for the Tavistock Clinic, and a Lecturer on the San Francisco Psychoanalytic Society Child Programme.


  • Sales Rank: #751901 in Books
  • Published on: 2012-05-19
  • Released on: 2012-04-04
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.21" h x .53" w x 6.14" l, .80 pounds
  • Binding: Paperback
  • 232 pages

Review

"The Thinking Heart would be a useful text for any psychoanalytic scholar, independent psychotherapy practitioner or group of practitioners hoping to deepen their psychoanalytic understanding, particularly in relation to child psychoanalytic sychotherapy... [this book] reminds me why I continue to work with children and why I love it so much, despite the many challenges that go hand in hand with child psychotherapy." - Jenny Perkel, New Therapist, November/December 2012

"The Thinking Heart is a very full and moving book. It repays the careful responsive mindfulness that Alvarez advocates in clinical practice... In this book's lyrical synthesizing of science and art in examining the process and efficacy of psychotherapy with disturbed children, we can indeed hear her heart beat as we hear her think, as though they were one and the same process." - Sarah Sutton, ACP Bulletin, 2012

"Alvarez is a great teacher; her knowledge is immeasurable, her writing is brave and her reflections are humble. She claims that her thoughts are ‘only considerations, because the complexity of the human mind... ensures that there can be no manual’ (p86). I believe that the work of Anne Alvarez is the closest we can get to such a manual." - Jeanine Connor, Therapy Today, November 2012

Most helpful customer reviews

0 of 0 people found the following review helpful.
This is really a great book if you are an experienced psychoanalyst of any ...
By RDP
This is really a great book if you are an experienced psychoanalyst of any school of thought. It begins with the Klein-Bion perspective and adds more ideas of how to interpret primitive mental states in patients. Would highly recommend no matter what school of thought you have been taught. It probably can not be understood well for someone looking for a self help book and even for psychologists that have not studied about psychoanalytic psychotherapy.

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Kamis, 13 September 2012

[T929.Ebook] Free PDF Bless Me Ultima, by Rudolfo Anaya

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Bless Me Ultima, by Rudolfo Anaya

Exquisite prose and wondrous storytelling have helped make Rudolfo Anaya the father of Chicano literature in English. Indeed, Anaya's tales fairly shimmer with the haunting beauty and richness of his culture. The winner of the Pen Center West Award for Fiction for his unforgettable novel Alburquerque, Anaya is perhaps best loved for his classic bestseller, Bless Me, Ultima... Antonio Marez is six years old when Ultima comes to stay with his family in New Mexico. She is a curandera, one who cures with herbs and magic. Under her wise wing, Tony will probe the family ties that bind and rend him, and he will discover himself in the magical secrets of the pagan past-a mythic legacy as palpable as the Catholicism of Latin America. And at each life turn there is Ultima, who delivered Tony into the world...and will nurture the birth of his soul.

  • Sales Rank: #1596492 in Books
  • Published on: 2004-08-01
  • Released on: 2004-08-01
  • Formats: Audiobook, Unabridged
  • Original language: English
  • Number of items: 10
  • Dimensions: 6.08" h x 1.56" w x 5.26" l,
  • Running time: 675 minutes
  • Binding: Audio CD

From Library Journal
Besides winning the Premio Quinto Sol national Chicano literary award, this novel of a young boy in New Mexico in the 1940s has sold more than 300,000 copies in paperback since its 1973 debut. Here, however, the book gets the hardcover treatment, with a few illustrations added for color. LJ's reviewer asserted that "the novel has warmth and feeling" (LJ 2/1/73) and a place in all fiction collections, especially those serving Chicano populations.
Copyright 1994 Reed Business Information, Inc.

About the Author
Rudolfo Anaya is professor emeritus of English at the University of New Mexico. He was one of the first winners of the Premio Quinto Sol National Chicano literary award. Winner of the PEN Center USA West Award for Fiction for his novel Alburquerque , he is best-loved for his classic bestseller Bless Me, Ultima . His other works include Zia Summer, Rio Grande Fall, Jalamanta, Tortuga, Heart of Aztlan , and The Anaya Reader . He has also written numerous short stories, essays, and children's books, including The Farolitos of Christmas and Maya's Children .

Most helpful customer reviews

2 of 2 people found the following review helpful.
Rudolfo Is A Shaman, In His Own Way, Who Can Bring The Reader's Vision Into Focus With His Own Vision.
By Chief Thunder-Thud, of the Ojito Tribe
Rudolpho Is a modern Shaman who brings the reader's mind, imagination, and vision to a point congruent with his own. This is the mythic magic of the writer; it is a form of sharing dreams at the core of living---Imagination. Rudolfo is a curandera of words, story, and plot.

As an author, I am compelled to say this book seems touched by the gods---by the ancient concept of actual Inspiration of a Muse---it is that good. I am teary-eyed from the truth of its impact. Rudolfo's character Antonio is momentous, iconic, and informed by invisible forces that run this universe. I am certain Rudolfo brought his own mastery of writing to this work---his own huge talent---but Rudolfo was chosen to write this book by some cosmic reservoir of limitless power.

I call him Rudolfo, because I am almost as young as he is, and I think he only needs one name, like Glalileo, Michaelangel, Leonardo, or Elvis...he is that good.

EL Jefe.

Every word of "Bless Me, Ultima" seems to glow and resonate on its own; images open and close seamlessly as on some grand, sun-lighted stage; there is not one single word I did not savor; there is not one single image I did not ponder. I found myself re-reading entire segments just to re-experience them. I believe this book to be the most perfect novel ever written.

Each character seems to possess the power of a mythic archetype. Each character is juxtaposed in conflict to another or others. Each character stands for something but wants the opposite of what others want. Sea-blood vs moon-blood; Catholocism vs pagan gods; priestly ministrations vs the seeming magic of the curandera. Brujas---witches---vs the benevolent power of La Grande.

We sail upon Rudolfo's sea of subdued conflict and turmoil, that floods across mythically sinking plains of the psyche---all under control of the questing shaman of words, Se�or Rudolfo. It is a symphony of orchestrated discovery. Why are we here? What should we do with our time here? When we leave here, where will we arrive? What is the best way to become---to ultimately accomplish Ourselves.

The work moves forward as mysteriously, effortlessly, and grandly as Antonio's river, bearing gods, demons, and vast Presence. There is not one wasted adjective, or metaphor in "Bless Me, Ultima." The story and language are freed, bit by bit from the stone, lovingly, by our inspired, master craftsman, Se�or Rudolfo. It is like looking at an exquisite Roman, cage-glass vase. One can only marvel and wonder, "how was it ever accomplished?" It is wondrous.

Long ago, I tried hard to like Hemingway, but I never really found in him ALL of what others obviously do. Most of it yes, but not all. But I never liked the Beatles either.

I think Rudolfo is really the writer everyone said Hemingway was. I place Se�or Rudolfo Anaya on a level with Conrad, Melville, Twain, Faulkner, Steinbeck, Castenada, Hemmingway, Eliot, Yeats, William Carlos Williams, Keats, and all the other other all-time word-masters. He is producer, director, and star of this epic. Read this book---wait, no....

Experience "Bless Me, Ultima," for yourself.

***** Now...if I could only Learn herein from Rudolfo and Bless Me, Ultima, I might finally become a writer.

.

1 of 1 people found the following review helpful.
A Timeless Classic of Chicano Literature
By G. Miller
This is a book to read, reread, ponder and wonder. It captures beautifully the growing up of a young Chicano boy and the tug of war that occurs in me between the teaching of the Catholic Church and the folk wisdom of a native shaman. It is an old book, dealing with another age and perhaps now out of date in our modern world. Yet its issues of faith and custom, depicted in very human characters and their very human dilemmas still ring spot on true. Some may find the blending of narrative with magic and dreams unwelcome. I found them moving and illuminating. This book spoke so deeply to me, once I finished the last page I returned to the first page and started reading it again. This is a "keeper" for sure.

2 of 2 people found the following review helpful.
there is a sweet wistfulness surrounding the people and places in this book
By Amazon Customer
there is a sweet wistfulness surrounding the people and places in this book. This was fascinating and enjoyable. However, the action does not seem to grow out of the simple, trusting though flawed characters or the barren landscape depicted but to be contrived to hammer home a point: There IS magic in the world, SEE?, I didn't finish the book; when I got to the magic goldfishes I felt like I was in a long-outgrown children's book.

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Selasa, 11 September 2012

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Confessions (Penguin Classics) by Saint Augustine (1961) PaperbackFrom Penguin Classics

  • Published on: 1900
  • Binding: Paperback

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Confessions (Penguin Classics) by Saint Augustine (1961) PaperbackFrom Penguin Classics PDF
Confessions (Penguin Classics) by Saint Augustine (1961) PaperbackFrom Penguin Classics PDF