Biography Books

The author doesn't seem to consult any sources other than the Bible, which is fine if this is a book of sermons but not fine if this is supposed to be a rich, robust historical record. The chapters are laid out, roughly one per apostle. After the first four apostles, the Bible provides precious few references to the other apostles and chapters start reading like this:

"There is only one mention of James the Lesser in the whole Bible. But, by the fact that he's mentioned 10th in the list of 12 suggests that he was a quiet, solemn man with a sharp wit and a heart filled with dutiful love for Christ. I bet he was a timid man of strong compassion..."

I'm sorry, what? Where did these conclusions come from? There are hundreds of other sources for information on the apostles -- from other Christian writings not ultimately chosen for the Bible but written by its common authors -- to indigenous writings of the people of India, Asia, and Northern Europe, all of whom received the teachings of various apostles. Why doesn't the author bother to consult any of these myriad historical resources to improve the book?

Still, the book is interesting and an easy read. As a book review -- and not a popularity contest about how much you like religion or love God -- I can't give this book more than 3 stars. It's good if you're planning future sermons or need a moral pick-me-up. It's completely un-fulfilling if you're looking for deep histories of these remarkable people.

I first read Twelve Extraordinary Women, and enjoyed it so much that I ordered Twelve Ordinary Men. Both of these books gave a lot of insight into the lives and personalities of those dealt with. The books are well documented, and scripturally sound. I think they would be a good addition to any church library.

I really enjoyed looking at the lives of the 12 disciples. Though they were ordinary and flawed like us, they accomplished great things for the kingdom of Heaven.

In discovering the lives of the Lord's apostles, I found the nuances and tidbits very original and insightful. I however differed with MacArthur's title, for in his own MacArthur Bible, he describes them as 'gifted men'.
As I recall, it was Ephesians 2, which refers to the church being built on the foundation of the apostles.

So it was with special care not to upset this privileged position that I set out to glean from their lives what MacArthur had presented.

A good subject and marketable to the majority of 'unskilled' Christians, who have a 'thing' about apostles, most likely describes this effort.

This is another great work of expository teaching by Dr. John MacArthur, pastor of Grace Community Church and the president of Grace to You radio ministry. In this book, Dr. MacArthur looks at Jesus's twelve disciples. You've heard their names, but what exactly do you know about them? Well, when you get done reading this book you will feel like you know a lot!

Overall, I found this to be a fascinating and wonderfully informative read. Dr. MacArthur does an excellent job of showing how Jesus called and trained the twelve to become His apostles, and then presented all of them as individuals - individuals from whom we can learn a great deal about who God can use and how.

Yes, I must say I really enjoyed this excellent and highly informative book. If you want to really understand the twelve apostles, then you MUST get this book. I give it my highest recommendations!

Book came on time and in the quality I was expecting. Thanks will purchae from here again. Thanx

This is a concise look at the VP nominee. I found it interesting and informative and appreciated that it was "her own words" -- no media spin.

While it includes many of her speeches (like the day she was officially announced) is also includes is her speech from the Republican Convention which is really helpful because you can read it word-for-word and learn much more than just hearing it.

My favorite movie of all time. The book is not as good as the movie.

Out of Africa is Karen Blixen's memoir about her years in Africa, writing as Isak Dinesen. She recounts the world of Africa, specifically Kenya. It is, like the England of her friend Denys Finch-Hatton, "a world that no longer existed" even then and certainly as she left it. The memoir is a slow read, yet a book with prose in which you can luxuriate, or languish perhaps as it seems to mirror the mammoth African landscape. Reading like a pastoral novel, the narrator interested me with her myriad experiences. It presents people, cultures, landscape, and wildlife through her eyes, sometimes noble, sometimes paternal. The culture of the various tribes and religions with whom she had contact on her coffee farm became almost real, so that as I read certain moments became funny or sad or wistful. The reader comes to view animals differently, the fecundity of life struck me particularly. The different forces at work are both natural and foreign; the paradoxical nature of the presence of two churches (Roman Catholic and Church of Scotland) is sometimes presented as working for good yet other times it is in conflict. Blixen's memoir is truly literate and the importance of books and writing is evident throughout. Early in the memoir she tries to explain her wirting a book to a native. Near the end of her stay as she is selling off the furniture and other estate provisions their is a poignant moment when, as she sits on her remaining books, she comments:
"Books in a colony play a different part in your existence from what they do in Europe; there is a whole side of your life which they alone take charge of ... you feel more grateful to them, or more indignant with them, than you will ever do in civilized countries." (p.373)
Blixen's memoir of this "uncivilised" land is both memorable and effective in sweeping the reader away into a very different world. Definitely a worthwhile read.

The two-cassette abridgment was way too limiting for such a magnificent book. Also disappointing was the fact that the product was a rejected one from a public library, and the second tape was stretched and half of the second tape was not able to be heard. This product should never have been sold in this condition.

This was the first of many books I've read about Africa. At the time, I had a romanticized view of The Dark Continent, a naieve view.
After doing some more research, I realize Karen Blixen's view was VERY romanticized....to the extent that many of her contemporaries thought her somewhat odd and out of touch with reality.
If you want a lyrically told story colored with emotion...this is for you.
If you're interested in Africa as it really was, read the many accounts extant by settlers who spent far more time, and ranged over a wider area.

The book, "Out of Africa," is a memoir of the Danish Baroness Karen Blixen's habitation near Nairobi in Kenya from 1914 to 1931 on a fertile 6000-acre coffee plantation, "at the foot of the Ngong Hills" (1992: 3). Blixen writes under the pen-name Isak Dinesen. Karen Blixen went to British East Africa (in a location in present-day, Kenya) to join her German husband (Baron Bror Blixen), and upon separation she stayed in Kenya to manage the farm by herself. The extent of her adventures in Africa, and to what extent she is a feminist is borne out by the book, as well as the film "Out of Africa," that is based on the book. This piece will examine such, as well as comparisons between the book and the film.

Isak Dinesen (Karen Blixen) presents geographical detail, oftentimes comparisons and contrasts within this fertile land of the Kikuyu people that would several decades later be the crux of the Mau-Mau rebellion over whites' displacement and dispossession of natives from their land. Dinesen also compares features with those of her native Europe. Dinesen writes of the equatorial habitat, "Everything that you saw made for greatness and freedom, and unequaled nobility...Up in this high air you breathed easily, drawing in a vital assurance and lightness of heart: Here I am where I ought to be" (1992: 4). Dinesen writes of "heavy-scented lilies," of "long-rains," "ever-changing clouds," of "hills from the farm [that} changed their character many times in the course of the day, and sometimes looked quite close and at times very far away" (1992: 4). Dinesen, in precise and elegant language displays love and fascination for the geography, the clean air, the animals, the beauty of this African environment; she becomes possessed by the place.The movie captures the large, picturesque, mysterious, and varied eastern equatorial Africa where the eland, the buffalo, and the rhino are quite common sights; the movie impressively and unanimously earned, Oscar, "Best Picture of the Year."

In the end Dinesen is forced to give up her plantation, this scenario elicits a heartache and sadness. Dinesen's memoirs, years after she had left Africa could be a reflection of her nostalgic dealing with her loss of the farm as well as overall experiences in Africa. Dinesen stands out as a courageous and strong woman, one who is in the feminist direction. She lost her philandering husband, but stayed on bravely, for nearly 20 years in a foreign harsh environment, one with languages and cultures far-fetched from her own. Dinesen worked well at being appreciative of an environment that was new to her, during an era of colonialism in Africa, a time when Darwinian relegation of black Africans to the lowest of human species and elevation of whites to the upper rung was very strong. Dinesen cuts through the female traditional roles, she tries flying in planes, the goes on safari, she learns how to shoot and even shoots and kills game. She is open and welcomes countless visitors from all over the world to her home and farm. This was an age of exploration and acquisition of "Dark Africa," by Europeans and Asians. Dinesen is quite aware of her feminine strength. She rescues and adopts a wounded antelope she names Lulu; Lulu becomes a celebrity on the farm; Dinesen searches, discovers and celebrates the feminist strength in Lulu: "But Lulu was not really gentle, she had the so-called devil in her. She had, to the highest degree, the feminine trait of appearing to be exclusively on the defensive, concentrating on guarding the integrity of her being, when she was really, with the force in her, bent upon and defensive" (1992: 74). Also, "Lulu of the woods was a superior, independent being...she was in possession. If I had happened to have known a young princess in exile, and while she was still a pretender to the throne, and had met her again in her full queenly estate after she had come into her rights, our meeting would have had the same character" (1992: 78).

The book displays that Karen Blixen exemplified the Europeans with the upper hand in colonial world conquest and politics. It is to be recalled that the three weapons used by Europeans to subjugate Africans were the gun, the Bible, and the anthropologist. Karen used guns to protect herself. Catholic (mostly Belgian and French), Protestant (mostly British), and Muslim (mostly Arabic) agencies vied for power in Africa. The Germans were in present-day neighboring Tanzania (German East Africa) to the south. They would be ousted during this significant, "Scramble for Africa." The book illustrates how Karen Blixen took great interest in which religious group the young natives (some of whom served her) adhered to. Many native followers, taught to kneel and pray to an invisible white Almighty god, became converted to the political/ religious groups, as they became dispossessed of their land resources. The anthropology aspect, as mentioned, involved relegation of black Africans to the lowest rungs of evolutionary mankind...the white was relegated as the superior, the master, the savior, the benevolent, the genius. The movie is great at casting Meryl Streep as the beautiful, rosy-cheeked clean, statuesque woman amidst muddy, black African paradise! The real Karen Blixen likely had more rugged looks and likely often got "down-and-dirty," than is depicted in the movie. An equatorial Africa of long and heavy rainy seasons, of continuous tropical sun, and of limited running water would not leave the Danish heroine so clean and collected.

It is to be recalled that Dinesen is writing from an overly European point of view, hence, negative criticism of her will not be short. Her attitude to black Africans is racist and condescending. In the movie, Denys Finch-Hatton (Robert Redford) rebukes her for instructing native porters to get off her belongings by "shooing," them off!. Finch-Hatton, in shock, remarks to her, "Shoo?" as if telling her, "I do not believe you addressed these people that way!" Finch-Hatton (who became Dinesen's lover) knows the native languages (Kiswahili and Kikuyu), and goes on to communicate her instructions to the porters. Black Africans are prevalently depicted in the movie as poverty-stricken servants, laborers and porters, as helpless people close to animal nature. In tune with the movie, here Dinesen writes, "They were poor people, small and underfed; they looked like a pair of badgers on my lawn...I could hardly distinguish them against the grass. They were sank in deep grief; their bereavement and their economic loss melted into one overwhelming distress" (1992: 108). Dinesen is surprised that the, "Natives," are strikingly open, adapting, welcoming and unprejudiced. Yet, as prevalent in the colonial fashion, she does not attribute this to the inner traditions and workings of indigenous African society, but from influence from foreigners including slavers! "The lack of prejudice in the Natives is a striking thing, for you expect to find dark taboos in the primitive people. It is due...to their acquaintance with a variety of races and tribes, and to the lively human intercourse that was brought upon East Africa, first by the old traders of ivory and slaves...and...by the settlers and big-game hunters" (1992: 54).

Dinesen wishes the natives would understand and appreciate her more. It is always presumptuous to be confident of having fully understood a foreign culture and people; she does not seem to believe she is prejudiced and why the natives to a good extent regard her as a foreigner far different from them, and difficult to comprehend. She writes, "If I know a song of Africa,---I thought,---of the Giraffe, and the African new moon lying on her back, of the ploughs in the field, and the sweaty faces of the coffee pickers, does Africa know a song of me?" (1992: 83). At the same time, Dinesen quite often acknowledges that newcomers from Africa are from a noisy and rushed world, they do not have the patience and connectedness of native Africans. European colonialists imposed on the natives an alien system of forced dispossession and displacement and of monopoly. So much of this colonial intrusion was quite new to the prevalently communalist and family-oriented, egalitarian way of native African subsistence.

Karen Blixen's marriage starts out as more of a convenience than of romance. She left Denmark to marry the German Baron Bror Blixen (Klaus Maria Brandauer) and start a dairy in Kenya. Bror is actually the brother of her lover. Karen is offering her fortune for companionship and adventure (and for the title of, "Baroness") much more than for enjoying the security of a man. So, from the outset, Karen's feminist inclinations are strong. The husband changes his mind about the diary, and instead invests her money in a risky venture of growing coffee. The husband is unfaithful, philandering, gives her syphilis that will disable her from having children; the marriage breaks up. Karen is left to manage the farm, she has to battle with floods and fire. Hardly anything of British big game hunter Denys Finch-Hatton's romance with Dinesen (Karen Blixen), is mentioned in the book; the movie likely borrows from other sources depicting the life of Karen Blixen. Unfortunately the English accent of Denys Finch-Hatton is not conveyed by Redford, compared to Karen's excellent outflow of a Scandinavian accent. Yet, the movie depicts their chemistry, Denys is impressed by her strength and independence, Karen's ability to tell and weave stories, they kiss, and in one scene have sex. Karen does seem to desire long-term companionship and commitment from Denys, desire for a man who will sacrifice to be with her. She stands against having a man like Denys who wants to be "free-wheeling," one who will come and go depending on need and desire, he loves the African outdoors. Finch-Hatton is mysterious, elusive and emotionally distant, but he is miscast in that in the movie: he seems to represent an all-American jock that waywardly found his way into Africa. Karen was wounded before, and this encounter with Denys is only a brief moment of ecstasy, but she bravely soldiers on, appreciating more of what is around her. Karen is indeed confident, stoic and creative in face of the odds. She did resist going on safari with Denys, but she eventually succumbed to his quite undeniable invitation. Eventually, they got closer, she broadened her horizons, she better adapted to and better accepted foreigners and their ways.

In conclusion, the movie emphasizes the romantic issues and episodes in Karen Blixen's life in Africa (romance and sex sells in Hollywood), much more than the book does. The book seems to be constructed from a breadth of notes of what Blixen put together while in Africa, and weaved them into a good fairy tale. The truth is that Blixen dealt with aspects like fluctuating coffee prices, sometimes drought and heavy rains, discontented dispossessed natives, scrambles for Africa amongst several European agencies, African diseases and sometimes unsanitary conditions, wildlife from untamed neighborhoods. The movie does display the exquisite beauty of tropical Africa which Blixen did dwell on, but not on the colonial wranglings. There is lyrical beauty in Blixen's writing, and the movie does elicit an African peaceful mood through the excellent music. Blixen, in both the movie and the book is a strong and opinionated woman, yet flexible and open to ideas, people, and adventure. She is a significant precursor of modern-day feminism.

I am glad I picked this memoir up again..after at least the second time. Parts of it were poetic and moving, and parts of it were very difficult to read. I am going to get a hold of "The Mother Knot" as soon as possible. It also is a memoir by Kathryn Harrison. After exploring (using Amazon's) search inside feature I found that I had read one of her other memoirs..titled "Seeking Rapture" I will review that one soon.

Kathryn Harrison shows compelling bravery in her memoir, The Kiss. She confides in the reader on the dark and disturbing subject matter of her incest relationship with her father. She takes us on a journey through a complex past and family life. When she was young her father was an absent mystery and she is not shy to explain that this made him an object of extreme interest to her. I love the honesty behind her writing and the extreme vulnerability she shows to the reader. She admits, "I want to be held too much to stay away" (87). The abrupt transitions between scenes from her seemingly normal everyday life and the secret she lives with her father is extremely effective in captivating the reader's attention. The pages will keep turning as she continues to be more and more affected by the haunting secret she keeps. Although she describes her encounters with her father in graphic detail, it is impossible for the reader to be disgusted. There is an ongoing feeling of sympathy for Harrison as she beautifully explains her desperate longing for love and a sense of belonging. "I'm afraid that whatever he wants, I will give him," (107) she discloses. The memoir continues to take the reader deeper and deeper to new levels of complexity especially in regards to Harrison's struggling relationship with her mother. So many knots are presented in this book that the reader cannot help but want to continue to read on and try and untie them. Every sentence in packed with emotion and despite coming from an obviously broken girl, the voice is powerful and strong. I definitely recommend Kathryn Harrisons memoir to anyone who appreciates good writing and a profound story.

"The Kiss", by Kathryn Harrison, is a spectacular memoir, and I highly recommend anyone to read it. The

book focuses on the incestuous relationship between Kathryn Harrison and her father, who re-enters her life

during her teen years, after not having seen her for several years.

When telling her story, Harrison writes in the present tense. This is a very interesting technique, because it

makes the reader feel as if she is actually speaking the story out loud, telling it directly to her audience.

Harrison portrays this literary talent when she writes, "After months of letters and calls, as many as three of

each in a day, all promising devotion, all asking for mine, my father has prepared me for what he

requests" (107). Harrison may as well be having a conversation with me when she writes this sentence, it

sounds so real and legitimate!

Aside from the use of wonderful literary techniques, Harrison manages to take incest, a dark and "hush-

hushed" topic, and manages to convey it as a beautiful, loving, subject, "'I love you,' my father says. `I need

you.' `I need you, too,' I whisper." If I had read this passage, unaware of the actual content of "The Kiss", I

would never know it regarded incest, yet, two people who love each other. Harrison's story enabled me to see

the true beauty of her words, and to not be so quick to undermine the love of two people.

Read this book. I guarantee you will see the beauty pertained in darkness.

Oh, the webs we weave! Kathryn Harrison is one of the best writers around and I've read several of her books. Although this one may be dark, and it's about incest, it is an incredible journey of longing and need that takes a young woman to the very bottom of herself.

The most amazing thing about this nonfiction book, "The Kiss" by Kathryn Harrison, is how such a dark and tragic subject is expressed so beautifully. For those of you not familiar with this book (it came out in 1997), it centers on Harrison's own relationship with her father, a man who was absent throughout her childhood only to return again when she was in her early 20s.

Harrison is thrilled when her father re-enters her life because her mother has largely spent Harrison's life ignoring her, relying on her own parents (Harrison's grandparents) to raise her. The whole thing takes a startling, disturbing turn when one day, at the airport, when he is leaving, Harrison's father turns to kiss her goodbye and gives her "the kiss" a lover would, not a father.

One has to admire Harrison's bravery in coming forward with her own dark past, which explores not only the taboo relationship with her father (which she eventually ends), but also the betrayal of her own mother, whose approval she has always needed but never realized. The honesty of such seduction and self-destruction is unlike anything I've ever read before. It's tough material to take, and several times, I found myself having to put the book aside, to turn away from such a disturbing story.

One of Harrison's reviewers wrote, "Every sentence strikes and burns and scars...," and I find this a fitting description of the power of her writing in this book. What is at the essence of this book, and why would anyone want to spend time reading about something so unimaginable, so awful? I think that the value in this story lies not in its ability to shock, but in its sad uncovering of the desperation for parental love and approval that can lead to such self-destruction. Strangely enough, love is at the heart of this memoir--the love for one's parents that is returned only with abuse. It's not an easy reading journey to take, but it is a worthy one.

John R. Brinkley is the man of the title, who was one of a handful of pseudo-scientists and medical hucksters who laid the groundwork for Viagra and its competitors by experimenting with methods to improve male potency. Operating in the 1920s through the 1940s in small towns like Greenville, South Carolina, Mitford, Kansas and Del Rio, Texas, Brinkley was basically a small-time hustler who stumbled on sexual dysfunction as fertile ground for his talents.

So he began operating on the fringes of medicine, with a small smattering of training and dubious degrees from what we would now call "alternative" sources (alternative to the now much stronger American Medical Association, which derived much of its current cache and strength from battles with Brinkley and his compatriots on the fringe). Among other methods, he implanted goat testicles! Fringe medicine, indeed; without specific numbers (the true totals are probably unknown), Brock cites Brinkley as one of if not the most prolific of American serial killers based on the death rate from untested and insane techniques like these.

Pressed by the AMA, Brinkley expanded into mass marketing, politics, franchising of pharmaceuticals (at least one of which was found to be pure water with a tiny amount of coloring) and the fledgling field of radio. Brinkley's downfall, as Brock describes in a rather abrupt coda, came at the hands of a civil court when he sued Morris Fishbein, the AMA's head huckster hunter, for libel, and lost, finally (for the unsuspecting public) and disastrously (for him) exposing himself as the fraud the AMA claimed.

While the book was an enjoyable and easy-to-read introduction to this bizarre character (proof, yet again, of the truth-stranger-than-fiction axiom), I am only giving the book three stars for these two reasons: First, while a few primary sources are cited in the bibliography, the notes rely most heavily on a small handful of secondary sources, which makes me wonder if these earlier secondary sources may tell a more complete picture of the era. Two of the secondary sources cited:

The roguish world of Doctor Brinkley
The Bizarre Careers of John R. Brinkley.(Book Review): An article from: Journal of Southern History

And secondly, while the truth indeed is strange here, Brock sometimes seems afraid to let the story tell itself, and tries too hard to pump it up with purple prose and overdone dramatics.

Enjoy Brock's book, but if you are really interested in mining the details of Brinkley and his era, use the bibliography and notes as a reading list for digging deeper.

By the end of the book, I really didn't know what to think of John Brinkley. This is a great biography and case study of a man who was viewed as the greatest medical doctor, a man ahead of his time, a genius, a charlatan, a people's man, an innovative politician, and a mass murderer. Who he was depends on who you ask.

Back in the early 1900s snake oil doctors were common. People flocked to such doctors for all kinds of remedies, and had faith in the cures they were given. Most if not all such cures did not work. If some worked, it was the result of the `placebo' effect. In other words, when a person believes that a medicine given to him will work, in some instances the patient's belief alone makes him feel better.

Dr. John Brinkley noticed that goats were very sexually active. He therefore concluded that if goat testicles were implanted in humans, humans will turn into sexual beasts. In other words, goat testicles would be a cure for all sexual ailments, such as impotency. Without ever publishing his findings or doing serious research, he started implanting goat testicles in his patients. As later court testimony would show, in most cases he simply put the goat testicles in his patients without grafting them surgically. Many of his patients died as a result of this procedure, and many others were maimed for the remainder of their life. But nobody could stop John Brinkley for years, not even the government or the medical board. He became a multi-millionaire as a result of this bogus procedure, and lived a lavish life with a private yacht and a private aircraft. Remember this was the early 1900s!

The book reads like a John Grisham novel. The book starts off with John Brinkley's life as a youth, and what motivated him to become a charlatan. It describes all of his medical procedures, and the fortune he amassed as a result. It describes his stint as a candidate for governorship, and how he changed the face of voting. He actually invented the strategies used today by running candidates. This chapter was very interesting and captivating.

In order to have his ideas widespread, Brinkley built his own radio station in 1923. When this was closed by the government, he went across the border to Mexico and opened a radio station there. He was a very stubborn man, but very intuitive. He easily surmounted challenges, and was not afraid of the US government. The chapters on his radio stations were interesting and funny, and made for excellent reading.

The book then goes on relating the court cases that finally exposed Brinkley as a fraud. As a result, his former patients sue him, and he is ruined. The medical board removes his license, and the government charges him with manslaughter. He soon dies thereafter, having never appeared in court to answer the manslaughter charges.

This book will captivate you. Snake oil doctors are still among us today, and many of us still fall for their folly. The actor Steve McQueen believed that a Mexican healer had the power to cure his cancer that he flew to him to Mexico. Many today use the power of Shamans and other sorcerers to cure their ailments. Some of these cures work. But do they work because they are genuine cures or because of the `placebo' effect? In reality, no one knows.

How many of us buy beauty products thinking they would actually rejuvenate us? Do all those supplemental vitamins work? The vitamin industry is a multi-billion dollar industry, but many doctors today would tell you that supplemental vitamins do very little good, and at times, might in fact be very harmful. Our vitamins should derive from a balanced diet, and not from the intake of pills. But by in-taking pills, we make many people very rich!

This is a great case study of a character still very alive today! And our folly is still as alive!

I picked up this book after reading its 5 star review in an Audio magazine.

Every page makes you laugh at the man's marketing acumen. Its a timely books since I am dealing with such sleazes in my life right now.

I sometimes wonder how people like these can sleep in the night knowing they are coning others in broad day light.

If you want to know the mind of a scoundrel, this book is for you.

I got this book after seeing the author on C-SPAN II's "About Books", and as an amateur medical historian, decided to purchase it when the library didn't have it. It seems that all the factors came together to make John Brinkley a rich and famous (and later broken) man, and that he introduced the Western Hemisphere to some fabulous music didn't hurt his cause either.

I was completely surprised to read that the respected surgeon Max Thorek, who now has a hospital in Chicago named after him, was a participant in this scam! But unlike Brinkley, he knew what he was doing, surgically, and abandoned this project when it proved worse than useless.

His wife's story appears to be at least as interesting as his, too.

CHARLATON by Pope Brock

A fascinating book that chronicles the rise and fall of the man who is generally considered to be the most successful quack in American history, John Brinkley, and his pursuit by Morris Fishbein, the legendary chief of the AMA.

Brock does a good job of explaining the time and characteristics of the golden age of American quackery, Brinkley began his career as a quack in the first part of the twentieth century, after working in patent medicine shows, in the Midwest, wore a Van Dyke beard and moustache, owned and a radio station which he used to promote his quackery, furnished his mansion with an assortment of bizarre and ostentatious souvenirs, and was an anti-Semite.

Brinkley, who had no medical degree, nevertheless became a licensed physician and surgeon in 12 states and surgically implanted goat testes into patients, at $750 a pop, and sold worthless and often even harmful medicines, which he prescribed over the radian, at drugstores that advertised his products and then paid Brinkley a commission on every medicine sold. His average annual income, in the middle of the depression, was $12 million a year, compared to the average MD GP who was earning about $3500 at that time.

Fishbein, aided by the famous editor and social critic H.L.Mencken, who led a crusade against quackery for more than 30 years, first as the editor of JAMA and the as the chief of the AMA, eventually cornered and exposed Brinkley in 1939, who died soon after.

All-in-all, Charlatan is a great read that most people will enjoy immensely although there are several points that the author makes that I think should have been developed more. First, although Brock alludes briefly to this, Fishbein considered not just Brinkely, BJ, and other obvious frauds as quacks, but also optometrists, podiatrists, DOs most of whom were received medical training comparable to MDs, and even opposed nurse midwives and nurse anesthesiologists. He was a social and political reactionary who was as passionately opposed to group medical practice by MDs as he was to any medical practice by anyone other than an MD, including quacks.

Secondly, John Brinkley was not America's most successful quack. Brinkley was an imposter. The most "successful" quack in American history by any standard was BJ Palmer.the "developer" of chirpractic, which Brock acknowledges caused the death of Eugene V. Debs and undoubtedly many, many others over the past 110 years since it's "discovery". Palmer, like Brinkeley, began his career as a quack in the first part of the twentieth century, after working in patent medicine shows in the Midwest, also wore a Van Dyke beard and moustache, also owned and a radio station which he used to promote his quackery, also furnished his mansion with an assortment of bizarre and ostentatious souvenirs, and also was an anti-Semite.

The chiropractic quack cult is declining but it is still defrauding hundreds of thousands of patients, public and private insurance, and thousands students, out of tens of millions of dollars a year. BJ Palmer was without question the most successful quack in American history.

Although it's a very good translation, I prefer to read the books of Plutarchos in the original Greek texts because the version of Dryden is now somewhat obsolete. And if you don't understand the ancient Greek language well, I recommend you to read several volumes of Plutarch in THE LOEB CLASSICAL LIBRARY.

I have now plowed through the second and final volume of this series, and though my energy began to flag, I still think this is one of the great classics of all time. Though not exactly chronological, the stories in this volume tend to occur later than in the first volume and are often longer, which is understandable given that Julius Caesar and Alex the Great are covered in this volume. THe stories are also more intricately interwoven - you get lives that overlap, such as those of Brutus and Caesar, with slightly different takes and details in each one. The upshot of all this is that the serious reader will need to keep this around as a reference, going over the text again when some question of detail comes up or to refresh one's point of view. Plutarch's take on things is very different from that of many authors: he is a pro-aristocrat conservative and admiring of martial prowess, yet pro-Republican. Once again, the reader really needs to know the historical context before undertaking this. It is not at all introductory.

Warmly recommended. Though it takes real effort at times to continue, it is well worth the slog.

A most concise volume of all the most important people of the Roman Empire.

Plutarch's parallel lives, parallels the life of a great Greek with a great Roman. Theseus and Romulus, Demosthenes and Cicero, Alexander and Ceasar. There are forty- six such pairs which tell not only the story of the individuals but of their society . Plutarch brings to bear his tremendous learning from a wide variety of sources . Plutarch's first interest is in the character of the people he writes about, and the moral lessons he can draw from comparison of the lives. His work has had great influence and provided inspiration and material to Shakespeare, Montaigne, Browning and others. The reading of the work is not always easy, and there are strange and questionably credible tales and details but the work is humanly alive. The reading and studying of it was once considered a basic part of true humanistic education, and not the confine of a few scholars in the classic departments of universities. It once had broad reader appeal and anyone with a keen interest in biography, and the subject of how lives have been lived in worlds far from our own, would do well if not to read this work cover- to- cover than at very least have a good read in it.

Twain's pejorative definition of `classic' need not apply. I define classic as that (text) which speaks to the heart over an extended duration - perhaps for several generations, as in `classic rock', or several millennia, as in Plutarch's "Lives". I probably never would have read Plutarch, were it not for a glorious discovery of Montaigne in mid-life. Having acquired enough distaste for the copious demands required to master classical languages after five years of Latin in secondary school, I made an arbitrary and direly misguided vow to eschew all Classics courses at the university level. And thus again is revealed the fateful difference between post-modern (post-1945), and the modern (c. 1500 - August 5, 1945) pedagogy, of which I unwittingly, if serendipitously, caught the tail end. The modern cannon required thorough immersion in the classics, and, for many years, Plutarch was required reading in the best schools, and should be even now. The author of the Shakespearian plays came to Plutarch by way of Montaigne (and likely read the Amyot translation, and only later the North, if at all), and the English schools came to Plutarch by way of Shakespeare. We might say that the revival of Plutarch was one of the most far reaching achievements of the Northern Renaissance.
At one point in his celebrated chronicle of the self, Montaigne (as a shaper and bona fide member of that cannon, guardian of some of what is best in our cultural inheritance) amusedly reveals that, when his critics believe they are attacking his work, they are actually attacking Plutarch and/or Seneca, so profound is their presence in his writing, and, in his "Defense of Plutarch and Seneca", he declares that . . . "my book [is] built up purely from their spoils".

And what a book it is! But Plutarch's magnum (see the 14 volumes of the Loeb Classical Library for his other works), is the greater. Montaigne is one of the great students of the self. Plutarch is the first (and may yet still be the definitive) historian of virtue. Montaigne, in scrutiny of his own nature, seeks to recognize the limitations and potentials of the self, and thereby sketch our general spiritual contours. Plutarch, in an unparalleled series of real life, historically and culturally pivotal, examples, shows us what they are.

The book records in the most remarkably intimate style (Plutarch has few peers as a master of narrative and an uncanny ability to ferret out of detail the significance of individual actions as a unified whole), the major events in the lives of the most impacting figures of the ancient world. Therefore, like the best novels, the book forms a world in itself, a lost world, the world of our ancestors, through a landscape drawn of actions and consequences. The structure of the book is such that an account of the seminal moments in the life of a noble Greek and then of a noble Roman are brought forth in pairs, followed by a comparison. In some sections of the work these comparisons are absent. They appear at some point in antiquity to have either been lost to or removed from the text, which would seem to explain why, for instance, there is no comparison of Alexander and Caesar. But the comparisons are brilliant, and eminently instructive.

Of course, from the details alone, we may draw our own inferences. Alexander, as a mere teen, leading his troops in hand-to-hand combat, won his first battle fighting uphill at night. Caesar, a heavy drinker, was wont to ride horseback at full tilt with his hands clenched behind his back. He had a life-long passion for Cato's sister and it is said that from their relationship, which continued through their respective marriages, Brutus was born. Et tu? Of course, one cannot fail to mention, even in this briefest review of the abundantly rich description in the nearly 1,300 pages which comprise the book, the death of Cato the Younger - one of the most exquisitely drawn figures in the book. Hunted down with the remnants of his troops into the wastelands of Carthage by the army of Octavius Ceasar in an effort to snuff out the last vestiges of republican resistance and opposition to Empire, realizing that the last realistic hope for freedom is lost, Cato attempts ritual suicide (a Stoic custom common to Roman nobility) by disembowelment. As Plutarch describes the scene, ". . . he did not immediately die of the wound; but struggling, fell off the bed, and throwing down a little mathematical table that stood by, made such a noise that the servants, hearing it, cried out. And immediately his son and all his friends came into the chamber, where, seeing him lie weltering in his own blood, great part of his bowels out of his body, but himself still alive and able to look at them, they all stood in horror. The physician went to him, and would have put in his bowels, which were not pierced, and sewed up the wound; but Cato, recovering himself, and understanding the intention, thrust away the physician, plucked out his own bowels, and tearing open the wound, immediately expired." In Seneca's words: "For Cato could not outlive freedom, nor would freedom outlive Cato."

However, the life most appropriate for the contemporary reader, I feel (and wish that every member of the shadowy corporate/military junta that seems to be ruling us these days would read and take to heart) is the life of Crassus. Crassus was the most successful businessman in the history of the Roman Empire. Plutarch relates that at one time he owned virtually one-third of the real estate in Rome. However, such mind-boggling success was not enough for him. His yen, and later, obsession, was to be revered as a great military leader, a world conqueror, expand the domain of the already burgeoning Empire, and the object of his fantasies was the area of the world at that time known as Mesopotamia and Persia, today as Iraq and Iran. We follow as he makes extensive preparations, investing his own fortune and a great deal of the nation's wealth into outfitting an army for the venture. And at first, the invasion of Mesopotamia seems to go well. But the centers of population are spread out over great stretches of desert, and the occupation never really succeeds, because a central authority cannot be solidly established. Crassus, however, remains undaunted, even though the troops are becoming mutinous as supplies begin to run thin. Led on by treacherous advisors, he enters Parthia (somewhere in the vicinity of modern day Syria). Plutarch describes the grueling denouement with his usual detachment, aplomb, and gifted eye for pertinent detail. Having lost the greatest fortune in the world, he proceeds to lose his troops, then his sons, and finally his life. These lessons are never too late for the learning, and my apologies to Twain, but a classic is a text which retains its urgency to be read, and read now.

I read the Dryden/Clough translation. Dryden was never my favorite writer of his period, the late 17th century - hardly a match for Burton or Milton, in my opinion, but he was poet laureate, and this work I love - his English is fine, and resonates with classic dignity. Clough, the mid-nineteenth century British scholar who revised the translation, befriended Emerson when he traveled to England, and became a sort of mentor to the New England Transcendentalists in general. We can be grateful for such a wonderful rendering for one of the very greatest and edifying masterpieces.

Mr. Goldman has written a classic. A great panacea for anyone that gets too starry-eyed over celebrities and aspires to "make it big" in show business. I have a great deal of respect for Mr. Goldman's no-holds-barred approach to explaining just how Hollywood works. His book is instructive and illuminating. His sarcastic approach is extremely funny and a great stress reliever. His quasi-sequel, Which Lie Did I Tell?, was also very enjoyable. I would highly recommend both books.

What kind of book can the writer of such great screenplays as Butch Cassidy and the Sundance Kid, Marathon Man, A Bridge Too Far, Dreamcatcher, and my sentimental favorite, The Princess Bride write? A romping, great ride through the movie making business, complete with behind-the-scenes stories. It opens with an astutely worded history of Hollywood, covers splendid tales about movie stars--both good and very, very bad, and the screenwriting process. `Adventures In The Screen Trade' is a true classic.

Goldman understands movies and more than that, he truly understands how to tell a story and be funny at the same time. In the book, he writes that comedy is not his forte. Nonsense! I was laughing half the time I was reading; I had to put the book down occasionally, I was laughing so hard.

More than simply comedy, the book is filled with insights not only on human nature, but also on writing about human nature. Near the end of the book, after a most enjoyable read about what parts he played in the many good movies he's written or had a part in writing (including only the last line from the Steve McQueen, Dustin Hoffman movie, Papillon), he shows his true genius. He actually demonstrates his thinking process in adapting a short story of his into a screenplay.

After reading that story, but before I read his working plan of adaptation, I decided to experiment and see what angle I could come up with on the story in a rough outline. After doing that, I read his plan of attack in comparison and I was simply blown away. Here is a master storyteller at work--I'm not worthy.

I enjoyed reading this book and if you're a fan of film, you'll like this one too.

this is a must for everyone interested in screenwriting...a little slow in the beginning but riveting after that

Reading this book makes you feel the writer is talking to you personally - it is written in a conversational style .
The author sometimes can't believe the sort of conditions he himself works in or the type of surroundings , he is as confused by them as we are . He is also as captivated by them as we are , coming from a pure love of movies and their magic .

If you are a film fan , do not delay in buying this book .
It will bring a new perspective to viewing a film .
Once you've read it , go and watch BUTCH CASSIDY AND THE SUNDANCE KID , for which the author wrote the screenplay .
A fantastic book !!

This is not a text book, but it should be required reading for anyone who wants a career in the motion picture industry - or anyone who loves film in general. Why is it not a textbook? Because it is one heck of an entertaining read. The book runs almost six-hundred pages and I devoured it in just a couple of days.

William Goldman is one of most respected screenwriters alive; he knows as much about it as anyone. What he gives us is a picture of Hollywood (the business and who does what), the art of writing a screenplay, the process of working on a film, and his own personal anecdotes. One of the chief pleasures of the book is how cheerfully gossipy it is. "PART ONE: HOLLYWOOD REALITIES" is full of stories of the excesses of Hollywood that people out there consider normal. A lot of the time he doesn't supply names, but sometimes he does. (Dustin Hoffman, while a brilliant actor, is notorious for being a bit eccentric.) He also gives us an idea of how the studio works and how pictures get made.

The last third of the book will primarily interest serious film students. Goldman includes his entire script for Butch Cassidy and the Sundance Kid, and uses it as a teaching tool. Then he presents a short story he wrote and uses that as a teaching tool regarding adapting previously written material.

This book was written in 1982 and reading it is a stroll down memory lane. That was a dark time in motion picture history. Most of the films he references from that period have been forgotten. In other words, it is just like today. We need to read this book again more than ever.

As a fellow Marine, I would love to serve with a man of this character. He is a true warrior and defines the word leadership. This book was great and recomended to all who want to know the truth about the war our men and women are fighting.

This is a great story about one of our marines. His dedication is so sorely needed in this country. A wonderful book on his courage to continue to live a normal life.

First, this is one of the few books among many on leadership that truly defines what a leader should strive to be, and how he/she gets there. Kasal's snippets and caveats are concise, to the point, and hard-hitting. Paper leaders need not apply in Kasal's Marine Corps.

Second, it's about time an honorable, unapologetic account of the Marines combat participation in Iraq came out. While in Baghdad I met and worked with superb Marines, from the lowest enlisted rank to 06 and a better bunch could not be found. Kasal's book does them proud.

Wonderfully written, unabashed in its patriotism, a good reminder about those who serve and maintain the brotherhood of the combat veteran, Marine or otherwise.

Thank you for your service and sacrifice, SGM, and for instilling the core of the Corps in so many courageous young men and women.

A Marine's (X2) Dad

This is a book about a living hero and yet he is humble. this book should be read by all, only then will you truly understand the war.

As the full title of this book would indicate, it not a comprehensive narrative of the battle for Fallujah in November of 2004, but rather a biography of Brad Kasal throughout his life and into his time in the Marine Corps. I think it does a good job of creating a familiarity with the man who has gone on to personify contemporary Marine Corps leadership.