Biography Books

Absent the anti-Christian bias of his geological disaster books, Winchester writes a very good tale about a fascinating sidebar of history during the compilation of the OED. The madman was an American military surgeon (son of missionaries to Sri Lanka!) who served in the Union army during the Civil War, whose slow spiral to insanity culminated in the shooting of an innocent man in London 15 years later. The professor was the editor of the OED who corresponded with the madman for 20 years at the asylum outside London where he made a full-time career of volunteering word lists and quotes to the OED editorial team.

How their histories shadowed and paths crossed, and how the OED came to be, make for a great story. The book was lavishly praised and worthily so, reading like a psychological thriller that can't be put down. I literally read through this in less than 24 hours in just a few sittings.

There is a certain "Did you know..." factor about the "new" genre of creative nonfiction: we read it for both the informative componenet, and the fact that quite a bit of history is, well, interesting. Did you know, for example, that the main contributor to the Oxford English Dictionary was insane?

Dr. W.C. Minor was an American soldier in the Civil War, who later moved to England, where he wound up shooting a man. He was placed in an asylum (not the greatest of places in those days), where he was given a few more perks than the other inmates, simply because he was non-violent (despite the reason for his incarceration) and intelligent. One day, he happened to come across an advertisement: Professor James Murray, along with an elite group of gentlemen, was creating the single-greatest compilation of the English language ever conceived. Minor, with nothing but time on his hands, decided to pitch in. Over ten-thousand words later, Minor was the single-greatest contributor to the single-greatest dictionary ever created.

It is a compelling, surprising story, told in Winchester's usual novel-meets-nonfiction style. While I enjoy a good piece of creative nonfiction, I find myself time and time again returning to Winchester's work not necessarily because of the topic, but because I enjoy his style so much. (It just so happens he chooses interesting topics to write upon.) The "P.S." section of this book, as with the others, doesn't offer too much, though there is an intriguing little section: Winchester's favorite words from the OED. Still, you'll purchase "The Professor and the Madman" for the story itself--and it's a doozy. True, too. Funny, how facts can sometimes be more interesting--and harder to believe--than fiction.

Simon Winchester has come up with a nifty little tale of the making of the OED. It's a fun little gem from history, and worth the read. My only complaints are: the book would have been more interesting if he had included some pictures, and the tale itself is pretty small. The publisher makes up for this by using large type, double spaced, with wide paragraph separation. But it's still a footnote in history, and you can't hide that fact.

This book was simply marvelous, if you are into the story of the origins of the Oxford English Dictionary, this is a book that captures the makings and includes the story of two gentlemen who's lives inevitably come together in bizzare but wonderful order of circumstances, if you Love words and their origins, you will be astounded by this book!

Many academics and scholars border on creative madness, take Kierkegaard and Nietzsche for example. This book is marvellous reading since the dull subject of dictionary making is enlivened by eccentric personalities and mental disturbance. It reveals how a dictionary as prestigious as the Oxford English Dictionary was put together. Any author who can make such a dry subject as exciting as a murder mystery deserves a good deal of credit and acclaim.

"The Duchess" is the movie tie in version of Amanda Foreman's excellent 1998 biography "Georgiana". Except for the cover depicting Keira Knightley as Georgiana, Duchess of Devonshire, it is essentially the same book.

Georgiana Spencer Cavendish, Duchess of Devonshire, was born in the eighteenth century and died in the early nineteenth century, but her life was very modern in many ways. She was an open activist at a time when women were supposed to stay behind the scenes, a bold and flamboyant hostess who used her social prestige to advance her political agenda, and a beautiful but ultimately self-destructive woman whose emotions helped shape British history.

Georgiana was born into one wealthy and powerful aristocratic family and married into an even wealthier and more powerful one. The Cavendishes were bastions of the Whig oligarchy, which governed Britain almost continuously through the eighteenth century until the 1760s, when King George III forced them out of power. In opposition the Whigs became the progressives or liberals of the day, calling for curbs on the King's powers, protection for the liberties of the people, and for progress and social reform (with the ultimate aim of regaining power for themselves, of course). Georgiana was married to the Duke of Devonshire, who was retiring where she was outgoing, far more interested in living a quiet life with various mistresses than in helping to advance the Whig cause. Georgiana, frustrated with a husband who did not appreciate her, threw herself into politics, becoming a friend of Whig leaders like Charles James Fox and campaigning openly for him and others.

Georgiana's private life was complicated. She and her husband were involved in a years long menage a trois with Lady Elizabeth Foster, who was simultaneously Georgiana's best friend and the Duke's mistress and mother of his illegitimate children. Georgiana was addicted to gambling and lost enormous sums which she feared to reveal to the Duke. Eventually Georgiana herself had a love affair which nearly caused her marriage to end and forced her temporarily out of sight. Although she returned to political life after some years, her health broke down and her influence remained diminished.

Amanda Foreman has produced a work of great scholarship which reads like a novel. Georgiana's life is so fascinating that I've read this biography several times just to see what she would get up to next and how she would get out of one scrape after another. Foreman makes the good point that Georgiana epitomized many women of the eighteenth century, who were far more active and involved in politics than is generally supposed, as well as being a harbinger of the kind of power base to which women in the twentieth and early twenty-first centuries still aspire.

I just finished running the San Francisco Marathon where I also had the great privilege of meeting Bart Yasso. He was kind enough to meet with me one-on-one in our hotel and just chat about life, and then autograph my copy of his book. I admire him most for his ability to talk about those obstacles he has overcome and his tremendous accomplishments without sounding vainglorious or boastful. This book is a great example of Bart's ability to inspire anyone who will read or listen simply by sharing a piece of the Man he is. Buy this as soon as you finish reading this review. Seriously. Do it now! Thanks, Bart!

Bart's book is absolutely hilarious and inspiring. His stories are witty and humorous. I was laughing out loud at the Taco Bell story, the cross country bike story, and the bare buns run! Great read, I couldn't put it down. Bart is a legend.

This book cracked me up. Bart is inspirational, funny, and crazy. All the making's of a runner:)!

Bart Yasso's stories are funny (he is a pun master) and entertaining,while inspiring the reader to get out and run a lot of miles! I read excerpts from this book in Runner's World, bought the book, and have given copies as gifts. Everyone I know who has read it really likes it.

I really enjoyed this book a lot. I just started running again to get back into shape and his stories inspired me challenge myself more. His stories are also very funny. The story about his experience running in the nudist run made me chuckle out loud. I definately recommend this book!

I was very satisfied with the level of customer service that I recieved from Amazon.com. I love the low prices and the customer service.

This month marks the 147th Anniversary of the beginning of the American Civil War and the fight to preserve the union and end slavery.

Any war, as a violent, organized explosion of human emotions, produces some very unnatural responses on the part of soldiers and civilians alike. James McPherson, undoubtedly now the preeminent American Civil War scholar has, in the words of his own introduction, tried to make sense of what was similar to other wars but also what was different about that experience for the soldiers on both sides of the divide in that war. Working from a plethora of soldiers' letters and other observations he has tried to explain why the citizen soldiers on both sides of that bloody conflict kept at it despite the grueling circumstances, including extremely high casualty rates.

I make no bones about my partisanship for the Northern, Union and anti-slavery side in that conflict. However in war, and civil war in particular, one can note the attributes of bravery, honor and heroism of the opposing side without giving an inch on the political questions. If one thinks about it if one does not recognize those characteristics in the soldiers of the other side one places oneself in a very hard place. The Geneva Conventions, weak as they are, codify that understanding.

McPherson goes into great detail about the phases of the war-the general bloodthirsty and energetic desire of both sides to get at it; the sobering effects of actual combat; the psychological traumas produced in men before, during and after battle. In short, the passion and anger that drive men to fight-and soldiers to reflect a bit afterward. He details the sense of patriotism, honor, manhood, shame and other virtues of mid-Victorian America that further drove these men. Probably his weakest part is an examination of the personal politics of the soldiers, although that may be, in part, a function of the fuzziness of their goals as they became overwhelmed by the other considerations previously listed.

However, overall, McPherson more than adequately makes his point that many considerations entered into the calculations of those who freely volunteered for the citizen armies on both sides, fought tremendous and bloody battles and slogged on through thick and thin. I will stop here with one comment that struck me from a Northern soldier about his reasons for fighting. Admittedly this soldier was a high abolitionist but here is what he said-" I want to be able to sing `John Brown' [John Brown's Body, the anti-slavery hymn and precursor for the Battle Hymn of The Republic] in the streets of Charleston [South Carolina]." Yes, I can, indeed, get behind that sentiment as a reason for fighting.

This book is mainly for academics and true historians. It's a short book, which makes it a quick read, but it's not as good as some of McPherson's other Civil War books. (like "Ordeal by Fire"). His thesis is that Civil War soldiers, both Union and Confederate, fought for three different reasons (or "motivations"). These are related to reasons why soldiers chose to enlist (enlistment motivation), to fight (combat motivation), and to stay in the service (sustaining motivation). The book seems pieced together to me and the chapters are not put in chronological order like most history books are. He uses so many excerpts from soldier's letters and diaries that it was hard for me to follow. Even though I understood his thesis, I did not like the book's style. I would give this one a pass unless you have nothing else to do!!

James M. McPherson's For Cause and Comrades: Why Men Fought in the Civil War aims to answer the simple question of what motivated the men who became solders in the Civil War to fight and die in this conflict. The simple answer according to McPherson was duty, honor, patriotism, ideological beliefs such as liberty and freedom, and religious beliefs. These ideals or ideas are pretty much the same motivating factors soldiers from other wars in the 20th Century or those historians of ancient wars give to explain why they fought and died. McPherson certainly did his homework by reading twenty-five thousand letters and two hundred fifty diaries from soldiers to come to his conclusion that it was truly duty, honor, patriotism, ideological beliefs in liberty and freedom, and religious beliefs that motivated these men to fight and die in the Civil War cause. As a reader I was hoping for something more or different than the tired and tedious five reasons that every soldier indicates as motivating factors for them. There is not a dispute that these five factors are for the most part true. The excerpts from the letters indicate these five motivating factors over and over. Even though these were excerpts and pulling text out of the original context of a document can significantly change its meaning, for the most part the excerpts painted the picture that supported McPherson's argument that, "Yet for Civil War soldiers the group cohesion and peer pressure that were powerful factors in combat motivation were not unrelated to the complex mixture of patriotism, ideology, concepts of duty, honor, manhood, and community or peer pressure that prompted them to enlist in the first place." (p. 13)

The reading of For Cause and Comrades felt as though it was another book that put soldiers and war up on a pedestal of what a great sacrifice soldiers gave to their country by participating in the horrors of war and akin to a child's hero worship. For Cause and Comrades also seemed as though it was reiterating the tired and worn out American patriotic themes of liberty, freedom, duty, honor, and religion. The book generated visions from daily life on par with "The Few, the Proud, the Marines" commercials on television to recruit soldiers, or popular mass media inundating the masses with typical American ideology such as Superman standing for truth, justice, and the American way, or another person who feels a particular generation was the "Greatest Generation" above all others. Watch out Tom Brokaw, McPherson feels Civil War soldiers out does any other group of soldiers including your beloved World War Two soldiers in the area of duty, honor, patriotism, freedom and liberty loving, and devotion to a higher power. McPherson did mention through the words of the soldiers that war was a horrible affair, but then uses it to idolize these men in their accomplishment of overcoming adversity and "staying the course" instead of ever mentioning that war is lowest form and action of human existence and should be something to be avoided at all costs. A true hero is one that can solve problems without resorting to violence. A truly wise hero knows not only how to solve problems without violence but also knows that war that involves murder, gruesome mutilation, and destruction which result in unspeakable pain, misery, and suffering whether physical or the destructive psychological impact on soldiers and civilians of the society and is a course that should never be traveled.

McPherson's expertise in writing about this subject is not disputed nor is his findings. McPherson has been a professor at Princeton University since 1962 and his entire academic career has been focused on many aspects of the Civil War era. He has been nationally recognized numerous times for his work in this field including receiving the Lincoln Prize for For Cause and Comrades. For Cause and Comrades has made an important contribution in historical research by giving a voice to people who can no longer speak for themselves and illustrates their experience to give a more in depth well rounded picture of history. Futhermore, everyone is entitled to their own perspective and interpretation on any subject. Unfortunately, for this reader, it was filled with too much hero worship, idolization, and the standard tired historical interpretations of soldiers and war as being something someone does if they have a sense of duty, are honorable, patriotic, revere freedom and liberty, and are spiritual. These themes should stay in fiction such as stories of King Arthur and the Knights of the Roundtable. People in the real world should find other avenues besides war to achieve the admirable qualities of duty, honor, patriotism, believing in ideals, and spirituality and it should be the responsibility of learned people to point that out instead of seemingly making war and people who fight in wars the pillar and standard for achieving all those admirable qualities.

...well almost. In 'For Cause & Comrades' James McPherson has set out to explain exactly why the average soldier sacrificed so much for his respective cause in the American Civil War. He has succeeded in convincing me. As the backbone of his thesis, McPherson has used hundreds of letters and diary entries from both Confederate and Union soldiers that offer some glaring insight into their motivations and beliefs. He first touches on the more universal motivations of warriors such as honor, duty, comradery, religion, vengeance and so on. And while these all played a significant part in the Civil War, McPherson argues that what ultimately separated Civil war soldiers from those of most other wars was a fervent belief in the righteousness of their cause. In other words, this was a truly ideological war and these convictions of righteousness, on both sides, was what carried these men through such horrific fighting to the bitter end.

While I can't say there were any shocking revelations here, I was slightly surprised, for instance, at how many Union soldiers were fervently dedicated to their cause. It usually goes without saying that the Confederate side was truly motivated to defend their cause, but I had always assumed that most Union men served out of a grudging sense of duty. It turns out that many truly felt that they were defending the American experiment as a whole from the despised "traitors and rebels." In fact, this seems to have been a bigger factor than slavery for most, as a large portion of Union men were just as racist as their Southern adversaries. Which makes it somewhat ironic that they felt they represented the cause of the entire free world against tyranny and oppression. It should be noted though that many Union soldiers did passionately oppose slavery and this was an equally compelling cause for them. The Union side seems to be very complex. On the other hand, the Confederate cause seemed to be much less complicated. They were fighting not only for the right to continue slavery, but also for their independence from the hated Yankee. As much as white supremacy was a chief motivator (even poor, non-slaveholders resented the notion of black equality), most Southerners truly believed they were fighting for their own liberty and way of life.

Of course McPherson concedes that not every soldier fit this description. There are skulkers, dodgers, draftees, and otherwise reluctant soldiers in every army, but as McPherson shows, there was a significant core of truly ideological fighters on both sides who refused to accept anything less than total victory. While those well versed in Civil War history might not find anything new here, I found it to be a concise and convincing survey on Civil War motivations and I would highly recommend it.

Despite knowing that fans of Miss Day were mounting an effort to post negative reviews of this book in order to discourage people from reading it, I tried to approach the story with an unjaundiced eye. And it didn't take long before I forgot the hype and became totally absorbed in the story of Doris Day, legendary singer and movie star. Yes, there are no astounding new revelations (unless one has not read previous Day biographies), but her story is one that deserves to be told, including the years since her authorized biography was published many years ago. The book was hard to put down, and I loved looking at the pictures.
Contrary to the opinions of some, I don't believe this book casts aspersions on Miss Day. It simply portrays her as she is...determined, talented, intelligent, generous, and a powerful friend for creatures who have no voice to speak for themselves.
I truly respect Miss Day, and am certain that this latest biography will spark interest in her work from a whole new generation of admirers. And what's wrong with that?

A great book about a great actress and lady. Could not put it down.

I thought the author was a bit unfair to Day. He seems to have written the book to show that her life was miserable and she refused to admit it, which really ticks him off. Rather than descending into an alcoholic or drug addicted mess, becoming suicidal or losing her mind, she kept her chin up in the old fashioned style. Good for her.

If there is one thing that we can all be sure of in life this is it: no one who only wants to be a wife and mother ends up a major motion picture star. It takes a lot of ambition and guts to become a star. I don't think that it just happens when the person is not looking. Day seems to have been conflicted about her success. We're all conflicted about something, however. It does not necessarily lead to misery.

The author has an idea that the "girl next door" image is something bad. He does not seem to understand why so many millions liked this woman. She seems like someone you could know, there is something real and authentically American about her, which is why some don't like her. She is one of the few movie stars who seemed like someone you could encounter in real life who is terrifically likable, direct, good natured, humorous, and trustworthy, kind of like Jennifer Aniston is today, intelligent without being intellectual, honest. Day was believable as a "career girl" and as a mother and housewife. She is attractive in a normal real way, not enough to be stared at by strangers and seeming to be so "hot" every minute of the day, but lovely in a way someone can be that you know. At least this is the viewpoint of a woman. Men may differ.

This book is a sad waste of time and money. Unfortunately the reader leaves this book not knowing any more truth about Doris Day than what Ms. Day already made public to the world. Instead, the reader will leave with unsubstantiated opinions, which can not be proven to be fact. And taints the truth about an amazingly talented, and decent human being. If you want to read the hard, real facts of Doris Day's life, read her own autobiography. You can purchase it right here on Amazon for a minimal price. In her own book, Doris Day was extremely transparent about her life. Joys, mistakes and life lessons. It is all there in "Her Own Story", written with A.E. Hotchner.

I loath people that exploit others for the benefit of their own monetary gain. Mr. Kaufman has done just that in this "Enquire like" book. He writes about Doris as if he knew her personally. When in fact, all he has done is taken excerpts from liner notes, here say from so-called reliable sources, and bits and pieces from her own autobiography. He has used these findings to his own advantage in creating what he calls the untold story of the girl next door. Now in retirement, Doris deserves the right to her own privacy and need not be the subject of Mr. Kaufman's malicious exaggeration.

Robert Caro's THE POWER BROKER is a lession in the use of power in the life and career of Robert Moses, and the consequent effects upon the people and substructure of New York City. Moses is such a disgusting figure, such a tyrant, that I literally found myself shaking at points. The press was in his pocket, elitest and racist, Moses painted himself as the selfless public servant. In reality, he cast people aside by the thousands in order to increase his power and accomplish what he wants. What a vile man. I'll never look at New York City the same again and I pray that I would never treat people the way he did.

Robert Caro's The Power Broker, a biography of Robert Moses, contains every attribute of a Shakespearean tragedy. Moses was brilliant, driven, an over-achiever, but possessed a deeply flawed character which aroused feelings of both esteem and disgust. Like all of Shakespeare's tragic protagonists, he was capable of both good and evil. Fully able to redeem himself, he instead moved unheedingly towards his doom. That 30+ years of unquestionable power within New York State's political, corporate, and labor elite forestalled this doom speaks to the measure of the man. Indeed, it took a Rockefeller to push him from the mountaintop.

One of the best biographies I've ever read, The Power Broker's 1,163 pages artfully and suspensefully tell the tale of a man for whom the words great and ignominious qualify as adjectives. Initially an ardent reformer, Moses was increasingly corrupted by power. At the apex of this power, Moses answered to no one and ran a wide reaching web of political commissions and public authorities as his personal empire.

His transition from reformer to elitist provides the backbone of Caro's epic. Once a voice for the common man, Moses eventually attained what can only be described as aristocratic contempt for the mob, the rabble, the lower echelon of economic achievement. The reader may marvel that such a powerful man was heretofore unknown to them, but the reader will certainly grow increasingly disenchanted at such a man's venality.

The Power Broker is a classic deserving the attention of every student of history. Despite it's heft, it remains a page turning pleasure throughout. As such, it most assuredly merits the highest ranking I can give it: 5+ stars. Trite though the term may be, Robert Caro has authored a masterpiece.

This book, written by Robert Caro - probably the best living biographer, was his first book. It is a massive, thorough, detailed, engaging study of how one man - Robert Moses - planned, shaped and built - the modern city of New York.

It is about the acquisition of power and its utilization by one man in order to bring his vision of New York City to fruition.

Robert Moses - the primary subject of the book - together with the notion of power, and New York City itself as well as its residents being the other subjects - was trained in urban planning England, was a visionary, a planner, and a "Power Broker" - and thus the title, whose materials where New York City, planned, designed, built modern New York by stamping his vision in the form of new parks, spaces, roads and parkways, new neighborhoods, new subways/rail-lines, new beach and recreational facilities and areas, had an impact on the way millions of New Yorkers as well as visitors to NYC experienced NYC - experienced NYC - for decades. His shape of NYC is still shaping how humans experience reality in such city.

This is a tour de force. This is a good book for those interested in New York City, local and state government politics, the modern bureaucratic / administrative aparatus of government and those who wield the helm. Whether you agree with Robert Moses vision of NYC or not, he had a tremendous impact. The impact was not limited to NYC. Seen as the expert on urban planning, his model, his vision, his views, spread throughout the entire field of modern urban planning. Thus, his impact is not just local or state. It is in fact national and international. Modern cities - the leadership of which visited or modeled their cities on NYC - where shaped by his creations.

A long book. A detailed book. A hard book. But excellent, very interesting, and well worth the effort and time. Probably the prime example of what an excellent biography is and should be. It made Robert Caro, its author, into the preeminent biographer of the last several decades. It set the standard. I don't know if it has or will ever be matched.

I have been waiting to read this book for a very long time, and the wait was well worth it. Mr. Caro presents a massive, well-researched piece on one of New York's most influential (and controversial) public officials. I am a sucker for great detail, and so I enjoyed Caro's painstakingly detailed portrait of how a young, idealistic reformer evolved into the ruler of a huge bureaucratic empire. What Caro makes very clear is how Robert Moses became so corrupted by power (and self-importance) that he failed to grasp how his projects were not always in the public interest. Moreover, Caro paints a vivid picture of Moses' cynicism and shrewdness, and how he parlayed those into greater and greater power. For instance, Moses realized that most state legislators were political hacks who never bothered to read the fine print of the laws that they passed. He played on this to insert such fine print into legislation which made him virtual Tsar of development in both New York State and New York City. In addition, Moses was able to convince most New York politicians that he was indispensable to them, and so had them virtually eating out of his hand (i.e., his tactic of threatening to resign, unless he got 100% of what he wanted). At once fascinating and frightening as to how one man could harness such a degree of power!

While Robert Moses' achievements are the main focus of this book, Mr. Caro also devotes a great deal of attention to the political situation that existed in New York during the era of Moses. In doing this, he gives readers a fine education on how New York and its municipalities were governed at that time (and in many ways, are still governed), along with an in-depth look at other contemporary political figures (i.e., Al Smith and Fiorello LaGuardia). I would equate reading this book with taking a college-level course, as you learn and think so much while reading it.

On a critical note, not all of Mr. Caro's conclusions about Robert Moses are universally accepted. For instance, Mr. Caro accuses Moses of single-handedly wrecking the Bronx with the Cross Bronx Expressway. However, many people have argued that this was only one of many factors that destroyed the Bronx, and not all of these things were brought by Moses. Perhaps Mr. Caro should have given space to opposing viewpoints regarding the Moses legacy. Overall, though, I think that it is a great book: required reading for anyone interested in the development of New York during the 20th century.

Robert Caro's biography reads like an extraordinary work of investigative journalism - damning, erudite and compelling - that surely would have been appreciated by Robert Moses had he not been the subject.

It is a fascinating study of the evolution of government in New York City and Robert Moses' ability to shape laws as the "best bill drafter in Albany" and to seize upon prevailing trends and work the levers of the City, State and Federal governments to his advantage. It is during the Great Depression when Moses is able to mobilize maximum resources, largely from the Federal government, for some of his most ambitious projects.

While at most times a scathing indictment of Moses and his methods, Caro does credit Moses - New York City's first Parks Commissioner - for his contributions to green spaces in the city and his creation of a premier state park system.

Caro insists that judgment about Moses' legacy is premature and that one can only say New York would be a very different place without Moses. New York was indeed a very different place at the time of publication of the Power Broker; Caro has recently commented that some of Moses projects, such as the Triborough Bridge, have been a boon for city residents. Although he never cared for mass transit, it's a shame Moses couldn't come back to start work on the stalled new Penn Station.

As a kid growing up in the Midwest in the 1950s, I totally related to Bill Bryson's recounting of his childhood in Iowa. He did all sorts of stuff kids today would never get away with - their mothers would be horrified. Of course, much of his recollections are exaggerated, but not so much so that they don't ring true to those who grew up in that post WWII era.

Bryson's knack for creatively recounting minor incidents from his life - like working on a scab for months, until it was 1 1/2 inches thick and you could stick a thumbtack in it and not feel a thing - had me laughing out loud again and again. His imagination turns a day at the beach, or dinner and a movie with his mom, into one hilarious event after another. His was an era where getting stitches more than once was not only common but a measurement of bravery...or guts.

I highly recommend this entertaining, feel-good, laugh-till-you-cry (complete with tears) experience, a baby boomer's delight and worthy of your time.
50 Ways to Leave Your Mother

Lots of great research (At least I can't remember that many details of my childhood from the same time period.) Not as good as the raving reviews but interesting and easy reading.

50's nostalgia has been done over and over, but Bill Bryson hits a home run with this reminiscence of his childhood years in Des Moines, Iowa. Despite the efforts of modern novelists and Hollywood to cast a dark shadow over the decade of the 50's, it does truly seem like it was the best of times after reading this book.

Being a "late boomer", born almost a decade after Bryson, I grew up with some remnants of this world myself, and I can personally vouch for the mayhem inside those movie theatres that showed Saturday matinees for the kids. If there's one chapter that made me laugh out loud it was the one entitled "Out and About". The theatres, the amusement park, the restaurants, the Iowa State Fair, hanging around a downtown full of stores, all of these places had stories which Bryson delights in sharing with us.

The author describes Iowa as an idyllic place; smack dab in the middle of the country, with deep topsoil, huge stalks of corn, and frugal yet welcoming people who didn't worry too much about things they couldn't control. The world was a much bigger place then, and food items which seem pretty basic to us, such as "pasta, rice, cream cheese, sour cream, garlic, mayonnaise, onions.." etc. were somewhat exotic and to be viewed with suspicion back then.

Those of us who have received a much circulated e-mail about how things were different in our childhood, how we could be outside at all hours of the day and didn't flinch at the cuts and scrapes we acquired on a daily basis, will get more reminding by reading this book. Even childhood mischief is portrayed somewhat benignly as Bryson looks through the haze of nostalgia; chemistry sets setting houses on fire, petty thefts of beer and candy, and dangerous practices like hanging off the back of tailgates of moving cars. Not to mention the threat of the polio epidemic of the time, one wonders in today's age of over-supervised kids how we ever survived our own 50's and 60's childhoods.

Bryson looks at the 50's in the greater world as well, sometimes in a way that works, sometimes not. Bryson is at his best when talking about phenomena like comic books and TV becoming so big, and about publications of all kinds predicting various Doomsday scenarios (much like today actually). The chapter on the Red Scare doesn't fit too well into this book though, a bit of liberal preachiness creeps in that seems out of place here.

There are parts where it seems as if Bryson might be trying too hard to amuse us, but overall I enjoyed this book very much. His affection for his sportswriter father and absent-minded yet cheery mother are quite heartwarming. The chapter about his rural grandparent's home was drawn very nicely as well. Bryson does the inevitable comparison between the Des Moines of his childhood and today and sees all that was lost, never to return. Was the world a better place back then? Bryson implies strongly that it was, and I won't disagree.

For those fans of Bryson's books, or for those who are drawn to nostalgic remembrances, you will enjoy this.

I was very fortunate to grow up in this period in a small town. It was amazing that the kids in Iowa were doing the SAME dumb stuff as we did in Texas. I had the electric football game and never could figure out how to have fun with it. We went to the local fair and got into the stripper tent at age 15 (true). The stripper in Texas was probably on a circuit that went to Iowa. All in all, a fun book to read for anyone of that era. All the buildings are now gone, but the memories still remain. Bill did a great job bringing those back to life.

I have read several of Bryson's books, the most recent being his able essay on Shakespeare, but this one I found almost disturbing. The book is supposedly about growing up in Des Moines (Bryson was born in 1951) and part of the book is about that. But lots is not. There are hypercritical and one sided rants on US policy in the Cold War, on the anti-communist hysteria of the 1950's and a number of other aspects of life in the 1950's of which Bryson disapproves. Now some of these things are pretty soft targets and deserve some measure of abuse, but the rants are not relating the experience of the very young boy who experienced the times. They are the views of an adult evaluating the times and an angry adult at that.

Some of the parts that are about growing up in Des Moines are fairly funny, but they are just as frequently nasty and are often fueled by anger as well. Bryson is thoroughly unkind to many of the people that he describes in the book. The funny parts were not enough to me to counterbalance the nasty. Overall the book reeks of an arrogant superiority that I have not found in other Bryson books. His other books did not seem to me to be mean spirited. This one does.

Mr. Bryson's half-hearted curmudgeonly approach to life makes for another enjoyable read by this author. He covers a wide array of society's peculiar habits with a mixture of surliness and confusion. The only editorials that were creative but somewhat ponderous were his columns dealing with his computer. With the exception of just those few pieces, I enjoyed his book. Mr. Bryson is a funny, insightful writer who is a great remedy for a case of the blues.

nothing like looking at the US from the eyes of a stranger. What a beautiful perspective. There were many times I was laughing out loud when I read this book. Also a great gift for those who are travelers. you will not be disappointed.

Having made previous aquaintances with some of Bryson's work I think that I can confidently say that this is a work of comical genius, from the completly accurate complaints of such things as spell check and setting up a computer to the zany tangles with attick hatches, Bryson keeps the reader engaged and laughing. Well done, Bill, well done once again.

This is my 3rd Bill Bryson book and possibly my favorite of his so far. The super short segments (compiled from past published articles) make this book extremely easy to pick up, put down and pick up again. His writing style is exceptionally intelligent, and he finds hilarity in the most mundane of situations. He has a way of making the reader reconsider just how silly much of our lives actually are, while interjecting a few heartwarming and philanthropical comments here and there. Would love a second edition of this!

After quite a number of years living and writing in England, Bill Bryson returned to his native land, the United States, with his family and apparently continued his writing career. Mr. Bryson wrote a series of weekly articles, a column, for a British newspaper, recording his experiences, thoughts and observations on his native land and his return after a long absence. This book, I'm A Stranger Here Myself is a collection of these articles which were printed in that British paper.

I like Bryson. I enjoy reading his books. This one was no exception. I suppose the first thing I like about this author, is that we both have the same attitude toward life. We are both rather inept in many ways. We neither of us seem to take ourselves very seriously. I can relate to that. One of the big differences between is though, is that he has the ability to articulate his thoughts, attitude and experiences, in a way I never will be able to. They guy can write and he can write well.

When I first picked up this book, I did with a bit of a sense of dread. I did not want another "lets get together and bash American" book. I need not have worried. Yes, he does point out some funny, amusing, odd and silly things about our culture, but he is just a quick to point out that these different little oddities can be found around the world, only in different forms and customs. Let's face it, there is a lot a bout this country that is absolutely great, in fact, most things are. The author is quick point this out. On the other hand, there is much about our culture, our people, our government and our lives in general that is, if viewed from a certain angle, absolute hilarious. Bryson is quick to point this out too.

Everything is free game in this little work. Everything from the postal service, cars, diet, computers, holidays, work, play, language, government, family relationships, and so much more, are free game to his pen. Through all of his work though, he is constantly laughing at himself more than anyone else. Most of the articles are funny, many of them absolutely hilarious, and some of them are quite serious, simply due the subject matter. Each article the author has written (he even rather humorously refers to making money on his recycled work), makes up one chapter in this book. It is well written, easy to read, and, if you are like me, addresses subjects we all feel the same about, but just cannot say them in the way Bryson can.

Enjoyed this one and it was a well written, relaxing read.

While I've read many books on Romanesque and Gothic architecture, and have visited Chartres, I've always been frustrated by the lack of information available about the actual people who created the monuments. What a pleasure to finally find a book that focuses both on the intellectual movements that fueled the Gothic age, and the clergy and builders who were instrumental in the creative process.

While the book is excellent and well-written, I refrained from giving it five stars only because I think a reader would benefit from additional sources highlighting architectural details and comparisons with other cathedrals.

The Crusade of European Christians to overtake Jerusalem and Constantinople is famous. There was another crusade at the time, though, a "cathedral crusade" between the mid eleventh and fourteenth centuries. In France alone over eighty cathedrals were built, not to mention large and small churches. Arguably the greatest of all the cathedrals is the one at Chartres, beneath the vaults of which, according to Napoleon, even the atheist would feel uneasy. To examine just how Chartres works and how it can impress anyone with a sense of reverential awe is the purpose of _Universe of Stone: A Biography of Chartres Cathedral_ (Harper) by Philip Ball. Ball, who has written about diverse subjects like Renaissance medicine, water, and the history of pigment making, says that understanding Chartres is made difficult by all the centuries that have laid on since its construction and all the different academic and philosophical views that have often made confusing issues even less clear. Ball writes, "It is only by embedding the church in the culture of the twelfth century - its philosophies, its schools and its politics, its trades and technologies, its religious debates - that we can begin to make sense of what we see (and what we feel) when we pass through the Royal Portal of the west front." His book accomplishes this goal, clearly laying out spiritual, social, and technological trends of the era in a thoughtful and entertainingly discursive book of architectural history.

There is much we do not know about how the cathedral was built. We do know that it was built quickly, in the first 26 years of the thirteenth century. We don't know the architect who planned it all out, or if an architect actually did so, nor how educated the planners and builders were. There are no plans or models. We do know that it represented a change from Romanesque to Gothic architecture. Romanesque builders piled stones for the chief purpose of having them not fall down, and their resulting vast walls and narrow windows were a reflection of darkness and monastic seclusion. Chartres was in the vanguard of Gothic construction, changing the way the church regarded itself. It is not likely that the builders had in mind a celebration of the light of reason, but it is not far-fetched to imagine that the increase of light and banishment of the old gloom both reflected and inspired a process from fearing God to investigating with wonder God's works. Most of the hundreds of stone carvings in Chartres were done by masons who knew the stones would then be hoisted to a high nook where human eyes could never again see them. Only upon the invention of powerful spyglasses, tools the masons could never have imagined, were these sculptures seen again. The erection of the cathedral was not always so idealistic, however. Ball makes clear that those who worked on it expected to get paid, and that the those who got paid did not like the idea of volunteers doing the work for free in religious ecstasy. There is a legend of the "cult of the carts", whereby spontaneous fervor caused laymen to harness themselves to bring stones from far away, but much more likely is that any such show was organized by the clerics. Certainly, surviving accounts show that all unskilled manual work went for a fee, despite any bouts of fervent free labor.

Ball writes that Chartres is "nearly a pristine document, miraculously preserved from a distant world, bearing a message that is barely diluted." There has been a bit of remodeling and a huge baroque sculpture of the Assumption in the choir, and it is alarming that what Ball calls "the arrogance of eighteenth-century artistic chauvinism" permitted the interior to be completely whitewashed. The building never did get finished according to original intentions, because it got only two spires rather than the nine that were proposed, but it still has a unity and a clarity that few structures of the time can claim. It was also a showpiece for the era's understanding of flying buttresses, pointed arches, and ribbed vaulting, all of which are pictured and diagrammed here, along with illustrations of what might go wrong if stresses on the structures were not in balance. If you can't get there to see the cathedral itself, Ball's book is the perfect vehicle for informed armchair traveling.

The author sets the bar high: a book that describes the design and building of the cathedral at Chartres while putting it into the context of medieval philosophy, theology, technology, science, politics and economy. In theory a laudable goal, but in practice a muddle. This reader was alternately bogged down in overly-long and involved chapters discussing the differences between scholastic Platonists and Aristotelians and disappointed that there wasn't more about the cathedral itself. Ball is a journalist who has obviously done his homework -- there's an extensive, multi-page bibliography and he quotes from dozens of experts -- but in the end this feels like a well-written overview of other people's writings on the subject, rather than an original look by a writer with any strong convictions himself. About halfway through this book I had the nagging thought I would have done better by re-reading Thomas Cahill's lively "Mysteries of the Middle Ages" and my nephew's illustrated copy of David Macaulay's "Cathedral." There's no shortage of wonderful books on Chartres and the building of the cathedrals and the curious reader should consider them seriously before investing in this book.

Why would someone write a biography of a BUILDING? Well, if you've ever been to Chartres Cathedral about 45 miles south-west of Paris, you'd know why. Chartres continues to provoke us with its emotive power, and its place in the history of Gothic architecture is firmly secured at "page 1" in our texts. That's why it was so exciting when we found out that there was a new treatment of Chartres being released this summer, and many reviewers, including those at The Economist and The Financial Times, took time to present the book to their reading audiences worldwide.

Ball's treatise on Chartres is a truly wonderful additional to the evolving library of Gothic. As a person who is familiar with the literature, I can easily say that his work here will make possible the introduction of this topic to an entirely new generation of people who are captivated by this most evocative of art forms. Ball has done what can be classified as nothing less than a superb job of collating, digesting, and then restating in clear, meaningful words the voluminous amount of material that is available on the subject. And this is no small task: the topic is the subject of attention of everyone from mechanical engineers, masonry experts, art historians, medieval historians, and even education historians. Most of these works are undeniably fascinating and tremendously enjoyable to read. But you will find yourself having to put on your "engineer's hat" to read Heyman's The Stone Skeleton: Structural Engineering of Masonry Architecture, then put on your "art historian's hat" to read Coldstream's Medieval Architecture (Oxford History of Art), and your "photographer's hat" to read Schultz's Great Cathedrals. There are dozens and dozens more books still on the open market just like these, and they all play an important role in helping us further understanding this fascinating topic. But Ball's book deftly summarizes and explicates many of the major themes of this content, and allows us to absorb it all in one text. I must confess that the book exceeded any expectations I had, and I am thoroughly impressed.

Ball's book covers far more than the physical elements of Chartres cathedral. We peer into the world of medieval scholasticism and Platonic thought in the cathedral schools of the 12th century to investigate what role, if any, such thought had on the development of the Gothic style. We read about Chartres' predecessor building, St. Denis basilica, just north of Paris, and the impact Suger had on this form there, and consider the potential linkages between these structures. We also take a quick course on medieval construction techniques, and listen to some of the hypotheses which engineering architects have devised to explain how such buildings could be constructed without electricity or power tools. We see how stained glass was manufactured, why the blue windows of Chartres are so unusual, and even hypothesize that "Chartres blue" may have been imported from other glass foundries outside of France. We also review the varying theories of the sequence of Chartres' construction that may explain its physical irregularities (for example, was the building constructed from east-to-west, or from west-to-east, and why are there "mismatches" between sections of the structure?).

There is much, much more. But all along the way, we are provided a wonderful, comprehensive introduction to the times, history, and settings of that "vulgar style called 'Gothic,'" which is regarded as one of the pinnacles of architectural and artistic achievement. If you are a Gothic enthusiast, get this book to enjoy and savor, the first new book on the subject in some time. But also buy a copy for a friend. There is probably no better way to introduce Chartres cathedral and Gothic architecture to a new generation of enthusiasts.

Philip Ball's "Universe of Stone: A Biograpahy of Chartres Cathedral" seeks to explore and explain the philosophical roots of a society and culture that produced Chartres Cathedral, an archtypical masterpiece of Gothic architecture. Balls himself admits the hurdles he faced: "Arguably, then, it is a foolhardy eneavour to say anything about 'why' Chartres Cathedral was built, which in the end what this book attempts to do. But to my mind, it is only by confronting that question that we can fully experience what this most extraordinary, most inspiring building has to offer."

Ball is inevitably limited in his efforts by the lack of extensive detailed records from that distant era, as well as by the profound differences in our perceptions of the world than those held by people of the 11th and 12th centuries.

The first half of "Universe of Stone" is especially challenging to the reader as the author lays out the background to the medieval mind: Aristotle and Plato and Augustine and Bernard of Clairvaux and Peter Abelard and the rise of Neo-Platonist philosophy with its emphasis on rational order. The pace of the book's narrative picks up when practical matters of design and finance and construction are considered, with the author citing records of numerous other Gothic building projects to explain what must have happened at Chartres. Along the way, Ball addresses and discards many popular myths, such as the design of the Cathedral incorporating mystical knowledge and that cathedral-building was a manifestation of popular civic enthusiasm.

The attentive reader of "Universe of Stone" will be rewarded with a better understanding of the medieval mind as well as the practical realities of constructing such marvelous buildings.