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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4349 [Entry Date] 05/01/2009 at 03:43:14 PM [Affiliation] Self [Comments]
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This is to voice my opposition to the use of federal funds for research This is to voice my opposition to the use federal funds for research on human embryonic stem cells.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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[ID] 4350 [Entry Date] 05/01/2009 at 03:43:50 PM [Affiliation] Self [Comments]
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I am strongly opposed to the funding of embryonic stem cell research by the NIH. It is not necessary to engage in such ethically controversial and morally irresponsible research out of a misplaced sense of scientific curiousity when more ethical and empirically successful forms of such research are available for funding.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4351 [Entry Date] 05/01/2009 at 03:43:51 PM [Affiliation] Self [Comments]
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Life begins at conception. Whether by men and women or embryos created by in vitro fertilization (IVF) for reproductive purposes. Life is life. If they are no longer needed for that purpose they should be treated with the same respect as any human would be afforded and be buried.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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[ID] 4352 [Entry Date] 05/01/2009 at 03:43:57 PM [Affiliation] Self [Comments]
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Regarding embryonic stem cell research (ESCR), that creates an incentive to create and destroy human embryos, I wish to state my OPPOSITION. I do NOT want my tax dollars to fund this killing!!
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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[ID] 4353 [Entry Date] 05/01/2009 at 03:44:00 PM [Affiliation] Self [Comments]
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To whom it may concern ADULT human stem cells do not destroy the life of a human being and should be the only stem cells used for research. Life is a very precious gift and should be protected and valued in all stages!
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4354 [Entry Date] 05/01/2009 at 03:44:02 PM [Affiliation] Self [Comments]
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I am opposed to the use of federal tax dollars for the use of Human Stem Cell research. This is a direct violation of my religious freedom as an American citizen. My tax dollars should not go to fund something that I stand against religiously. I believe that life begins at conception and that if these embryos are used for research, it is murder, just like abortion is murder. I have known couples who have done embryo adoption because they are not able to have children of their own and to think that those babies could have been sacrificed in the name of research is horrible. Thank you for allowing me to share my opinion on this matter.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4355 [Entry Date] 05/01/2009 at 03:44:40 PM [Affiliation] Self [Comments]
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***** Message List | Delete Previous | Next Forward | Reply | Reply All Subject: Oppose the Obama Embryonic Stem Cell Regulations View Full Header View Printable Version View as plain text ***** From: ***** Date: Fri, May 1, 2009 7:20 am To: ***** Priority: Normal Please submit your comment directly to the National Institutes of Health by May 26, 2009 to oppose use of federal funds for research on human embryonic stem cells. As you may know, President Bush's policy was to allow funding for research that involved embryonic stem cells taken from human embryos so long as the cells were obtained on or prior to August 9, 2001. Since then, the government has funded research on over 22 stem cell lines. President Bush's policy erected a wall and did not encourage the further killing of human embryos for their cells. However, on March 9, 2009 President Barack Obama issued an executive order that overturned President Bush's policy and opened the floodgates for funding more embryonic stem cell research (ESCR) that creates an incentive to create and destroy human embryos. President Obama designated the National Institutes of Health (NIH) to draft guidelines for distributing funds for this research. Last week, April 23, NIH officially posted draft guidelines to open federal funding for research on human embryonic stem cells. What these guidelines do is send your tax dollars to experiment on stem cells taken from human embryos that supposedly are "leftover" from in vitro fertilization. Instead of promoting the adoption of these human embryos, these draft guidelines would require their death. We strongly oppose these regulations!! Thank you for your prompt attention to this matter of importance.
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4356 [Entry Date] 05/01/2009 at 03:44:41 PM [Affiliation] Self [Comments]
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I respectfully request that no additional embryonic stem cell research lines be made available for research. For over 20 years, research has been performed with embryonic stem cell research and, in this time, no proven cures or therapies have been discovered. The argument that more research with embryonic stem cells will open up new avenues is debatable. Why has nothing been found in the past 20 years? Instead, research and money should be spent on adult stem cells. With over 70 different therapies/cures, the results of this research are proven.
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4357 [Entry Date] 05/01/2009 at 03:44:42 PM [Affiliation] Self [Comments]
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I do not support my tax dollars being used to experiment on stem cells taken from human embryos that supposedly are "leftover" from in vitro fertilization. I support and promote the adoption of these human embryos instead of requiring their death.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4358 [Entry Date] 05/01/2009 at 03:45:04 PM [Affiliation] Self [Comments]
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Matt.25:45,46a "Then shall He answer them, saying, Verily I say unto you, Inasmuch as ye did it not to one of the least of these, ye did it not to Me. And these shall go away into everlasting punishment."
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[ID] 4359 [Entry Date] 05/01/2009 at 03:45:24 PM [Affiliation] Self [Comments]
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It has been shown that ADULT stem cells have been successful! It has been shown that embryonic stem cells have produced absolutely NOTHING! Embryos are incipient human beings! Please do not destroy incipient human beings to produce NOTHING! GO with what has already PROVEN to be successful--adult stem cells.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4360 [Entry Date] 05/01/2009 at 03:45:47 PM [Comments]
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I oppose the use of tax dollars for funding embryonic stem cell research as it destroys human life. Adult stem cells have been found to be more effective in treating disease. Why are we not making that research more of a priority?
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4361 [Entry Date] 05/01/2009 at 03:45:58 PM [Affiliation] Self [Comments]
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This letter is in reference to draft guidelines for federal funding for research on human embryonic stem cells. I am opposed to using my tax dollars to experiment on stem cells taken from human embryos that supposedly are "leftover" from in vitro fertilization. Instead of requiring the death of these human embryos, I request that you promote the adoption of these human embryos. While I cannot be responsible for the actions taken by individual couples when determining how to deal with "leftover" embryos, I feel it is unfair to use my tax dollars to destroy human life when I am so opposed to that. Thank you for your consideration.
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4362 [Entry Date] 05/01/2009 at 03:46:19 PM [Affiliation] Self [Comments]
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We are vehemently opposed to use of Federal taxpayer money for use in embryonic stem cell research.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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[ID] 4363 [Entry Date] 05/01/2009 at 03:46:25 PM [Affiliation] Self [Comments]
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I strongly oppose research on human embryonic stem cells which have been "left over" after in vitro fertilizations....these embryos should be offered for adoption...not sent to death. Even more so, I oppose cloning human embryos for research and experimentation. We should focus our energies on adult stem cell research which is actually showing promise. Nothing good will come from killing babies to look for cures. I'm livid that my tax dollars might be used to fund this.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4364 [Entry Date] 05/01/2009 at 03:46:37 PM [Affiliation] Self [Comments]
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It is felt that the destroying of human embryos for the purpose of obtaining human cells for research is murder. Any time a viable fetus is killed for any purpose is murder, for example, if the murder of a pregnant human female transpires and the fetus does not survive, the perpretrator is charged with double homicide and not just with killing the mother. If this bill passes, then Obama, the Congressmen and Senators who sigh it will be guilty of murder by proxy. In addition, abortion in itself is, in my opinion, cold calculated murder and no other definition can be assigned to the act.
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[ID] 4365 [Entry Date] 05/01/2009 at 03:46:37 PM [Affiliation] Self [Comments]
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I am opposed to using embrionic stem cell for research. We the public, do not hear enough on adult stem cell procedures which I understand are sufficient. I am very opposed to the gov't using my tax money for this.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4366 [Entry Date] 05/01/2009 at 03:46:42 PM [Affiliation] Self [Comments]
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It is irresponsible that the federal government fund, let alone PERMIT, experimentation on human embryos. THEY ARE HUMAN. Those embryos will never grow into dogs, cats, frogs...only humans. Do not let these precious human beings be treated worse than animals and then discarded when they are no longer "useful." Perhaps the companies who have leftover human embryos can put them up for adoption - killing these people will only have a detrimental impact on society in the long run. Think of all the potential you are allowing to be killed. Who knows if one these people may become our President one day or may have a cure for AIDS. You'll never know if you just kill them.
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4367 [Entry Date] 05/01/2009 at 03:47:20 PM [Affiliation] Self [Comments]
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In my opinion, the regulations of NIH should forbid research on embryonic stem cells. Not ADULT stem cells, but embryonic stem cells for moral reasons - specifically human rights issues, as both biologically and genetically those embryos are human beings - embryonic human beings, but human beings nonetheless. There are several issues involved. 1. How were those embryos - fertilized ova - obtained? From miscarriages? From abortions? From traffickers in embryos? 2. Embryonic stem cell research has been going on for 25 years without, I understand, result, whereas ADULT stem cell research has resulted in progress in treating some 70 diseases. Therefore, why all the fuss about embryonic stem cell research? 3. The most fundamental questions concerning federally funded stem cell research is that such research can now take place and be funded pursuant to a Presidential Executive Order 13505. I thought that only the House of Representatives can appropriate the funding for any Federally funded program. Under our Constitution the President does not have the power to appropriate money for anything. (A) Isn't the President unconstitutionally usurping this Constitutional prerogative of the House? (B) Are Executive Orders per se Constitutional? (C) Shouldn't matters having to do with appropriations and expenditures of Federal funds for Federal programs be decisions of our elected representatives? (C) What about "government of the people, by the people and for the people"? Thank you,
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[ID] 4368 [Entry Date] 05/01/2009 at 03:47:32 PM [Affiliation] Self [Comments]
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I plead with you to stop the use of so called "leftover" embryonic stem cells for research. You are killing the life of a child. These embryos could be used for adoptive purposes, thus saving the life of a child while also providing happiness to parents wishing for a child to love and nurture in their lives.
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4369 [Entry Date] 05/01/2009 at 03:47:37 PM [Affiliation] Self [Comments]
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I do not think thatEmbryonic cell research shoild be funded by the Federal government. I understand that a lot of research has been successful with the use of adult stem cell rsearch. I feel this should continue.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4370 [Entry Date] 05/01/2009 at 03:47:37 PM [Affiliation] Self [Comments]
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I am strongly opposed to embryonic stem cell research as such is morally and ethically unacceptable. Life begins at conception and to "harvest" embryonic stem cells in the name of finding cures for life itself is the ultimate irony and tragedy. Taking life to cure life is inhumane, especially when adult stem cell research has been proven just as, if not more viable an option. The ramifications of continued embryonic stem cell research sets precedence without boundaries and must be stopped before further women and children are exploited in the name of science.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4371 [Entry Date] 05/01/2009 at 03:47:39 PM [Affiliation] Self [Comments]
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I do not think thatEmbryonic cell research shoild be funded by the Federal government. I understand that a lot of research has been successful with the use of adult stem cell rsearch. I feel this should continue.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4372 [Entry Date] 05/01/2009 at 03:47:43 PM [Affiliation] Self [Comments]
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I do not want my tax dollars going to stem cell research. This is NOT something that I voted for.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4373 [Entry Date] 05/01/2009 at 03:47:50 PM [Affiliation] Self [Comments]
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We appose our tax dollars being used to experiment on stem cells taken from human embryos that supposedly are "leftover" from in vitro fertilization. Promoting the death of these Human embroyos instead of adoption is wrong.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4374 [Entry Date] 05/01/2009 at 03:48:02 PM [Affiliation] Self [Comments]
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I oppose embryonic stem cell research. I do not want my tax dollars to fund any embryonic stem cell research.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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[ID] 4375 [Entry Date] 05/01/2009 at 03:48:53 PM [Affiliation] Self [Comments]
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I object to any stem-cell research wether ordered by Obama or any other person on unborn fetus.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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[ID] 4376 [Entry Date] 05/01/2009 at 03:49:10 PM [Affiliation] Self [Comments]
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I'm imploring you to do away with embryonic stem cell research. As I understand it, that which has been done so far has been unsuccessful in treating any diseases, while adult stem cells, on the other hand, have been quite effective in fighting several ailments, such as cicle cell anemia. It's immoral & unethical as well, since it takes the life of an unborn baby. I get upset at the thought that my tax dollars could contribute to this, mainly because those who could from the private sector won't due to the failure of experiments to this point (they must think enough have been done, or they'd help with costs). Thanks for your attention!
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[ID] 4377 [Entry Date] 05/01/2009 at 03:49:12 PM [Affiliation] Self [Comments]
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From the Federal Register Notice, dated 04/23/09 "As described in these draft Guidelines, human embryonic stem cells are cells that are derived from human embryos, are capable of dividing without differentiating for a prolonged period in culture, and are known to develop into cells and tissues of the three primary germ layers. Although human embryonic stem cells are derived from embryos, such stem cells are not themselves human embryos." I find it difficult to believe that people who are so highly educated as to be able to endorse human embryonic stem cell experimentation cannot understand how the intentional destruction of one of these embryos is not destroying human life. If you left those cells to "divide...in culture..." and they continued to develop and you put them in an embryo-friendly environment (such as a uterus), these cells would form into a human being; not a zygote, not a fetus, a real person - like the experimenters themselves. PLEASE do not use federal funds to promote/perform human embryonic stem cell research. You are taking a life that does not belong to you, and using my money to do it - against my will (and, even according to the government's definition, I have my rights, even if a embryo or fetus does not).
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[ID] 4378 [Entry Date] 05/01/2009 at 03:49:19 PM [Affiliation] Self [Comments]
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Why is it that with the success of adult stem cell development that we must insist on using our time and money and energy in the killing of human embros. It is a puzzle to me that thoughtful scientist exchange the saving of lives and the success with the use of adult stem cells for the proven failure of stem cell research using embros. As a tax payer I would like to see our tax dollars used wisely and in areas of proven success.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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[ID] 4379 [Entry Date] 05/01/2009 at 03:49:25 PM [Affiliation] Self [Comments]
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Why, in the name of all that is good, would we want legislation to promote stem cell research when 0 diseases have been helped by this method and 70 diseases have been cured with adult stem cells. Why waste the money and the lives to reinvent something that is already working?
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[ID] 4380 [Entry Date] 05/01/2009 at 03:49:38 PM [Affiliation] Self [Comments]
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we are opposed to embryonic stem cell research- you can get the same results by using blood- why should a child have to die for this? who are we the nazi party?
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4381 [Entry Date] 05/01/2009 at 03:49:45 PM [Affiliation] Self [Comments]
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I openly oppose the use of federal funds for research on embryonic stem cells. I do not want my tax dollars paying for this research which will bring death to these human embryos.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4382 [Entry Date] 05/01/2009 at 03:49:48 PM [Affiliation] Self [Comments]
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I urge that you do not destroy human embryos in order to do stem cell research. These embryos are human life and they should never be taken purely for research. They have no voice to speak or uphold their rights and it is our duty to speak for them.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4383 [Entry Date] 05/01/2009 at 03:50:13 PM [Affiliation] Self [Comments]
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Adult stem cells have ALREADY shown much more promise than embryonic stem cells. Put the money where proven success resides! Using embryonic stem cells is not only immoral but a waste of my taxpayer dollars. Put my tax dollars to use where success is already proven.
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Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4384 [Entry Date] 05/01/2009 at 03:50:16 PM [Affiliation] Self [Comments]
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I do not think thatEmbryonic cell research shoild be funded by the Federal government. I understand that a lot of research has been successful with the use of adult stem cell rsearch. I feel this should continue.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4385 [Entry Date] 05/01/2009 at 03:50:17 PM [Affiliation] Self [Comments]
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I am opposed to the use of federal funds for research on human embryonic stem cells and believe it is in violation of my rights as a taxpayer and is an inappropriate use of tax payer monies.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4386 [Entry Date] 05/01/2009 at 03:50:20 PM [Affiliation] Self [Comments]
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Don't do this since it is not a certainty that the stem cells are the best route to follow. Also, don't follow this road simply because of strong political pressure. Not smart!
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
|
Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4387 [Entry Date] 05/01/2009 at 03:50:24 PM [Affiliation] Self [Comments]
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Health (NIH) to draft guidelines for distributing funds for this research. Last week, April 23, NIH officially posted draft guidelines to open federal funding for research on human embryonic stem cells. What these guidelines do is send my tax dollars to experiment on stem cells taken from human embryos that supposedly are "leftover" from in vitro fertilization. Instead of promoting the adoption of these human embryos, these draft guidelines would require their death. I am in favor of promoting the adoption of these human embryos rather then thier death.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4388 [Entry Date] 05/01/2009 at 03:50:28 PM [Affiliation] Self [Comments]
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The purposeful killing of an embryo, as is necessary for obtaining embryonic stem cells, is the killing of a human being. This violates the 6th Commandment, "you shall not kill." Additionally, itis done without the consent of the individual being killed. Any society which kills the most defenseless of its members for the potential good of the larger group has degraded its values, and has doomed itself.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4389 [Entry Date] 05/01/2009 at 03:50:48 PM [Affiliation] Self [Comments]
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I think it is disgraceful that even one human being believes it is acceptable to create A LIFE for the purposes of destroying that life. We should protect our most innocent not seek to detroy them. I believe that ALL life should be respected and I believe that all (this includes the unborn) have a right to life and the pursuit of happiness as stated in our Constitution. It was not long ago that another group was thought of as less than human (slaves), thankfully we came to our senses about that issue. I find it heart breaking that an African American president would not respect all human life...of all people...he should. When will the American people come to their senses about the unborn? They are human beings and deserve to be protected. And God will surely judge those that seek to destroy the life that he has wonderfully created and I don't think he will accept ANY excuses (and that includes the excuse about the issue being "above my pay grade" or anything about seeking to make medical advances for the greater good). I can't even imagine how anyone does not shudder at the mere thought of having to stand before Almighty God and try to explain that they not only did not fight to protect the life that God created but they in fact eagerly sought to destroy it. I am so sad for anyone that will be in that position.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
|
Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4390 [Entry Date] 05/01/2009 at 03:50:56 PM [Affiliation] Self [Comments]
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I oppose any use of embryonic stem cells and funding of such by my taxpayer dollars. Life is too precious and is only given by GOD. Embryonic stem cell research is already used under the guidelines given by President Bush. Adult stem cells have much more value and do not involve taking of human life. Please have the courage to stop this madness of not valuing human life just to undertake possible uses of these cells. Private industry is welcome to invest in this research, but they don't. Here is the clue! It doesn't work!
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
|
Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4391 [Entry Date] 05/01/2009 at 03:50:59 PM [Affiliation] Self [Organization Name] Primary Care-Giver/ Home School Teacher/ retired Commercial RE Broker [Comments]
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Re: Draft NIH Human Stem Cell Guidelines as per April 23, 2009 Federal Register Notice. This is to encourage you to consider the facts that NO significant diseases have been prevented/ cured by embryonic stem cells and that the research and applications have been VERY significant with Adult Stem Cells which have cured many diseases, therefore we need NO Embryonic Stem Cell Research. I hope you will agree and vote against it.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
|
Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4392 [Entry Date] 05/01/2009 at 03:51:17 PM [Affiliation] Self [Comments]
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I am strongly opposed to this suggested change in the guidelines on moral grounds. This expansion involves - in my opinion - the taking of lives that could be cultivated for adoption. It is unconscionable to consider using our tax dollars to fund this activity that is considered by a majority of American citizens to be immoral.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
|
Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4393 [Entry Date] 05/01/2009 at 03:51:21 PM [Affiliation] Self [Comments]
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ONe does not destroy life in order to improve life. Adult stem-cell research is the way to go.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4394 [Entry Date] 05/01/2009 at 03:51:45 PM [Affiliation] Self [Comments]
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As a healthcare professional (Physician Assistant) I spend my time trying to prolong life and increase the quality of life. While embryonic stem cell research may be promising, there have been NUMEROUS studies done on adult stem cells that have shown great results and promise cure rates for several chronic diseases. I am opposed to further research at the expense of life. The risk:benefit ratio is not worth it and above all, the sanctity of human life (no matter what stage of development) is at stake.
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4395 [Entry Date] 05/01/2009 at 03:51:51 PM [Affiliation] Self [Comments]
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These draft Guidelines would allow funding for research using human embryonic stem cells that were derived from embryos created by in vitro fertilization (IVF) for reproductive purposes and were no longer needed for that purpose. "They are still babies and still deserve to live. I have MS and would rather die than allow a baby to die to cure my disease."
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
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Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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e1c9ee6e_NIH_Human_Stem_Cell_Guidelines__Comments
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[ID] 4396 [Entry Date] 05/01/2009 at 03:52:08 PM [Affiliation] Self [Comments]
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Please do not change the rules and guidelines regarding embryo stem cell research !!
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[] |
Listing of Comments on Draft NIH Human Stem Cell Guidelines
|
Comments
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http://grants.nih.gov/stem_cells/web_listing.htm?StartID=4297
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39/1438042989126.22_20150728002309-00226-ip-10-236-191-2_103444894_3.json
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b2adfb35_Urmson___Patent_applications__Description
|
[Patent application number] 20110182475 [Published] 07-28-2011 [Description]
|
TRAFFIC SIGNAL MAPPING AND DETECTION - A system and method provides maps identifying the 3D location of traffic lights. The position, location, and orientation of a traffic light may be automatically extrapolated from two or more images. The maps may then be used to assist robotic vehicles or human drivers to identify the location and status of a traffic signal.
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[] |
Urmson - Patent applications
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Description
|
http://www.faqs.org/patents/inventor/urmson-6/
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24/1438042989043.35_20150728002309-00312-ip-10-236-191-2_449085254_2.json
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b2adfb35_Urmson___Patent_applications__Description
|
[Patent application number] 20140018992 [Published] 01-16-2014 [Description]
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Transitioning a Mixed-Mode Vehicle to Autonomous Mode - Disclosed are methods and devices for transitioning a mixed-mode autonomous vehicle from a human driven mode to an autonomously driven mode. Transitioning may include stopping a vehicle on a predefined landing strip and detecting a reference indicator. Based on the reference indicator, the vehicle may be able to know its exact position. Additionally, the vehicle may use the reference indictor to obtain an autonomous vehicle instruction via a URL. After the vehicle knows its precise location and has an autonomous vehicle instruction, it can operate in autonomous mode.
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[] |
Urmson - Patent applications
|
Description
|
http://www.faqs.org/patents/inventor/urmson-6/
|
24/1438042989043.35_20150728002309-00312-ip-10-236-191-2_449085254_2.json
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b2adfb35_Urmson___Patent_applications__Description
|
[Patent application number] 20140121880 [Published] 05-01-2014 [Description]
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CONTROLLING VEHICLE LATERAL LANE POSITIONING - Methods and systems for controlling vehicle lateral lane positioning are described. A computing device may be configured to identify an object in a vicinity of a vehicle on a road. The computing device may be configured to estimate, based on characteristics of the vehicle and respective characteristics of the object, an interval of time during which the vehicle will be laterally adjacent to the object. Based on the characteristics of the vehicle, the computing device may be configured to estimate longitudinal positions of the vehicle on the road during the interval of time. Based on the respective characteristics of the object, the computing device may be configured to determine a lateral distance for the vehicle to maintain between the vehicle and the object during the interval of time at the longitudinal positions of the vehicle, and provide instructions to control the vehicle based on the lateral distance.
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[] |
Urmson - Patent applications
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Description
|
http://www.faqs.org/patents/inventor/urmson-6/
|
24/1438042989043.35_20150728002309-00312-ip-10-236-191-2_449085254_2.json
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b2adfb35_Urmson___Patent_applications__Description
|
[Patent application number] 20140297094 [Published] 10-02-2014 [Description]
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Controlling Vehicle Lateral Lane Positioning - Methods and systems for controlling vehicle lateral lane positioning are described. A computing device may be configured to identify an object in a vicinity of a vehicle on a road. The computing device may be configured to estimate, based on characteristics of the vehicle and respective characteristics of the object, an interval of time during which the vehicle will be laterally adjacent to the object. Based on the characteristics of the vehicle, the computing device may be configured to estimate longitudinal positions of the vehicle on the road during the interval of time. Based on the respective characteristics of the object, the computing device may be configured to determine a lateral distance for the vehicle to maintain between the vehicle and the object during the interval of time at the longitudinal positions of the vehicle, and provide instructions to control the vehicle based on the lateral distance.
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[] |
Urmson - Patent applications
|
Description
|
http://www.faqs.org/patents/inventor/urmson-6/
|
24/1438042989043.35_20150728002309-00312-ip-10-236-191-2_449085254_2.json
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b2adfb35_Urmson___Patent_applications__Description
|
[Patent application number] 20140303827 [Published] 10-09-2014 [Description]
|
Systems and Methods for Transitioning Control of an Autonomous Vehicle to a Driver - Methods and systems for adaptive methods for transitioning control to the driver are described. A computing device controlling a vehicle autonomously may be configured to receive a request for a transition of the vehicle from autonomous mode to manual mode through an indication by the driver. The computing device may determine the state of the vehicle based on parameters related to the autonomous operation of the vehicle. Based on the state of the vehicle and the indication, the computing device may determine instructions corresponding to the transition of control, which may include a strategy for the transition and duration of time corresponding to the transition of control. The computing device may provide the instructions to perform the transition of control of the vehicle from autonomous mode to manual mode.
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[] |
Urmson - Patent applications
|
Description
|
http://www.faqs.org/patents/inventor/urmson-6/
|
24/1438042989043.35_20150728002309-00312-ip-10-236-191-2_449085254_2.json
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b2adfb35_Urmson___Patent_applications__Description
|
[Patent application number] 20140358331 [Published] 12-04-2014 [Description]
|
Transitioning a Mixed-Mode Vehicle to Autonomous Mode - Disclosed are methods and devices for transitioning a mixed-mode autonomous vehicle from a human driven mode to an autonomously driven mode. Transitioning may include stopping a vehicle on a predefined landing strip and detecting a reference indicator. Based on the reference indicator, the vehicle may be able to know its exact position. Additionally, the vehicle may use the reference indictor to obtain an autonomous vehicle instruction via a URL. After the vehicle knows its precise location and has an autonomous vehicle instruction, it can operate in autonomous mode.
|
[] |
Urmson - Patent applications
|
Description
|
http://www.faqs.org/patents/inventor/urmson-6/
|
24/1438042989043.35_20150728002309-00312-ip-10-236-191-2_449085254_2.json
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d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
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[Sr. No.] 1) Providing credit facility to members [Amount deductible] Entire profit from such business [Applicability & Conditions]
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W.e.f A.Y. 2007-08 deduction not available to co-operative bank. Primary Co-operative agricultural & rural development bank & chit funds can claim exemption. Providing credit facility means providing loans & other credit facilities. Does not include selling goods on credit/hire purchase.
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[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
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d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
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[Sr. No.] 2) Cottage Industry [Amount deductible] Entire profit from such business [Applicability & Conditions]
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For qualifying as cottage industry – Business is to be carried on in a small scale, with limited capital, workers & turnover. Business is carried on by members of society (shareholders) & their families. Business must involve activity of manufacture, production or processing & not merely in trade. It is not required to be registered under Factories Act.
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[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 3) Marketing of Agricultural Produce [Amount deductible] Entire profit from such business [Applicability & Conditions]
|
—
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 4) Purchase of Agricultural Implements, seeds, livestock, other articles intended for agriculture [Amount deductible] Entire profit from such business [Applicability & Conditions]
|
It is for the purpose of supplying them to its members.
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[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 5) Processing Agricultural Produce of Members (Without Aid of Power) [Amount deductible] Entire profit from such business [Applicability & Conditions]
|
—
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 6) Collective Disposal of labour of its members [Amount deductible] Entire profit from such business [Applicability & Conditions]
|
Deduction is available only when earning of society is through the utilization of the actual labour of its members. Deduction is available provided the rules & bye Laws of the society restrict the voting rights to following class of members – a) Individuals who contribute their labour b) Co-op. credit societies which provide financial assistance to the society c) State Government.
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 7) Fishing & Allied Activities [Amount deductible] Entire profit from such business [Applicability & Conditions]
|
It includes catching, curing, processing, preserving, storing or marketing of fish or purchase of materials & equipment in connection therewith for supplying them to its members. Deduction is available provided the rules & bye Laws of the society restrict the voting rights to following class of members – a) Individuals who carry on fishing or allied activities. b) Co-op. credit societies which provide financial assistance to the society c) State Government.
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 8 ) Primary society engaged in supplying milk, oil seeds, fruits or vegetables [Amount deductible] Entire profit from such business [Applicability & Conditions]
|
Milk oil seeds, fruits or vegetables are grown or raised by its members Milk, oil seeds, fruits or vegetables are supplied to a federal co-op. society (engaged in similar business), Government or local authority, Government company or a statutory corporation (engaged in similar business).
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 10) Interest income/ Dividend income [Amount deductible] Entire amount of such income [Applicability & Conditions]
|
Such income is received from investment in any other co-operative society.
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 11) Letting of godowns/ warehouses [Amount deductible] Entire amount of income derived from such business [Applicability & Conditions]
|
Godowns/warehouses are let for storage, processing or facilitating the marketing of commodities.
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
d350d842_iety___Taxation___A_Y__2012_13__Applicability___Conditions
|
[Sr. No.] 12) Interest on securities & property income [Amount deductible] Entire amount of such income [Applicability & Conditions]
|
Benefit not available to housing society, urban consumer’s society, society carrying on transport business, society engaged in manufacturing operations with aid of power Gross total income of such society does not exceed Rs. 20,000.
|
[] |
Co-Operative Society – Taxation – A.Y. 2012-13
|
Applicability & Conditions
|
http://taxguru.in/income-tax/cooperative-society-taxation-ay-201213.html
|
3/1438042988317.67_20150728002308-00016-ip-10-236-191-2_238701751_0.json
|
048e4ba4_f_564___sorted_by__date_added___format
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[0] checkbox [#] position [cover] cover [title] title The Enchantress Of Florence [author] author Rushdie, Salman [isbn] isbn 0224061631 [isbn13] isbn13 9780224061636 [asin] asin [num pages] num pages 359 pp [avg rating] avg rating 3.54 [num ratings] num ratings 11,997 [date pub] date pub 2008 [date pub (ed.)] date pub edition Apr 03, 2008 [rating] Madeline's rating 1 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review I'm a little over halfway through this and so far almost every single female character is a prostitute or a slave. Three women have committed suicide I'm a little over halfway through this and so far almost every single female character is a prostitute or a slave. Three women have committed suicide because of a man. Also there's a female character who is literally a figment of a male character's imagination and she's more dynamic than any of the (few) real women in this fucking book. Ugh. Most likely will not finish. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 4 [votes] votes 17 [read count] # times read 1 [date started] date started Jul 29, 2015 [date read] date read not set [date added] date added Jul 29, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title The Martian [author] author Weir, Andy * [isbn] isbn 0804139024 [isbn13] isbn13 9780804139021 [asin] asin [num pages] num pages 369 pp [avg rating] avg rating 4.37 [num ratings] num ratings 148,189 [date pub] date pub 2011 [date pub (ed.)] date pub edition Feb 11, 2014 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review All right, let's get something out of the way right now: yes, I know that this was the big "It Book" a couple of years ago and I should have gotten on All right, let's get something out of the way right now: yes, I know that this was the big "It Book" a couple of years ago and I should have gotten on the bandwagon then. But what convinced me to put this on hold at the library was the trailer for the movie version, which looks awesome. I decided to read a book only because there's going to be a movie, and it's not the first time that's happened. Fight me. Mark Watney is one of six astronauts on a Mars mission. While he and the rest of the crew are on the planet, there's a massive storm and the crew evacuates. In the confusion, Watney is separated from the group and injured, and they are forced to leave without him. When he wakes up, Watney finds himself alone on Mars, with no way of contacting NASA and only a years' worth of supplies in his shelter. Because he knows it'll take years for a potential rescue to arrive, he has to figure out a way to survive by himself on, as he might phrase it, a planet that wants to kill him. In other reviews, I frequently see this book pitched as Robinson Crusoe in space. Which is very accurate, but I think that this xkcd comic explains it even better: "You know the scene in Apollo 13 where the guy says 'We have to figure out how to connect this thing to this thing using this table full of parts or the astronauts will all die? ...The Martian is for people who wish the whole movie had just been more of that scene." It feels weird to praise the worldbuilding of a speculative fiction book, but that's exactly what Weir is doing with The Martian that's so impressive. He didn't just have to think of all the potential problems a person stranded on Mars might encounter, he also had to come up with solutions to those problems. And this isn't like Daniel Defoe, who could at least do research on other people who had survived after being stranded on deserted islands - no human has ever been on Mars, ever, much less been stuck there for several years. Let's pause and appreciate how much thought and work went into thinking through every aspect of Watney's situation. The book is structured primarily as log entries, with Watney updating us on the day's problems and events. And just when this becomes in danger of being repetitive, we cut to the ground crew at NASA. And we also get scenes of Watney's crew, who are still in the satellite station. This is a smart move - if we only had Watney's voice, the book would have felt claustrophobic and boring, and adding additional characters to the mix helps keep the book from becoming a monotonous slog. It has to be said, though, that all the characters who are not Mark Watney are not particularly interesting. Granted, I probably could have read an entire book from Commander Lewis's perspective, but she's the exception to the rule. The people at NASA, in particular, are essentially interchangeable. There's the dude who's like "We have to do this incredibly risky thing" and the dude who's like "No, it's too risky!" and the lady who's like "The computer is doing this thing!" and that's pretty much everyone. Also there are two characters named Mitch and Rich, and fuck me if I could tell you anything about either of them. But the other characters aren't really in this book to function as fully-fleshed people - they exist as exposition mouthpieces, talking the reader through whatever problem has just come up, and reminding us occasionally of the stakes. Because of this, Watney has to do all of the heaving lifting in terms of three-dimensional characterization, and luckily he's up to the challenge. Mark Watney, plainly stated, is a delight. He's equal parts relentless optimism and "well this fucking sucks." Even when he's stating plainly to the reader that everything is terrible and that he will probably die, he remains unable to lie down and give up. Every single day is a struggle to continue fighting, and at its core, The Martian is a story about humanity's absolute refusal to give up hope. The fear of death is a powerful motivator. And it doesn't hurt that Watney's narrative voice is so great. Even in the midst of all the science shop-talk (which I did not understand a word of, naturally) he maintains a matter-of-fact tone and will usually break things down into layman's terms. And he's just fun: "I need to ask myself, 'What would an Apollo astronaut do?' He'd drink three whiskey sours, drive his Corvette to the launchpad, then fly to the moon in a command module smaller than my Rover. Man those guys were cool." And now I have to talk about the ending and my conspiracy theory idea about what actually happened. MAJOR MEGA SPOILERS HIDDEN BELOW, OBVIOUSLY. (view spoiler)[Okay, so did anyone else feel like the ending was kind of a letdown? It was just "We rescued him, yay, THE END." Even at the last page, I kept thinking, that can't be it, something else has to go wrong! Because the entire book is Watney going, "Okay, I fixed this problem! Oh shit, something else happened" and that's what I was used to. So, ready for my super-depressing theory? The book ends so abruptly, and there's no follow-up log entry by Watney after he gets back to the ship. I understand why this is: Watney has been rescued. The central conflict of the book has been resolved. It's over. There's no real need for a follow-up log entry when the astronauts get back to Earth. But then I started thinking...what if the last log entry is the last log entry? The astronauts still have to get back to Earth, and they did just sort of blow up part of their ship when they were getting Watney. So my theory is this: they never made it back. After the rescue, something went wrong with the ship, they couldn't fix it, and they all died. That's why there's no "hooray, we made it back!" entry. Because they never did. Anyway, have a good week, everybody! (hide spoiler)] ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 6 [votes] votes 31 [read count] # times read 1 [date started] date started not set [date read] date read Jul 2015 [date added] date added Jul 27, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Just Kids [author] author Smith, Patti [isbn] isbn 006621131X [isbn13] isbn13 9780066211312 [asin] asin [num pages] num pages 304 pp [avg rating] avg rating 4.12 [num ratings] num ratings 75,279 [date pub] date pub 2010 [date pub (ed.)] date pub edition Jan 19, 2010 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "Why can't I write something that would awake the dead? That pursuit is what burns most deeply. I got over the loss of his desk and chair, but never t "Why can't I write something that would awake the dead? That pursuit is what burns most deeply. I got over the loss of his desk and chair, but never the desire to produce a string of words more precious than the emeralds of Cortes. Yet I have a lock of his hair, a handful of his ashes, a box of his letters, a goatskin tambourine. And in that folds of faded violet tissue a necklace, two violet plaques etched in Arabic, strung with black and silver threads, given to me by the boy who loved Michelangelo." (watch this and then read) Reading this was an interesting experience for me. Lately I've had a weird but insatiable urge to read memoirs by 1970's musicians. Why? Not really sure - maybe I just need to re-watch Almost Famous. But for whatever reason, I had a particular literary itch to scratch, and only Patti Smith's memoir would do. I had heard Gloria before reading this book, and I knew that Patti Smith was a musician. I had never heard of her lifetime friend and partner Robert Mapplethorpe, and most of the artists who get name-dropped in this book flew right over my head. For this reason, this memoir might as well have been pure fiction to me, since I had almost no frame of reference for anyone except the biggest names. But I think that, ultimately, this worked in my favor: instead of spending every other page thinking, "oh my god, she totally knew [famous person] before they were famous!" I was just focusing on the story. And it's quite a story. People who go into this book expecting to learn about Smtih's songwriting/performance career will be disappointed; her retelling of how she became a famous musician is basically "someone suggested that I try putting my poems to music and people seemed to really like it, so that's cool I guess." There's not much about her actual writing process, even. She talks a lot about Rimbaud, and tries very hard to write like him. Occasionally you find yourself rolling your eyes at her prose, but for the most part, her writing is quite lovely. This is, first and last, the story of a lifelong friendship. This is the story of people who sacrificed everything - home, family, comfort, security - in order to become artists. What makes it lovely is that you get the sense that becoming famous - at least, famous in the sense that most people would recognize - never even crossed Smith's mind. She wanted, purely and simply, to devote her life to art. She was poor and homeless and miserable, but she was happy. A true starving-artist story, occasionally overwrought, but always compelling. Patti Smith is cooler than everyone you will ever meet. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 1 [votes] votes 30 [read count] # times read 1 [date started] date started not set [date read] date read Jul 2015 [date added] date added Jul 09, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title I'm with the Band: Confessions of a Groupie [author] author Barres, Pamela Des [isbn] isbn 1556525893 [isbn13] isbn13 9781556525896 [asin] asin [num pages] num pages 320 pp [avg rating] avg rating 3.68 [num ratings] num ratings 9,615 [date pub] date pub Jun 1987 [date pub (ed.)] date pub edition Oct 28, 2005 [rating] Madeline's rating 3 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Pamela Des Barres grew up living a comfortable middle-class life in Reseda California. She had loving parents and a stable home life, and all signs po Pamela Des Barres grew up living a comfortable middle-class life in Reseda California. She had loving parents and a stable home life, and all signs pointed to her leading a perfectly ordinary life. But somewhere along the line, Pamela Miller became Pamela Des Barres, one of the most legendary groupies who had a front-row seat (or, more accurately, a backstage pass) to the greatest era in rock and roll history. I'm With the Band is her story. If you've ever watched Almost Famous and found yourself wishing that Penny Lane had written a memoir (or better yet, Sapphire - "Does anyone remember laughter?!"), here it is. Des Barres takes us through her life, beginning with her as a teenager, trying to sneak into the Beatles' hotel with her friends; ending with her reflecting on a lifetime spent among musical legends. It's a well-documented memoir, with photos, diary entries, and letters giving the reader plenty of detail into this period of Des Barres life. (It helps, too, that Des Barres was never hugely into drugs and alcohol, enabling her both to survive long enough to write this memoir and to remember everything clearly) Under the tutelage of Frank Zappa, she and four other girls formed the GTOs, the “music group” (sarcastic quotations because they really never had much of a music career) that became the most legendary groupies of their time. Think of a musician from the 60's or 70's. Which one? Doesn't matter - Pamela Des Barres has seen him naked, or at least knows someone who has. I started out HATING this book, and it's almost entirely due to a laughably misguided introduction by Dave Navarro. Before you read the following quote, please do yourself a favor and look up a picture of Dave Navarro. Seriously, I'll wait. I want you to picture his face saying the following, and suffer as I have suffered. ...did you do it? I'm serious guys, you're not going to want to miss out. Anyway, now that we all have that mental image in our heads, here's how Dave Navarro decided to end his introduction to I'm With the Band: “My personal advice to the readers: Men, keep a box of tissue handy while reading this book. Women, try to keep your deep feelings of jealousy and hostility at bay...you know you wish this was your story.” WOW. Actually, Dave Navarro, I DON'T wish this was my story. Because unlike you, I don't think it's a compliment to have my life story reduced to future spank-bank material for some dude who looks like Dracula's gay hairdresser. But thanks for playing, and fuck you very much. After that noxious excuse for an intro, Des Barres throws us right into the hedonistic drug-fueled world of rock and roll in the 1960s. Throughout all of her adventures, Des Barres is constantly surrounded and supported by her fellow groupies, and frankly that was refreshing and surprising. Even the women who are fighting Des Barres for some rock star's attention eventually become Des Barres' friends, rather than becoming the villains. Even when a girl steals a man's attention from her, Des Barres has nothing but nice things to say, and the way these women (who, you'll recall, were all in their teens or early twenties at the time) support each other is fucking inspiring. What Des Barres seems to be saying, without having to come out and state it plainly, is that she and the other groupies bonded out of necessity - they had to love and support each other, because they knew that the men they were sleeping with would not. Considering that she's writing about a time when ugly sexism in the music industry was not only tolerated but encouraged, it's a surprise and a relief that I'm With the Band contains absolutely no internalized misogyny from the author. Des Barres, for all her faults, seems to have flatly rejected the mentality that other women are competition - a mentality that Dave Navarro oh-so-subtly tries to instill in the readers with his 'try to contain your raging jealousy, ladies.' Once more with feeling: fuck you, Dave Navarro) The writing itself is...not great. When I was starting this book, someone warned me about it by telling me that Des Barres wrote "like a toddler with a head injury" and unfortunately that description isn't far off. The worst bits come from Des Barres's diary, which is quoted at eye-rolling length. But at the same time, I have to give credit where credit is due: let them who would allow their teenage diaries to be published in a best-selling book cast the first stone. Speaking of the writing, remember how Dave Navarro pitched this as some kind of literary porn (that only dudes are allowed to masturbate to, because Dave Navarro sucks)? His criteria for erotica must be pretty fucking wide, because the sex scenes in this book are almost the opposite of sexy. Take this excerpt from Des Barres's diary, when she recounts the time she banged Noel Redding: “October 2...I CAME! How do you like that? ...Lovely romance, we played around for awhile and then he made love to me. AMAZING! I was totally under his control. He put me in a hundred positions and did such stupendous things! It's doubtful that anyone could surpass his proism. It was like being caught in a web, unable to free myself – wanting to get more tangled.” Oof. Look, Pamela, just because you write openly about your sex life doesn't make you Anais Nin. Granted, that excerpt is from a diary entry she wrote when she was nineteen, but sadly her writing doesn't seem to have improved with age. Although apparently the grownup Des Barres makes her living as a journalist, so what the hell do I know. Des Barres also seems aware of how ridiculous she comes off sometimes in her diaries and letters, and you can almost see her rolling her eyes behind the page as she quotes some passage where her teenage self gushed shamelessly over some rock star. That's about as far as the self-reflection goes, however. The closest we get to any sense of disillusionment with her chosen lifestyle is when Des Barres describes being snubbed by the new, younger groupies: “The rock and roll girls were getting younger, and I was no good at competing. They hated me because I had been there first, and they called me awful names at Rodney Bingenheimer's English Disco, 'old' being the most popular odious declaration of loathing. I let them get to me; they told me I was over the hill, and I looked in the mirror, inspecting my twenty-five-year-old face for early stages of decrepitness. ...I believed the GTO's had paved the way for these infant upstarts, and I thought they should show me some kind of respect, or at least recognition for my groundbreaking Strip-walking efforts. Needless to say, they didn't show me jack-shit.” Of course right after this she makes sure to quote some rock star saying essentially the same thing in Rolling Stone, because God forbid the readers dismiss her as some jealous hag without knowing that a famous man felt the same way, which makes her feelings legitimate. It's also a little strange that, for a memoir focused entirely on the music scene in the 60s and 70s, there's almost no actual music. I was waiting for some description of how Teenage Pamela felt the first time she heard a Beatles song, or what it was like seeing Jimmy Page play in person. But there's not really any discussion of the actual music these guys were making, and you get the sense that the Rolling Stones could have been a barbershop quartet and Des Barres wouldn't have cared, as long as they were the most famous barbershop quartet in the world. But where Des Barres fails to encapsulate what was so interesting about the music these guys were playing, she succeeds in painting detailed, intimate portraits of some of the greatest names in rock and roll. And it makes sense – after all, Des Barres had affairs with all of these men, and saw them at their most vulnerable. Sometimes it's funny, like when she's describing the bedroom preferences of a certain Led Zepplin frontman; sometimes it's disturbing, like when she shrugs off the fact that one of them (I forget which, but it doesn't really matter) liked to slap her around in bed and she wasn't really into that; and sometimes it's just tragic, like her description of Keith Moon: “He was happy being anybody but himself. At night he would wake up ten times, bathed in medicine-smelling sweat, jabbering about running over his roadie and burning for eternity. He couldn't wait to pay for that horrible mistake. We took handfuls of pills, and he drank vodka like he was dying of thirst.” I got frustrated with Des Barres because there was no second-act realization, no turnaround in her wide-eyed adoration of rock stars. Where is her anger? I thought as I read through yet another breezy description of being used and tossed away by some famous dick with a guitar. I wanted her to rage at these men who had treated her like shit. Where was the regret? Where was the condemnation, the rage at these adult men who fucked thirteen-year-old girls and got away with it? Doesn't she realize that she's getting all her self-worth from other people? Doesn't she know that these guys view her as completely disposable? And here's what I realized: Pamela Des Barres knows that none of these men really loved her, or ever saw her as anything more than a piece of ass. Pamela Des Barres knows, and she does not care, because Pamela Des Barres is too busy having fun. And that, readers, is her great secret: no one, not even the biggest rock stars in the world, can make you feel used and used up if you are having a good time. So what if these guys were just using her for sex? Teenage Des Barres once wrote a list of life goals, and one of the items was “have sex with Mick Jagger.” She might have been just a notch in these dudes' belts, but baby, that road goes both ways. It was a fascinating roller coaster, watching Des Barres go from Feminist Nightmare to Feminist Hero? in my mind as I read. And then, to my complete surprise, at about the two-thirds mark, I found myself sympathizing with Des Barres. I felt sorry for her, and not in the “oh god why did no one teach this child self-esteem?” way that I had originally felt. I began to sympathize with Des Barres because I realized how badly the men in her life actually treated her, and how badly readers will react to her book. Pamela Des Barres's book is, at its core, the story of a teenage girl who was so insanely passionate about something that she made it the sole purpose of her life. She was obsessed with the Beatles in high school, and that paved the way for her obsession with rock stars, and her need to be part of the inner circle. And if there is one thing society cannot abide, it's teenage girls getting really interested in things. Pamela Des Barres is not a musician, she is a groupie. And that word, in most people's minds, automatically makes her an object of ridicule. I was supposed to hate Des Barres, and that made me love her. We sneer at the women (or, more accurately, girls, since most of the groupies in this book are only teenagers) who devote themselves slavishly to their rock idols, but we never have any disdain left over for the men who were the cause of this. We criticize and mock the star-struck teenagers, but not the grown men who used these girls and tossed them aside and played songs like "Under My Thumb" and wrote memoirs gleefully documenting how many chicks they banged in a night. It's easier, after all, to mock the results of a toxic culture rather than examining its origins. Unfortunately, Des Barres doesn't seem too interested in examining the misogynistic culture she idolized, or circumstances that led to her belief that sleeping with a famous person is just as good as being famous yourself. That was what I wanted from this memoir. I wanted Des Barres to end with this simple lesson: creativity is not acquired through proximity. Surrounding yourself with artists is great, but it doesn't make you an artist yourself. It's not enough to sit back and applaud while you watch other people create; you have to create something of your own. Pamela Des Barres spent her life sitting on amps and watching famous men play music; I wanted her book to end with her learning to make her own music, if only metaphorically. But, as some dick with a guitar once said, you can't always get what you want. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 20 [votes] votes 52 [read count] # times read 1 [date started] date started Jun 26, 2015 [date read] date read Jul 2015 [date added] date added Jun 26, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Rin Tin Tin: The Life and the Legend [author] author Orlean, Susan * [isbn] isbn 1439190135 [isbn13] isbn13 9781439190135 [asin] asin [num pages] num pages 336 pp [avg rating] avg rating 3.47 [num ratings] num ratings 3,142 [date pub] date pub Sep 27, 2011 [date pub (ed.)] date pub edition Sep 27, 2011 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review If you only ever read one dog biography in your life, make it this one. There you go, publishers: there's your free blurb. There wasn't really a good If you only ever read one dog biography in your life, make it this one. There you go, publishers: there's your free blurb. There wasn't really a good reason for me to pick this book up - I was vaguely aware of Rin Tin Tin but didn't know much about him besides the fact that he was a movie dog during the 1940's (this is only partially true, it turns out, but we'll get to that). I had two reasons for wanting to read this book. First, it's by Susan Orlean, who could probably write an investigative story about the time she watched paint dry and it would be riveting. And secondly, I just really like dogs and reading about the people who love them makes me happy okay. Rin Tin Tin was more than just a movie dog. In fact, he wasn't a single dog at all, but several generations (and possibly several unacknowledged stunt dogs - Orlean addresses the controversy surrounding Rin Tin Tin and whether there was only one dog acting in all the movies or if doubles were used, although she doesn't really come to any conclusions). The legend of Rin Tin Tin can be divided into eras: the original Rin Tin Tin, who was found as a puppy on a battlefield in France and acted in silent films; his grandson Rin Tin Tin, who acted in the TV show The Adventures of Rin Tin Tin in the 1950s; and further down the line, the later Rin Tin Tin who was used for publicity when the show was brought back in the 1970's. In between are the many offspring of the original Rin Tin Tin and the various people who loved the dog in all his forms. Orlean's book is more than just the story of a famous dog. When talking about the original Rin Tin Tin, you also learn about the use of dogs in warfare (during WWII, families who volunteered their pets for service would get updates on their dog's training progress, and animals who survived the war were returned to their owners) and the history of the German Shepherd breed. When Rin Tin Tin starts working in Hollywood, Orlean explains the origins of the movie industry and how the creation of talkies led to the end of the first Rin Tin Tin's career, and how television was able to bring him back. This is not just about a dog and the people who loved him. It's about warfare and propaganda, and the history of movies and television and how those mediums have changed over time. But most importantly, it's a story of the connection between people and animals, and how the love for one dog was able to span decades. "I believe there will always be a Rin Tin Tin because there will always be stories. He began as a story about surprise and wonder, a stroke of luck in a luckless time, and he became a fulfilled promise of perfect friendship; then he became a way to tell stories that soared for years. He made people feel complete. I, too, had set out to be remembered. I had wanted to create something permanent in my life - some proof that everything in its way mattered, that working hard mattered, that feeling things mattered, that even sadness and loss mattered, because it was all part of something that would live on. But I had also come to recognize that not everything needs to be so durable. The lesson we have yet to learn from dogs, that could sustain us, is that having no apprehension of the past or future is not limiting but liberating us. Rin Tin Tin did not need to be remembered in order to be happy; for him, it was always enough to have that instant when the sun was soft, when the ball was tossed and caught, when the beloved rubber doll was squeaked. Such a moment was complete in itself, pure and sufficient." ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 7 [votes] votes 27 [read count] # times read 1 [date started] date started not set [date read] date read Jun 2015 [date added] date added Jun 19, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The Paris Wife [author] author McLain, Paula * [isbn] isbn 0345521307 [isbn13] isbn13 9780345521309 [asin] asin [num pages] num pages 314 pp [avg rating] avg rating 3.76 [num ratings] num ratings 153,179 [date pub] date pub 2011 [date pub (ed.)] date pub edition Feb 22, 2011 [rating] Madeline's rating 2 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "It was sometimes painful for me to think that to those who followed his life with interest, I was just the early wife, the Paris wife. But that was p "It was sometimes painful for me to think that to those who followed his life with interest, I was just the early wife, the Paris wife. But that was probably vanity, wanting to stand out in a long line of women. In truth, it didn't matter what others saw. We knew what we had and what it meant, and though so much had happened since for both of us, there was nothing like those years in Paris, after the war. Life was painfully pure and simple and good, and I believe Ernest was his best self then. I got the very best of him. We got the best of each other." In The Autobiography of Alice B. Toklas, Gertrude Stein (writing as her partner Alice) describes how when artists would visit them, Gertrude would talk with the men while Alice sat with the wives. That was Alice's job: Gertrude would have intellectual discussions with the various men of genius while Alice sat in another room and talked about hats or whatever with Mrs. Picasso, Mrs. Matisse, and, of course, Mrs. Hemingway. This illustrates what I found so frustrating about The Autobiography of Alice B. Toklas and, by extension, The Paris Wife: while it's certainly interesting to read about the people who shaped and affected artists' lives, the fact is that these people who were forgotten or ignored by history can never escape the shadow of their famous loved ones. Sometimes these ignored bystanders are untapped wells of unacknowledged genius and influence. And sometimes they're Hadley Hemingway. Look, I'm sure Hadley was a lovely person. If nothing else, she deserves a medal for putting up with Ernest Hemingway's shit for so many years, and for going on to live a long and happy life after she left him. But the unfortunate truth, a truth that Paula McLain's book cannot escape, is that Hadley Hemingway's life did not need its own novel. The book started out strong, when we're seeing Hadley and Ernest meeting in Chicago when they're in their twenties. It's the best part of the book, because their chemistry is obvious and you can totally understand why these two got married and moved halfway across the world together. But once the Hemingways move to Paris and Ernest's career starts taking off, that chemistry and that connection disappears, and we're left with a book about a woman who stood on the sidewalk and waved as a parade of famous people walked through her life. The biggest problem was Hadley herself. I didn't understand her any better at the end of the book than I did at the beginning, and throughout the story I could never predict how she was going to react to a given situation, because I never got a sense of who she was as a person. Her motivations and reactions were constantly baffling to me - sometimes Ernest would do something boneheaded and Hadley would get angry at him; other times she would just shrug and think, "oh well, that's just how he is." And she's so, so irritatingly passive. Hadley is a talented piano player but has never pursued it professionally, but about halfway through the novel she decides (after much prompting from her friends, because Hadley never really makes any decisions independently) to put on a concert. As I read descriptions of Hadley practicing for the performance, I thought, Yes! Your life has a purpose! You have identified a goal and are working towards it! You are finally behaving like a protagonist! Go, Hadley, go! And then Ernest cheats on her and she cancels the concert. Cue sad trombone. After Ernest comes clean about the affair, Hadley once again decides to start acting like a dynamic character and gives Ernest an ultimatum: Ernest will not contact the other woman for one hundred days, and if, at the end of that period, he still wants to go through with the divorce, Hadley will agree to it. Guess who caves and agrees to the divorce before the hundred days are up? Possibly the biggest misstep in the novel is McLain's decision to insert random chapters, mostly flashbacks, from Ernest's perspective, and it only serves to prove that Hadley cannot sustain an entire novel on her own. And I have to say - for a book that takes place in the roaring twenties in an artists' community in Paris, it's fucking boring. Even the Fitzgeralds were dull, which I didn't think was possible. An ordinary story about an ordinary woman who happened to know some famous people once. It's sort of like listening to your friend tell a boring story about how she was once in an elevator with a celebrity. Not everyone needs a biography. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 10 [votes] votes 38 [read count] # times read 1 [date started] date started not set [date read] date read Jun 2015 [date added] date added Jun 13, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The House of Mirth [author] author Wharton, Edith [isbn] isbn 1844082938 [isbn13] isbn13 9781844082933 [asin] asin [num pages] num pages 351 pp [avg rating] avg rating 3.93 [num ratings] num ratings 55,938 [date pub] date pub 1905 [date pub (ed.)] date pub edition Jan 19, 2006 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review The House of Mirth is the third Wharton novel I've finished so far, and while reading it, I was able to figure out why I love her books so much. Edith The House of Mirth is the third Wharton novel I've finished so far, and while reading it, I was able to figure out why I love her books so much. Edith Wharton is witty, and her writing is beautiful, but more importantly, she is honest and realistic. She portrays rich, spoiled society exactly as it is - full of people who hide their own misery behind lavish homes and strict manners - and condemns it, but even as her characters realize how toxic this environment is, they are still driven by an insatiable need to belong to and be accepted by society. Basically what I'm saying is that Edith Wharton understood human nature better than almost any author I've ever read, and if she were alive today Mean Girls would totally be her favorite movie. The House of Mirth follows Lily Bart, a young woman who grew up wealthy but lost everything when she was a teenager, and has been clawing and fighting to keep her place in society ever since. Lily Bart is clever and charming, but after spending years living independently, she finds herself approaching spinsterhood with dwindling prospects. The book follows her increasingly-desperate attempts to secure her future while retaining her independence and her place in society. If you've read even one other Wharton novel, you know that these desires are not compatible for women in this world. As always, Wharton's depiction of the tiny battles that occur every day in polite society is fascinating - it's amazing to watch Lily navigate her life with careful planning and strategy, so simple conversations become as complicated and dangerous as naval battles. She has to be constantly on the alert, hyper-aware that she's always one mistake away from total failure and ruin. Only two things frustrated me about this book - one wasn't Wharton's fault, but the second one totally was. It's not Wharton's fault, I realize, that Lily Bart can't get a Hollywood happy ending and marry Lawrence Selden, who is so obviously perfect for her that it was all I could do not to scream at the pages "kiss her kiss her KISS HER" every time they had a scene together. The couple is headed for a typically Wharton-style ending, but at least that means we get lots of great scenes where the characters are just drowning in sexual tension, and it's like crack to me. Edith Wharton could write a straight-up sex scene, and it still wouldn't be as hot as two characters taking a walk together while resisting the urge to make out. Like I said, the ending is very, very Wharton, and unfortunately it's also very clearly telegraphed. (view spoiler)[As soon as the narration mentioned that Lily was taking medication to help her sleep, I thought, "well, now I know how she's going to die. (hide spoiler)] But somehow the fact that I could see the ending a mile away made the book even more tragic and dramatic. But seriously, Seldon - nut up and marry her, for Christ's sake. Lily Bart is the quintessential Wharton heroine. She is independent, headstrong, whip-smart, and charismatic. Another author would have allowed her heroine to strike out on her own, say to hell with these rich snobs and let Lily go off on adventures to Africa or something, but Wharton knows better. The world of the wealthy, spoiled New Yorker is the only one Lily has ever known, and like Newland Archer and Annabel St. George before her, she will sacrifice her own happiness in exchange for social acceptance and security. This is what drives Wharton's protagonists: a deep need to belong, and a fear of the unknown. They can never win, but it's fascinating to watch them try. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 0 [votes] votes 30 [read count] # times read 1 [date started] date started not set [date read] date read Apr 2015 [date added] date added May 16, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Jewels: A Secret History [author] author Finlay, Victoria [isbn] isbn 0345466950 [isbn13] isbn13 9780345466952 [asin] asin [num pages] num pages 496 pp [avg rating] avg rating 4.10 [num ratings] num ratings 717 [date pub] date pub Jan 01, 2006 [date pub (ed.)] date pub edition Aug 14, 2007 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "In the course of my research I found that although, of course, some rare stones have amazing and frightening dynastic tales, every jewel, however sma "In the course of my research I found that although, of course, some rare stones have amazing and frightening dynastic tales, every jewel, however small or flawed, has its story: about the earth that was excavated to retrieve it, the families who depended on it, the people who designed the cutting method, those who bought or were given it, and the meanings and properties attributed to it. Whole human, geological, and cultural histories are wrapped up in every stone we wear or desire, even if it is only an imitation. So in one way it is the stones and jewels themselves, hidden in mines and oceans - and occasionally in tombs and wrecks and pirates' hoards - that are the 'secrets' of the subtitle; the other secrets are the cultural layers of meaning and fascination that can always be found wrapped around them." Jewels always feel intensely personal. And they should be - there's really no rational reason why they're considered valuable. The value of jewels comes solely from people assigning value to them. Jewels are fundamentally useless, but we treasure them. Victoria Finlay understands this, and she approaches her history of gemstones from this direction - instead of being just a clinical, straightforward history of where and how certain gems are mined and cut, she's using this book to examine peoples' relationship with jewels, and trying to understand why they mean so much to us. Finlay's book uses Moh's Scale of Relative Hardness as an outline - the book has nine chapters, featuring jewels from softest to hardest: amber, jet, pearl, opal, peridot, emerald, sapphire, ruby, and diamond. For each, Finlay explains how the jewel was first discovered, how it's formed, where it's mined, and its relative popularity over time. There's also a lot of practical information, like how to spot a fake gem (to test if a ruby or sapphire is real, put it in your mouth - rubies and sapphires have a high thermal conductivity, so if it's real the jewel will draw heat from your tongue and feel cold). She also, while exploring the romantic attractions of jewels, doesn't lose perspective. No matter what jewel is being discussed, there's always a heavy human toll. The sad truth of the jewelry industry is that it was built on the backs of slave labor (and in many cases, continues to be supported by it) and Finlay makes sure we understand how many people suffer in the service of pretty things. The best aspect of the book is the way Finlay (a journalist) goes all-out in her research. She doesn't just tell us where the jewels are mined; she travels there and talks to the miners and the merchants. And she doesn't stop there - Finlay took spelunking lessons so she could explore Cleopatra's emerald mines, and she learned jewel-cutting in Sri Lanka. I can't even imagine how long the research for this book must have taken. It's comprehensive and engaging, and the writing is clear. The only flaw (and it's not even really a flaw) is that Finlay is very clearly a journalist, not a novelist. The chapters felt more like individual magazine articles rather than parts of a larger work, and while Finlay's narrative voice is clear and informative, it's not the most dynamic. Also there are a lot of photos from her travels scattered throughout the book, and Finlay is not much of a photographer - most of the pictures look like the photos of your aunt's last vacation to Orlando. The diamond chapter was probably my favorite, for three reasons: first, Finlay myth-busts the hell out of the legend of the Hope diamond (short version: the concept of the curse was made up to get people interested). Second,she dredges up all of the diamond industry's dirty little secrets (diamonds are common as dirt and have absolutely no resell value, plus the De Beers company owns literally all the diamond mines, so they can charge however much they feel like). And finally, I loved this chapter because it taught me that there's a company that can create lab diamonds from human ashes. That's equally morbid and amazing, and now I'm going around asking everyone I know - would you wear a diamond made from the ashes of a loved one? ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 5 [votes] votes 26 [read count] # times read 1 [date started] date started not set [date read] date read May 2015 [date added] date added May 08, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Lulu in Hollywood [author] author Brooks, Louise [isbn] isbn 0816637318 [isbn13] isbn13 9780816637317 [asin] asin [num pages] num pages 168 pp [avg rating] avg rating 3.94 [num ratings] num ratings 1,049 [date pub] date pub 1982 [date pub (ed.)] date pub edition Jul 05, 2000 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review After reading Laura Moriarty's The Chaperone and being disappointed by its noticeable lack of Louise Brooks, I wanted to find a nonfiction account of After reading Laura Moriarty's The Chaperone and being disappointed by its noticeable lack of Louise Brooks, I wanted to find a nonfiction account of the silent film star's life. Luckily, in addition to the numerous biographies available, Brooks also wrote her own account of her career. It's not as comprehensive as I wanted it to be - the book is more of an essay collection than a straight memoir - but is otherwise a completely fascinating look into the early days of Hollywood. Louise Brooks had a unique career trajectory. She got her start as a dancer with the Denishawn company when she was fifteen, and by nineteen had started her film career. In the heyday of silent film, she was one of the biggest stars in the world, but her career faded immediately with the advent of talkies, when she refused to give in to the studios' demanding contracts and was blackballed. She went on to do several films with the German director Pabst, and then disappeared into semi-obscurity. Her film career was over, but she continued to be an active participant, writing articles for movie magazines. Her career was short, but she was one of the witnesses to the birth of movies as a new medium, and Lulu in Hollywood is her account of what she saw in that time. The best aspect of this book is Brooks' writing, which is clear and thoughtful, describing her memories in 1920's Hollywood with no overt sentimentality. Also it's just fun - this was before Standards and Practices took over Hollywood in the 1930's, and the stars of Brooks' time were free to be as wild as they wanted. Actresses, in particular, developed their own particular brand of hustle, which Brooks outlines here: "For a time, Barbara [Bennett] was kept by William Rhinelander Stewart, who gave her a square-cut emerald from Cartier. One night, when we were swimming off Caleb Bragg's houseboat, she watched it slip from her finger into Long Island Sound. She kept this hilarious accident secret from Stewart by buying a fake-emerald ring from Denis Smith, whose jewelry business was unknown to innocent lovers. They would have been staggered to learn how many of their gifts were converted into imitations and cash. Truly, ours was a heartless racket." The little glimpses Brooks gives us into the wild life of a 1920's starlet are fascinating, and made me want to read an entire book just about teen movie stars partying in the Jazz Age (which, really, is what The Chaperone should have been). And at the same time, she's exploring how Hollywood developed into what it is today. It's easy to forget that in Brooks' time, movies were still a new medium, and everyone involved in the business was sort of making it up as they went along, and not really thinking about the future of the industry. To this day, there are hundreds of silent films that just don't exist anymore, because no one thought to preserve them. Writes Brooks: "The tragedy of film history is that it is fabricated, falsified, by the very people who make film history. It is understandable that in the early years of film production, when nobody believed there was going to be any film history, most film magazines and books printed trash, aimed only at fulfilling the public's wish to share a fairy tale existence with its movie idols. But since about 1950 film has been established as an art, and its history recognized as a serious matter. Yet film celebrities continue to cast themselves as stock types - nice or naughty girls, good or bad boys - whom their chroniclers spray with a shower of anecdotes." A fun, fascinating look at one person's incredible career, and the beginning of Hollywood as we know it. One star taken off, only because I wish it had been longer. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 0 [votes] votes 20 [read count] # times read 1 [date started] date started not set [date read] date read Apr 2015 [date added] date added Apr 27, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title Chuck Klosterman IV: A Decade of Curious People and Dangerous Ideas [author] author Klosterman, Chuck [isbn] isbn 0743284887 [isbn13] isbn13 9780743284882 [asin] asin [num pages] num pages 374 pp [avg rating] avg rating 3.84 [num ratings] num ratings 13,741 [date pub] date pub 2006 [date pub (ed.)] date pub edition Sep 05, 2006 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review I first learned about Chuck Klosterman through my friend, who is a nonfiction writer and swears by his essay collections. Klosterman is primarily a mu I first learned about Chuck Klosterman through my friend, who is a nonfiction writer and swears by his essay collections. Klosterman is primarily a music writer (imagine Lester Bangs if he had grown up in the golden age of hair metal) and most of the writings featured here are from Spin and Esquire. The collection is framed as a retrospective, with Klosterman introducing pieces by commenting on how his views have changed by then, or why he now hates the article he's about to share (he even includes articles on the Fargo rock scene that he wrote when he was twenty-three, and he's appropriately embarrassed about it). The include celebrity profiles, "Best Of" lists, what-if scenarios, and musings on VH1 Classics and the Olympics. At their best, his essays blend pop culture and philosophy seamlessly - the book is worth it just for the article detailing the time Klosterman met Britney Spears and tried to unravel the mystery of who she actually is vs. who she pretends to be ("After I spent my time with Spears, people kept asking me, 'What is she really like?' My answer was usually, 'I don't know, and I don't think she does, either.'"). I'll be the first to admit that my music tastes are not very refined, so it was sort of a relief to see Klosterman writing almost exclusively about bands that I had actually heard of. He writes most frequently about bands he grew up listening to in the 80's, but there are also some fascinating profiles of The White Stripes and Radiohead ("Everyone in this band reads more than you do; hanging out with Radiohead is kind of like getting high with a bunch of librarians."). I was worried that Klosterman would turn out to be a music snob, and he sort of is, but for the most part, he presents his love of pop music frankly and matter-of-factly, and I always appreciate someone who acknowledges that popular culture becomes popular because lots of people like it, and that's not a bad thing. His revelation (helped by Wilco's Jeff Tweedy) that he actually kind of likes Jet is great: "Now, nearly everybody I know thinks Jet is ridiculous; they've become the band hipsters are legally required to hate. So I made some joke (and I have no idea why) about how Jet was terrible and that it was somehow predictable that the only people who would want to cover Jet songs would be second graders. Tweedy didn't understand why I would say something like that. He looked at me like I had just made fun of a quadriplegic and asked, 'Well, don't you like rock music?' And then I felt stupid, because I realized that (a) Jet plays rock music, and that (b) I like rock music, and that (c) I actually liked Jet, both tangibly and intangibly. So that was something I realized about Jeff Tweedy: musically, he remembers what is obvious." Another great example of Chuck Klosterman's refreshing lack of musical snobbery: "I've probably written more about tribute bands than any sensible man should. I really like them, though. Tribute bands often reflect what I like about rock n' roll more than the authentic bands they replicate." (this passage comes at the beginning of a piece about all-female cover bands with names like AC/DShe and Lez Zeppelin, and it is fantastic) The only rough patch is at the end, when Klosterman includes an excerpt from a book that he tried to write when he was a reporter for a newspaper in Akron, and I suspect he included it for the dual purpose of proving how unashamed he is by what a terrible writer he used to be, and the hope that someone would tell him it's actually very good. Overall, a great collection of essays that are in-depth and thoughtful enough for hardcore fans, and frank and approachable enough for the casual reader. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 1 [votes] votes 17 [read count] # times read 1 [date started] date started not set [date read] date read Apr 2015 [date added] date added Apr 14, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title The Perks of Being a Wallflower [author] author Chbosky, Stephen [isbn] isbn 0671027344 [isbn13] isbn13 9780671027346 [asin] asin [num pages] num pages 213 pp [avg rating] avg rating 4.20 [num ratings] num ratings 710,368 [date pub] date pub Jan 01, 1999 [date pub (ed.)] date pub edition Feb 1999 [rating] Madeline's rating 2 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Not for the first time, I find myself reading a book about ten years too late and being utterly incapable of connecting with it on any level. Someone Not for the first time, I find myself reading a book about ten years too late and being utterly incapable of connecting with it on any level. Someone probably should have made me read this when I was in high school, and I most likely would have reviewed it more favorably - then again, I read The Catcher in the Rye when I was fifteen and found Holden Caulfield to be utterly insufferable, so it's entirely possible that I just do not care about the struggle of the middle-class teenage white boy. Reading this as an adult, all the issues hidden in the text were glaringly obvious. I kept waiting for the English teacher to turn out to be a total creep, but instead he just keeps telling Charlie how smart he is and being the perfect high school teacher that no one actually had, ever (apparently he's played by Paul Rudd in the movie version, which should have been a tip-off that his character was going to be perfect in every way). And why are these high school kids hanging out with a guy who's already graduated? I can't decide what's sadder - that a bunch of teenagers don't realize how pathetic their older friend is, or that the guy seems to think that these teenagers (for whom he provides drugs and alcohol and a safe place to consume them) are really his friends. Also, the writing. Stephen Chbosky is either the worst writer in the world, or he's a genius who is able to perfectly capture the shitty, self-absorbed voice of the average fifteen-year-old. Considering how gifted and smart Charlie is, I would have expected his writing to be a little better, but as it is, the book was like reading my old high school diaries, and I'm still suffering from secondhand embarrassment. Thank God I deleted my Livejournal back in college. I tried very hard to sympathize with Charlie. I am aware that he has been through hell and he Has Issues, but for Christ's sake could he stop bursting into tears every five pages? Throughout the book, every time Charlie would start crying because, I don't know, the wind hit him at the wrong angle, I would stare at the pages and think, "If you were a female character, readers would hate you. They would mock you endlessly and say you were pathetic. If you were written as a girl, no one would have any sympathy for you at all." And that made me sad. There were brief flashes in this book, little pieces of writing, where even as a cynical twenty-five-year-old I was able to read them and understand why teenagers connect so hard with this book. Like when Charlie writes: "I wish that God or my parents or Sam or my sister or someone would just tell me what's wrong with me. Just tell me how to be different in a way that makes sense. To make this all go away. And disappear. I know that's wrong because it's my responsibility, and I know that things get worse before they get better because that's what my psychiatrist says, but this is a worse that feels too big." (quick note to all the teenagers reading this review: that feeling that Charlie is describing doesn't go away when you leave high school. Have fun!) And the book's subtle lesson struck me deeply: loving your friends and supporting them is important, but not at the expense of your own happiness. But for the most part, I read this book and could only think one thing: thank CHRIST I'm not fifteen anymore. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 16 [votes] votes 68 [read count] # times read 1 [date started] date started not set [date read] date read Mar 2015 [date added] date added Mar 27, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The Chaperone [author] author Moriarty, Laura [isbn] isbn 1594487014 [isbn13] isbn13 9781594487019 [asin] asin [num pages] num pages 384 pp [avg rating] avg rating 3.84 [num ratings] num ratings 34,755 [date pub] date pub 2012 [date pub (ed.)] date pub edition Jun 05, 2012 [rating] Madeline's rating 2 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review It's the summer of 1922 in Wichita, Kansas, and thirty-six year old Cora Carlisle is bored. Her twin sons are preparing to leave for college, and she It's the summer of 1922 in Wichita, Kansas, and thirty-six year old Cora Carlisle is bored. Her twin sons are preparing to leave for college, and she doesn't have anything to do with her time except various charity functions. Then she learns that her neighbor's fifteen year old daughter has been accepted to a summer dance program in New York, and needs someone to accompany the girl as a chaperone. Cora volunteers for the job, but has motives other than just an excuse to get out of Kansas for the summer: Cora's own history began in New York, and she goes there hoping to answer some questions about her past. In the meantime, though, she will stay busy keeping an eye on her charge: headstrong, independent, fifteen year old Louise Brooks, who is only a few years away from becoming a Hollywood superstar. I picked this up expecting it to be a light, fun romp in the vein of Miss Pettigrew Lives for a Day - just two ladies being modern and fun and generally having a blast in a pre-WWII setting. What I got was something...pretty different. It feels unfair to say that the synopsis felt like a bait-and-switch - it's called The Chaperone, after all, so obviously it's going to focus more on Cora than Louise - but it's so Cora-heavy that Louise barely functions in the story at all. Moriarty is obviously more concerned with Cora's story than Louise's, and this is most apparent in the structure of the book. I expected the story to cover just the period that Cora and Louise spent in New York, but instead the book spans Cora's entire life. When she returns to Kansas from New York, what I expected to be a two-or-three page epilogue instead turns into the last 3/4 of the book, as we have to sit through all of Cora's marital drama (turns out that her husband (view spoiler)[is gay, a plot twist that was blatantly projected from basically the minute the husband was introduced (hide spoiler)]) and a quick tour of post-Jazz Age American history, and by itself it's interesting, but the problem is that the shadow of Louise Brooks looms over the entire story, and this is to the book's detriment. The problem is that, when given a choice between reading about a movie star in her wild teenage years and a middle-aged woman who lived a pretty unremarkable life, I'm going to choose the former every time. There's nothing wrong with wanting to write a book about an ordinary woman living an ordinary life, but don't trick me into reading it by luring me with the origin story of a Hollywood icon. That's the big problem with this book - Cora's story can't compete with the one we could be reading, the one about how Louise Brooks left home at fifteen and, by nineteen, had been kicked out of her prestigious dance company for wild behavior. In fact, I almost suspect that Louise Brooks was not featured in the early drafts of this book. I think this started out as the story of a woman who lived in the 1920's and went to New York, and at the later stages an editor or someone was like, "But what if Cora knew someone who became famous later?" and Louise was introduced. If that was the case, it didn't work - I know I said that it's unfair to call the plot a bait-and-switch, but that's what it felt like. Also Laura Moriarty commits the cardinal sin of historical fiction writing: she lets the research show. Good historic fiction should be well researched, but the reader shouldn't be able to tell - in historic fiction, if the reader can see what research went into the book, it doesn't work. Every five pages the characters in The Chaperone are like, "Let's talk about how scandalously short the skirts have gotten! My, aren't bobbed haircuts interesting? Say, did you hear about this kooky new group called the Ku Klux Klan?" etc. Worst of all, Moriarty will insert narration into the story to underline the significance of whatever historical info dump she just featured. When two characters discuss the Ku Klux Klan in their town, Moriarty suddenly fast-forwards to when Cora is an old woman and her niece is asking how she could have considered joining, and Cora is like, it was a different time, dear, and it's jarring as fuck. And then Moriarty does it again: in New York, Cora and Louise see a show, and Moriarty jumps in to tell us that oh my god, you guys, did you know that Josephine Baker was working backstage at that show?! It's clumsy and obvious, and reading the book felt, at times, like Moriarty had a list tacked next to her computer titled Important 1920's Events to Cover and was trying to check off as many as she could. Ultimately, this was a disappointment. Cora Carlisle's story is a good one, and it didn't deserve to be overshadowed so thoroughly by Louise Brooks. At least I got another book to add to my reading list: Lulu in Hollywood, Louise Brooks' autobiography of her career. At least that one will give me the story I wanted to read. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 6 [votes] votes 19 [read count] # times read 1 [date started] date started not set [date read] date read Mar 2015 [date added] date added Mar 20, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Meritropolis [author] author Ohman, Joel * [isbn] isbn 150018960X [isbn13] isbn13 9781500189600 [asin] asin [num pages] num pages 226 pp [avg rating] avg rating 3.62 [num ratings] num ratings 292 [date pub] date pub Sep 08, 2014 [date pub (ed.)] date pub edition Sep 08, 2014 [rating] Madeline's rating 1 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review The year is AE3, 3 years after the Event. Within the walls of Meritropolis, 50,000 inhabitants live in fear, ruled by the brutal System that assigns e The year is AE3, 3 years after the Event. Within the walls of Meritropolis, 50,000 inhabitants live in fear, ruled by the brutal System that assigns each citizen a merit score that dictates whether they live or die. Those with the highest scores thrive, while those with the lowest are subject to the most unforgiving punishment--to be thrust outside the city gates, thrown to the terrifying hybrid creatures that exist beyond. But for one High Score, conforming to the System just isn't an option. Seventeen-year-old Charley has a brother to avenge. And nothing--not even a totalitarian military or dangerous science--is going to stop him. Where humankind has pushed nature and morals to the extreme, Charley is amongst the chosen few tasked with exploring the boundaries, forcing him to look deep into his very being to discern right from wrong. But as he and his friends learn more about the frightening forces that threaten destruction both without and within the gates, Meritropolis reveals complexities they couldn't possibly have bargained for... ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 17 [votes] votes 35 [read count] # times read 1 [date started] date started Feb 23, 2015 [date read] date read May 2015 [date added] date added Feb 23, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Silver Screen Fiend: Learning About Life from an Addiction to Film [author] author Oswalt, Patton [isbn] isbn 145167323X [isbn13] isbn13 9781451673234 [asin] asin [num pages] num pages 256 pp [avg rating] avg rating 3.62 [num ratings] num ratings 2,130 [date pub] date pub Jan 06, 2015 [date pub (ed.)] date pub edition Jan 06, 2015 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "Van Gogh entered a room in his mind when he painted The Night Cafe. He acknowledged his damaged (and worsening) psyche and, in acknowledging it, made "Van Gogh entered a room in his mind when he painted The Night Cafe. He acknowledged his damaged (and worsening) psyche and, in acknowledging it, made a deal. He would be able to take newer, more original artistic conceptions out, would be able to capture them in paintings. His psyche found the deal acceptable. It let Vincent leave the room - the Night Cafe - with vistas and visions he hadn't come close to in his career. But something followed him out, and latched on to him like a virus, and he was never the same. He was a better painter. A transformed one. ...I still have both ears. My chest cavity is bullet-free. But the concept of the Night Cafe - the room you enter, and then leave having been forever changed - is abiding, repeated event in my life. Six times, so far, it's happened to me. All of them had to do with my creativity, and my imagination, and how I saw the world and my place in it." It might seem like an odd choice to open what is supposed to be a comedy memoir about movies by talking about a painting from the 1800's. But Silver Screen Fiend is an odd book. It's not quite an in-depth look at how movies and pop culture shaped Patton Oswalt when he was starting out as a comedian in the 1990's, and it's not quite a straightforward memoir about how Oswalt went from a struggling comic in '90's Los Angeles to the genre-spanning icon he is today. (yes, I called Patton Oswalt an icon. Fight me.) People who go into this book expecting it to be these things will be disappointed. There aren't nearly enough details about either Oswalt's stand-up career (although there are plenty of great stories about the LA comedy scene in the '90's), and his obsession with movies is framed more by the iconic New Beverly Cinema where he saw the films, instead of the movies themselves. With Silver Screen Fiend, Oswalt is trying to do something bigger than just share how he got his start in comedy, or talk about his favorite movies - although there's plenty of that. Instead, he's trying to make a statement about how he progressed from an obsession with watching what others created, to creating something himself. He uses the idea of a "Night Cafe" - an experience you have that affects you so deeply it changes the course of your life and remains imprinted on your soul - to show how his obsession with seeing classic films at the New Beverly made him the artist he is today: "I'm in Los Angeles, with a steady writing job on weekdays at MADtv, a dozen 'alternative comedy' spaces to go up in and work on material - and now this, the New Beverly, my $5-a-night film school. Pretty good trio of films to start off my education with, right? Sunset Boulevard - a cynical, heartbroken writer, dragged to his doom by a true believer in the illusion of film. Ace in the Hole - a satanic, exploitative reporter who picks apart a dying man at the bottom of a pit in the hope that his career will rise back into the sun. And The Nutty Professor - an ignored nerd who's tempted by popular monstrosity. Obsession, darkness, and magical thinking. Sitting in my apartment late in the night, penciling the star, date, and venue name next to The Nutty Professor in two film books, I will have no idea I've entered my fourth Night Cafe. It will be four years before I pull myself out of it." Loving movies and pop culture is not a bad thing - Oswalt's book proves that films can be just as rich and legitimate forms of art as paintings and literature. But this book acts as a warning to obsessive fans of any medium: it's good to study the masters who came before you, and loving their work is fine, but you have to create something of your own. Oswalt describes hanging out with friends and spending hours criticizing The Phantom Menace, and he realizes he's, "angry at George Lucas for producing something that doesn't live up to my exacting, demanding, ultimately non-participating standards, and failing to see that four hours of pontificating and connecting and correcting his work could be spent creating two or three pages of my own." It's easy to criticize (I say, in the text of a book review on a site where I've made a minor name for myself by doing exactly that). It's hard to create. "Movies - the truly great ones (and sometimes the truly bad) - should be a drop in the overall fuel formula for your life. A fuel that should include sex and love and food and movement and friendships and your own work. All of it, feeding the engine. But the engine of your life should be your life. And it hits me, sitting there with my friends, that for all our bluster and detailed, exotic knowledge about film, we aren't contributing anything to film. ...And then, once the group of us who moved down to Los Angeles got there, there was more bitching - about not getting bigger roles or better opportunities to pitch shows for ourselves. And we'd piss and moan and get comfortable - fuck, some of us built whole careers - pointing out how unfair and whimsical and chaotic the entertainment business was, how it rarely rewarded the truly talented. None of us could see how it never rewarded the inert." ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 7 [votes] votes 22 [read count] # times read 1 [date started] date started not set [date read] date read not set [date added] date added Feb 18, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Lord Peter [author] author Sayers, Dorothy L. [isbn] isbn 0060913800 [isbn13] isbn13 9780060913809 [asin] asin [num pages] num pages 496 pp [avg rating] avg rating 4.28 [num ratings] num ratings 4,272 [date pub] date pub Jan 01, 1971 [date pub (ed.)] date pub edition Oct 22, 1986 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Since discovering Lord Peter in college, I've resisted the urge to race through all of his mysteries. There are only eleven, and I prefer to read them Since discovering Lord Peter in college, I've resisted the urge to race through all of his mysteries. There are only eleven, and I prefer to read them slowly, one every year or so, so they can last as long as possible. Knowing that I only have four left makes me sad, but this collection was a nice antidote - with twenty-one stories, it felt like at least three or four novels' worth of mysteries. Obviously they aren't all great. "The Vindictive Story of the Footsteps That Ran" is sort of a letdown at the end, and "The Abominable History of the Man With the Copper Fingers", while suspenseful and creepy, has a pretty obvious solution that I saw from a mile away. But most of the stories are delightful - "The Fascinating Problem of Uncle Meleager's Will" rests on the characters having to solve a crossword puzzle, and "The Learned Adventure of the Dragon's Head" features Lord Peter solving a mystery with his nephew, and it's just as adorable and charming as it sounds. Also, in case you haven't guessed, all of the mysteries have delightfully old-school melodramatic titles, which I am always a fan of. And my absolute favorite of the bunch was, of course, Talboys, which involves the entire Wimsey-Vane family and I want someone to make a TV series where Peter, Harriet, and their sons travel the country and solve mysteries. (granted, this story does feature scenes where the Wimseys are super rude to a female houseguest, but since she's the 1930's equivalent of an anti-vaccer hippie mom, their disdain is earned) Also there's a mystery that opens with the birth of Peter and Harriet's first child, which I will proceed to quote almost in its entirety because that's how well it demonstrates why I love these two: "'Good lord!' said his lordship. 'Did I do that?' 'All evidence points that way,' replied his wife. 'Then I can only say I never knew so convincing a body of evidence produce such an inadequate result.' The nurse appeared to take this reflection personally. She said in a tone of rebuke: 'He's a beautiful boy.' 'H'm,' said Peter. He adjusted his eyeglass more carefully. 'Well, you're the expert witness. Hand him over.' The nurse did so with a dubious air. She was relieved to see that this disconcerting parent handled the child competently; as, in a man who was an experienced uncle, was not, after all, so very surprising. Lord Peter sat down gingerly on the edge of the bed. 'Do you feel it's up to standard?' he inquired with some anxiety. 'Of course, your workmanship's always sound - but you never know with these collaborative efforts.' 'I think it'll do,' said Harriet drowsily. 'Good.' He turned abruptly to the nurse. 'All right; we'll keep it. Take it and put it away, and tell 'em to invoice it to me. It's a very interesting addition to you, Harriet; but it would have been a hell of a rotten substitute.'" The book also features an afterword by John Curran, who outlines Sayers' life, and it's pretty cool - she had a baby out of wedlock and successfully kept it a secret! He also goes through the trajectory of the Lord Peter novels, including the Harriet Vane romance: "Sayers introduced Harriet Vane in Strong Poison (1930) and allowed her and Wimsey to embark on a three-book courtship culminating in marriage in Busman's Honeymoon (1937). This is the longest - and, some would argue, the most wearisome and embarrassing - courtship in the annals of detective fiction." *record scratch* Excuse you? No one argues that, Curran. NO ONE. If any detective courtship deserves to be called "embarrassing" and "wearisome," it's Stephen Moffat's take on Sherlock's relationship with Irene Adler (yeah, I went there - fight me, Sherlock fangirls). Don't step to me on the subject of Harriet and Peter. "Detective-fiction purists contend that this type of romantic relationship - between detective and suspect - has no place in a detective story," Curran writes. "Other sleuths have managed to meet, court, marry, and produce children without any of the soul-searching in which Peter and Harriet indulged." You best get out your dueling pistols and choose a second, Curran, because them's fightin' words. (I honestly considered taking off a star for the pure dickishness of the afterword, but then I remembered that it's not Sayers' fault.) ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 6 [votes] votes 25 [read count] # times read 1 [date started] date started Jan 27, 2015 [date read] date read Feb 2015 [date added] date added Jan 27, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title We Have Always Lived in the Castle [author] author Jackson, Shirley [isbn] isbn 0143039970 [isbn13] isbn13 9780143039976 [asin] asin [num pages] num pages 146 pp [avg rating] avg rating 4.06 [num ratings] num ratings 26,372 [date pub] date pub 1962 [date pub (ed.)] date pub edition Oct 31, 2006 [rating] Madeline's rating 5 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review In The Haunting of Hill House, Shirley Jackson's group of misguided investigators discuss the idea that some houses are inherently born evil, and are In The Haunting of Hill House, Shirley Jackson's group of misguided investigators discuss the idea that some houses are inherently born evil, and are destined to be haunted from the moment they're built. We Have Always Lived in the Castle explores the opposite idea: how a home becomes a haunted house. One of the many, many fascinating things about this book is the way it could have been approached in a completely different way. It could have opened with someone - a stranger to the village, most likely, who didn't know the story - viewing the ruined Blackwood house. The house stands by itself behind a fence, and the townspeople still tell stories about the family who lived there once, and what happened there. The only ones who approach the house are children, on a dare, who run up to the front steps and sing, "Merricat, said Connie, would you like a cup of tea? Oh no, said Merricat, you'll poison me." The stranger asks around about this apparently-haunted house, and eventually, through flashbacks, its entire terrifying history is revealed. Another writer could have easily tackled We Have Always Lived in the Castle in this way, and the book would have been just as good. But Shirley Jackson is no ordinary horror writer, and she approaches the story of Blackwood House, and the people who lived there and made it what it was, in a straightforward way. She tells the story as it happens, not as a flashback, and we are able to watch the transformation of Blackwood House, and its inhabitants, in real time as the book unfolds. Simply put, We Have Always Lived in the Castle is the story of how a house becomes haunted. It's a ghost story without ghosts - or, more accurately, a story of how a person becomes a ghost. Our view into this house comes from Mary Katherine Blackwood, an eighteen-year-old girl who lives in Blackwood House with her older sister Constance (who is so severely agoraphobic that she can't venture past the yard) and her Uncle Julian, who is confined to a wheelchair and not quite in his right mind. Mary Katherine is responsible for taking care of what's left of her family, and she takes her job as protector very seriously. She's devised a series of talismans to guard the house against the townspeople, who she views as the enemy. But someone is coming to disrupt the routine that Mary Katherine has carefully created, and the intrusion will have horrible and far-reaching consequences. GOD, Shirley Jackson does creepy so well. Mary Katherine, in addition to belonging in the Unreliable Narrator Hall of Fame, is also responsible for giving us one of the best opening paragraphs in literature, when she introduces us to her life thusly: “My name is Mary Katherine Blackwood. I am eighteen years old, and I live with my sister Constance. I have often thought that with any luck at all, I could have been born a werewolf, because the two middle fingers on both my hands are the same length, but I have had to be content with what I had. I dislike washing myself, and dogs, and noise. I like my sister Constance, and Richard Plantagenet, and Amanita phalloides, the death-cup mushroom. Everyone else in our family is dead.” The slow reveal of what exactly happened to the rest of the Blackwood family and why is masterfully done, and Jackson reveals just enough information to keep us from getting frustrated, while still keeping some things hidden (admittedly, the identity of the murderer was pretty easy to guess, if only through process of elimination, but I promise that the why of the murder is a lot more interesting than the who). It's very important that we see the entire story through Mary Katherine's eyes specifically, because as I said, she's not a reliable narrator. "Unbalanced" is putting it lightly, and I could write an entire fucking dissertation on what Mary Katherine tells us vs. what's actually happening. For people who have finished the book: (view spoiler)[did anyone else wonder if Constance wasn't actually that afraid to go outside, but Mary Katherine was keeping her prisoner? Constance knows that Mary Katherine killed the rest of the family, and sometimes it seemed like Constance was afraid of Mary Katherine, and being nice to her just because the threat of being poisoned was hanging over her head. It's very subtle, but it comes through most clearly when Constance is trying to get Mary Katherine to back off Cousin Charles - several times, I got the sense that Constance was trying to calm Mary Katherine down without actually ordering her around, because she was afraid that her sister would react violently. I don't know - Mary Katherine is endlessly fascinating, and I still can't be totally sure what was real and what was in her mind. (hide spoiler)] Nobody does slow-burn, are-ghosts-real-or-are-the-monsters-people, is-this-real-or-am-I-crazy horror like Shirley Jackson. This book is brief, strange, purposefully vague, and terrifying. If you thought haunted-house stories don't need prequels, read this and see how wrong you were. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 8 [votes] votes 54 [read count] # times read 1 [date started] date started not set [date read] date read Dec 2014 [date added] date added Jan 19, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The House on the Strand [author] author Maurier, Daphne du [isbn] isbn 0316252999 [isbn13] isbn13 9780316252997 [asin] asin [num pages] num pages 352 pp [avg rating] avg rating 3.87 [num ratings] num ratings 5,415 [date pub] date pub Mar 01, 1968 [date pub (ed.)] date pub edition Dec 17, 2013 [rating] Madeline's rating 3 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Daphne du Maurier and time travel? Sure, let's give it a shot. That was my entire thought process when I decided to buy this from a secondhand bookstor Daphne du Maurier and time travel? Sure, let's give it a shot. That was my entire thought process when I decided to buy this from a secondhand bookstore last summer. Rebecca is terrifying and brilliant, and I figured that if du Maurier applied even a portion of her talent to this story, it wouldn't be half bad. And it wasn't. I still prefer Rebecca, but who doesn't. Our protagonist is Dick Young, and he's agreed to be part of an experiment done by his college friend, Professor Magnus Lane. Dick will live in Magnus's house in Cornwall and take the prescribed doses of a substance the professor has created, which will enable him to time travel. What is this substance, and how precisely does it work? Shhhhhhh... Not only does the substance transport Dick into the past, it transports him to a very specific past: when he takes the dose, he witnesses events that happened in the exact location he happens to be - except in the 14th century. We, and Dick, learn that the land around Magnus's house used to be owned by the Carminowe family, a group of nobles who, in addition to their own inter-family drama, were also involved in some skullduggery involving the throne of England. Dick's unknowing guide is Roger, a steward working for the family. For reasons that are, unfortunately, never explained, Dick always ends up near Roger when he travels back in time, and doesn't seem capable of wandering too far away from him when he's in the past. By following Roger, Dick meets the extended Carminowe clan, which includes a very bad man named Oilver Carminowe and his very pretty wife Isolda (the family is all siblings and in-laws and even with the family tree provided at the beginning of the book, I could never quite keep the characters straight in my head). You can probably guess where this is going - Dick becomes more interested in his trips to the past than his life in the present, and this has a disastrous effect on his own family. The drug has its downsides, obviously - first, when Dick is in the 14th century, touching anyone or anything will instantly send him back to the present (which, at least, means that we don't have to worry about Dick accidentally going Terminator on his own future). Also the aftereffects of the drug include nausea, temporary paralysis, and severe disorientation. While under the influence of the drug, Dick continues to walk around in a kind of stupor, and wakes up having no idea where he is. And on top of all that, the drug is extremely addictive. So it's a bad time all around. As you can see from my rating, overall I was "meh" on this one, but I'll admit that there were plenty of parts that had me engrossed. Like Dick, who gets only little bits of information at a time while he ping-pongs around in time, I was interested in learning just what Isolda's husband was up to, and what the consequences would be for her. Daphne du Maurier does dramatic tension and shady secrets like nobody's business, so Dick's obsession with the exploits of people who died centuries ago was understandable to me, because she made it fascinating. But still - three stars only. First, Dick is (wait for it...) a dick (RIMSHOT). He's clearly supposed to be unlikeable - the way he treats his wife and stepsons with either indifference or contempt was particularly charming - but that didn't make it easy to root for him. The trips to the past, while fun and interesting, are serious info-dumps and require the historical characters to keep doing that thing where they'll be talking to someone and say, "Well, as you know..." and then proceed to explain in detail exactly what this other person supposedly knows already. Ugh. But altogether, this ended up being a lot more engrossing and creepy than I expected - the fact that Dick can't touch anything while watching the Carminowe's makes him begin to believe that he's becoming some kind of ghost, and that the people in the 14th century are the ones who are really alive, while Dick and his family are only a kind of memory. At its best, The House on the Strand is a dark, Gothic story of a man slowly losing his grip on reality. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 3 [votes] votes 23 [read count] # times read 1 [date started] date started not set [date read] date read Dec 2014 [date added] date added Jan 09, 2015 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The Wind-Up Bird Chronicle [author] author Murakami, Haruki [isbn] isbn 0965341984 [isbn13] isbn13 9780965341981 [asin] asin [num pages] num pages 607 pp [avg rating] avg rating 4.18 [num ratings] num ratings 120,147 [date pub] date pub 1994 [date pub (ed.)] date pub edition 1997 [rating] Madeline's rating 2 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review I wanted to like this book more than I actually did. The storytelling is great, and even if I had issues with some of the characters (okay, all of the I wanted to like this book more than I actually did. The storytelling is great, and even if I had issues with some of the characters (okay, all of the female characters), they all managed to be consistently compelling. But I just couldn't get into this one. The story, while interesting, sort of meandered around and by the end, it seems to have forgotten where it was trying to go in the first place. Murakami starts plot points, presents us with new mysteries and characters, and then he gets distracted by something and forgets to resolve the stuff he told us would be important. I tried to start this review by summarizing the plot, but then I realized I couldn't. So that's probably not a good sign. And of course, it turns out that Murakami is not a male novelist, he is a Male Novelist. First there was the little spurts of misogyny that kept popping up, and then there was May Kashahara, who is sort of a like a Lolita/Manic Pixie Dreamgirl monster. She is inexplicably attracted to our hero, because obviously, and she says supremely irritating Manic Pixie Dreamgirl things like "People like me don't get along well with dictionaries" which, aside from being one of the most annoying sentences I've ever read, also makes no fucking sense. She makes Natalie Portman in Garden State look realistic and grounded. I'm glad I finally read this, because I've been meaning to read Murakami for years. But it's going to be a long time before I can be persuaded to pick up another one of his books again. Be sure to buy my album, Murakami Can't Write Women For Shit, on your way out. We have t-shirts too. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 5 [votes] votes 40 [read count] # times read 1 [date started] date started Dec 31, 2014 [date read] date read Jan 2015 [date added] date added Dec 31, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The Grapes of Wrath [author] author Steinbeck, John [isbn] isbn 067001690X [isbn13] isbn13 9780670016907 [asin] asin [num pages] num pages 496 pp [avg rating] avg rating 3.89 [num ratings] num ratings 419,057 [date pub] date pub 1939 [date pub (ed.)] date pub edition Apr 10, 2014 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Chirst. This was a tough one to read. I don't just mean it was depressing. It was, obviously - a book about a poor family being forced from their home Chirst. This was a tough one to read. I don't just mean it was depressing. It was, obviously - a book about a poor family being forced from their home during the Great Depression and having to beg for the chance to pick cotton at fifteen cents per hour can't be anything except depressing - but it wasn't the most depressing book I've ever read. That honor probably goes to The Hunchback of Notre Dame, although I guess Angela's Ashes is a close second. This was hard to read, not because it was a portrayal of a horrible period of history that actually happened. That contributed to the tragedy of the book, of course, coupled with the knowledge that there were not just a few Joad families during the Great Depression, but millions of them, so your percentage of possible happy endings is going to be pretty low. It wasn't even sad because Steinbeck was using the backdrop of the Great Depression to illustrate the greater problems in America - the disparity between rich and poor, the way low-level laborers have to fight tooth and nail to achieve the most basic human rights, the fact that the people who run the major banks and farms are horrible unfeeling shells of human beings, etc. The Grapes of Wrath is sad for all of these reasons, but here is what makes it sadder than anything: not the fact that Steinbeck is writing about a horrible period in history that's behind us now. It's because that horrible period went away, and then it came back. We aren't in the middle of a second Dust Bowl, but make no mistake: we are living in the second Great Depression. If you haven't read yet and have always been meaning to, there's no better time than now. Steinbeck's book was written in the late 1930's, but just about everything that happens here is happening right in your state - possibly in your neighborhood - as you read this. You read about the banks in the Great Depression sending men to bulldoze people's houses while the family stood outside, and find yourself thinking, "Well, at least now they just pile all your stuff on the curb after you get foreclosed on." You read about migrant families accepting offers to work all day at pitiful wages, because fifteen cents an hour is still better than zero cents an hour and the kids have to eat, and you think about the immigrants who pick your food in exchange for shitty wages. You read about the Joad family and the others being called "Okies" and forced out of their camps by the cops, and think about politicians who scream about "illegals" taking away the good American jobs and deporting kids' parents. Is this review getting too politcally-minded? Good. That's how Steinbeck would have wanted me to talk about his book, because let me assure you - The Grapes of Wrath is extremely fucking political. Another reviewer called it the anti-Atlas Shrugged, which is pretty damn apt. It's all about unions and the rights of the worker and how poor people need government assistance because sometimes life just sucks for no fucking reason. It's sad and it's searing, and beautifully written, and unrelentingly depressing. But it should be read. (the only reason this gets four stars instead of five is because of the ending. Look, I know that Steinbeck didn't have to give the Joads a happy ending, and I'm not saying he gave them a sad one either - he gave them a weird one instead. I was already pretty sick of hearing about Rose of Sharon and her magical pregnancy, so it was just the cherry on top of a shit subplot sundae that the ending (view spoiler)[had her breastfeeding an old man after her baby died. First: allow me to turn into a middle-schooler for a second and say ewwwwwwwwwww. Second: I kind of get what Steinbeck was trying to say with his ending, because it kind of tied into his idea that the only ones who help poor people are other poor people, and Rose of Sharon was literally feeding a dying man with her own body and oh my god personal sacrifice...but on the other hand, she was breastfeeding an adult man. And it was weird and gross and then the book was over. Nope. (hide spoiler)] ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 10 [votes] votes 61 [read count] # times read 1 [date started] date started not set [date read] date read Dec 2014 [date added] date added Dec 27, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title The Golden Notebook [author] author Lessing, Doris [isbn] isbn 006093140X [isbn13] isbn13 9780060931407 [asin] asin [num pages] num pages 640 pp [avg rating] avg rating 3.75 [num ratings] num ratings 11,931 [date pub] date pub 1962 [date pub (ed.)] date pub edition Feb 03, 1999 [rating] Madeline's rating 2 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "'In what way are you different? Are you saying there haven’t been artist-women before? There haven’t been women who were independent? There haven’t b "'In what way are you different? Are you saying there haven’t been artist-women before? There haven’t been women who were independent? There haven’t been women who insisted on sexual freedom! I tell you, there are a great line of women stretching out behind you into the past, and you have to seek them out and find them in yourself and become conscious of them.' 'They didn’t look at themselves as I do. They didn’t feel as I do. How could they? I don’t want to be told when I wake up, terrified by a dream of total annihilation, because of the H-bomb exploding, that people felt that way about the cross-bow. It isn’t true. There is something new in the world. And I don’t want to hear, when I’ve had encounter with some Mogul in the film industry, who wields the kind of power over men’s minds that no emperor ever did, and I come back feeling trampled on all over, that Lesbia felt like that after an encounter with her wine-merchant. And I don’t want to be told when I suddenly have a vision (though God knows it’s hard enough to come by) of a life that isn’t full of hatred and fear and envy and competition every minute of the night and the day that this is simply the old dream of the golden age brought up to date…I want to be able to separate in myself what is old and cyclic, the recurring history, the myth, from what is new, what I feel or think that might be new…' I saw the look on her face, and said: 'You are saying that nothing I feel or think is new?'" Anna Wulf is a writer with one published work to her name. The book was fairly successful, enabling Anna to support herself and her young daughter with the profits from the royalties, as well as taking in boarders in her London house. Although she hasn't gotten anything else published, Anna keeps up her writing, keeping four different notebooks. In a black notebook, she writes about her time as a young woman in Africa when she first became involved with the Communist Party. A red notebook describes her later disillusionment with the movement in the 1950's. In a yellow notebook, she writes a novel that's basically a fictionalized version of an affair she once had. A blue notebook is for her personal diary. Additionally, several chapters are titled "Free Women" and are a third-person description of Anna's conversations with Molly, a friend from her Communist days. This was a slog, and not just because it's essentially just 635 pages of people sitting around and talking. The structure reminded me of Margaret Atwood's The Blind Assassin, so that was an automatic strike against this book, because The Blind Assassin does the whole blending-fact-and-fiction schtick a hell of a lot better than The Golden Notebook does. It seemed like the more interesting notebooks got fewer pages than they deserved, while the less interesting parts took up too much space - I could have read an entire book just about Anna's experiences in Africa, but the stuff about her later disillusionment with Communism was kind of like reading a blow-by-blow description of paint drying. But the biggest problem with this book was, I'll admit, mostly my fault. I went into this book knowing one thing: this is a Very Important Feminist Text, so I read it with that mindset. And you know what I found? Dudes. Lots and lots of dudes. Seriously, for a "feminist book" - or, hell, just a book written by a woman and featuring a female protagonist - there is a hell of a lot of page time wasted on male characters. I say "wasted" because no one in this story is even remotely interesting, except for maybe Anna's friends from her Africa days. But like I said, they get kind of shafted by the narrative and instead we have to read pages and pages about Anna having a series of dismal affairs - Anna seems incapable of having a relationship that's satisfying in any way, and a mean part of my brain starting thinking, hey Anna, you know how they say that if everyone you meet is an asshole, that means you're the asshole? Maybe there's a reason everyone you date is bad at sex and emotionally unavailable. Anyway, we hear A LOT about Anna's many, many, boring and terrible relationships, and the worst of them comes at the end of the book, when she starts having an affair with an American man named Saul Green. Saul Green is the living worst. Saul Green makes Fitzgerald Grant seem lovable. Saul Green is the opposite of Batman. But Anna loves Saul Green, for absolutely no fucking reason, and so we have to read chapter and chapters of Anna dating this terrible person and talking about how much she loves him, and I hated every moment I had to read about his character. The worst part? At the end, Anna buys the golden notebook featured in the title, and Saul, because he is The Worst, tells Anna that he wants the notebook for himself. Because he is The Worst. And Anna, unable to see that she's dating a spoiled two-year-old who somehow managed to pass for an adult man, just laughs, like, Oh Saul, you're so funny when you joke about denying my personal autonomy! But he's not joking, because guess what Saul does? He gets his hands on Anna's golden notebook and writes his own name on the inside cover. If my boyfriend wrote his name on a notebook that I specifically told him I was saving for something special, I would probably beat him with my own shoe. Anna's reaction? "It made me laugh, so that I nearly went upstairs and gave it to him." No. No no. No no no no noooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo. (I'm sorry, I completely lost my train of thought there. That's how much I hate Saul Green and every minute I wasted reading about him while Doris Lessing tried to convince me he was charming.) Come to think of it, I'm not %100 sure this book even passes the Bechdel test. The "Free Women" scenes were my favorite, and the ones that came the closest, because they were all about Anna and Molly talking, but guess what they talk about? Molly's ex-husband, and her son. And then I realized that the "Free Women" sections were primarily concerned with the male characters' storylines, and then I had to lie down for a while until I stopped wanting to set this book on fire. The one shining bright spot of this book: as you can tell from the excerpt at the top of this review, the writing is very good, and the characters are all solid. They're just boring and/or infuriating. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 7 [votes] votes 30 [read count] # times read 1 [date started] date started not set [date read] date read Dec 2014 [date added] date added Dec 03, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title Yes Please [author] author Poehler, Amy [isbn] isbn 0062268341 [isbn13] isbn13 9780062268341 [asin] asin [num pages] num pages 329 pp [avg rating] avg rating 3.79 [num ratings] num ratings 111,067 [date pub] date pub Jan 01, 2014 [date pub (ed.)] date pub edition Oct 28, 2014 [rating] Madeline's rating 5 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review This is not a comedy book. I mean, it's funny. Amy Poehler can't write a book and not be funny, because she's Amy fuckin' Poehler. But (and this is no This is not a comedy book. I mean, it's funny. Amy Poehler can't write a book and not be funny, because she's Amy fuckin' Poehler. But (and this is not the first time I'm going to compare the two memoirs) where Tina Fey's Bossypants contained humorous essays written specifically for the purpose of being funny, Poehler's does not. Everything is presented in a straightforward, matter-of-fact, fashion, and although a lot of the book is very, very funny, it never seems like this was the specific goal behind the essays. This is also not a book about comedy. Although Amy Poehler discusses her time on improv groups in Chicago and New York, Saturday Night Live, and Parks and Recreation, she never gets more in-depth than "then we moved to New York and started working at this theater." Her time on SNL is reduced to a chapter of brief (but fantastic) anecdotes. Amy Poehler is renowned for her ability to play vastly different characters - somewhere on the internet is a photo gallery of all her Second City characters - but she never discusses what goes into each character. The closest we get is this description of her preparing her Hillary Clinton imitation and finally getting a bead on the character by playing her as someone who is tired of always being the smartest person in the room. Okay, so it's not a comedy book, and it's not a book about comedy, and it's really not even much of a memoir - Poehler does not discuss her divorce because "it is too sad and too personal. I also don't like people knowing my shit." So what, exactly, is Yes Please? It feels weird to classify this book as a self-help book. But that's what I got out of it. Maybe your experience with Poehler's book will be different, but as I was reading it, the parts that left the greatest impressions on me are the ones where she is demonstrating how to be a good person. The title itself references this - Poehler spends some time discussing how the improv rule of always replying with "yes, and..." is also a good rule for life, and how she tacks "please" onto that because Amy Poehler is truly, genuinely, wonderfully nice, and that's always refreshing. But lest you think she's some kind of pushover, rest assured that Amy Poehler is also a badass who gets what she wants, and if you pay attention, she can teach you how to do that: "When someone is being rude, abusing their power, or not respecting you, just call them out in a really obvious way. Say, 'I can't understand why you are being rude because you are the concierge and this is the part of the evening where the concierge helps me.' Act like they are an actor who has forgotten what part they are playing. It brings the attention back to them and gives you a minute to calm down so you don't do something silly like burst into tears or break their stupid fucking glasses." She also teaches you how to be good at what you do, in a very good essay called "Treat Your Career Like a Bad Boyfriend": "Now, before I extend this metaphor, let me make a distinction between career and creativity. Creativity is connected to your passion, that light inside you that drives you. That joy that comes when you do something you love. That small voice that tells you, 'I like this. Do this again. You are good at it. Keep going.' That is the juicy stuff that lubricates our lives and helps us feel less alone in the world. Your creativity is not a bad boyfriend. ...You have to care about your work but not about the result. You have to care about how good you are and how good you feel, but not about how good people think you are or how good people think you look." I don't want to imply that this is all heavy, here's-how-to-be-a-successful-person stuff. There's lightness in this book, and like I said, it's funny and fluffy, but there's a solid gold center deep within this seemingly light read that makes it stand out from other comedy memoirs I've read. I treated this book as a manual on how to become Amy Poehler, and there are worse things we could be. Have I mentioned that Amy Poehler is nice? She's so nice. She does the same thing Tina Fey did in her book where she lists a lot of the people who work on her TV show with her and it's basically an excuse for her to gush over how much she likes the people she works with (she calls Aubrey Plaze "a big-hearted warrior"). She spends a long chapter talking about her sons and how much she loves them. Tiny Fey's book featured a chapter called "We Don't Care if You Like It (One in a Series of Love Letters to Amy Poehler)." Amy Poehler's book returns the favor by including an acrostic poem about Tina Fey, which might seem disingenuous, but it's clear on every page how much these two great people love each other: "Sometimes Tina is like a very talented bungee-jumping expert. All it takes is for Tina to softly say, 'We can do this, right?' and I suddenly feel like I can jump off a bridge." I don't know how you guys reacted to that line, but when I read it I had to put the book down and immediately send a text to my best friend telling her I loved her. That's the effect Amy Poehler's book had on me: it taught me how to do what I wanted, how to feel good about myself, how to deal with whatever terrible things life throws at you, and it reminded me to be kind. And it's pretty fucking funny, so there's that. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 54 [votes] votes 368 [read count] # times read 1 [date started] date started not set [date read] date read Oct 2014 [date added] date added Nov 19, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title The Far Side of the World (Aubrey/Maturin, #10) [author] author O'Brian, Patrick [isbn] isbn 0393308626 [isbn13] isbn13 9780393308624 [asin] asin [num pages] num pages 366 pp [avg rating] avg rating 4.42 [num ratings] num ratings 6,695 [date pub] date pub Jan 01, 1984 [date pub (ed.)] date pub edition Apr 17, 1992 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review It's always nice to revisit Aubrey and Maturin. I've only read a couple books from this series, and I never feel any serious need to find more install It's always nice to revisit Aubrey and Maturin. I've only read a couple books from this series, and I never feel any serious need to find more installments, but I always enjoy them when I do. And this is one of the best ones - not only because it's pretty similar to the movie version and picking out what they changed/didn't change for the adaptation is a fun game, but also for other reasons, which I will now list: -Plots! So many plots. Almost too many plots. This book is just over four hundred pages, and there is A LOT happening. The main story concerns the Surprise trying to track an American ship, the Norfolk, around South American (the movie changed the bad guys into Frenchmen, first because it connects better to the threat of Napoleon and also AMERICA FUCK YEAH). But there's more. Maturin has a spying subplot, as he often does, and there's a nice scene where Jack helps him figure out where a secret letter has been hidden. Then the Surprise itself is a little fuller than usual, as the ship is carrying a bunch of twelve-year-olds who are learning about ship life (let's call them interns), which was included in the movie - but there's also a bunch of crewmen who were recruited from an insane asylum, and also two crewmen bring their wives along. So in addition to the multiple plots, we also have a ton of characters to keep track of, but luckily they're all a lot of fun. Also we have the tension created between Maturin and Aubrey when Aubrey cancels the former's day trip to the shore and Maturin gets all huffy about it. And there's a big scandal where one of the crewmen has an affair with one of the women and it does not end well. And towards the end of the book Aubrey and Maturin fall overboard (or, more accurately, Maturin falls overboard and Aubrey jumps in to save him) and are lost at sea, and then rescued by a boat crewed entirely by Polynesian women who plan to castrate them (why the hell was that not in the movie?). And then Aubrey captures a bunch of prisoners and the crew of the captured ship and the Surprise have to stay on an island together while Aubrey tries to keep everyone from killing each other. Quick - without looking, tell me the name of the American ship they're trying to catch. See what I mean about almost too many plots? It can be hard to keep up with, but luckily it's all very exciting and well-written, so even if you're not 100% sure what's going on, you're still having a good time. -Lots of fun details O'Brian's books are always impressively researched, but it seemed like there was an extra amount of good insider information about ships in the 1800s here. There are details about the Sunday services given on English ships (sailors were woken up half an hour earlier, to give them time to clean up for services), the sheer number of different people who traveled on ships (see: crewmen's wives and the interns, and it's very cute because the two women are in charge of the kids' lessons onboard), and the ceremonies involved in taking a ship and its crew prisoner. I also now exactly what grog is - I always knew it was watered-down rum, but apparently they also added lemon juice and sugar to it, and someone should really put that in a Mason jar and sell it to hipsters for $15. Additionally, there are a lot of descriptions about the food served on the ship, like this passage about the meal served at a fancy dinner in Aubrey's cabin: "'Mr. Martin,' said Jack, after the chaplain had said grace, 'It occurred to me that perhaps you might not yet have seen lobscouse. It is one of the oldest of the forecastle dishes, and eats very savory when it is well made: I used to enjoy it prodigiously when I was young. Allow me to help you to a little.' Alas, when Jack was young he was also poor, often penniless; and this was a rich man's lobscouse, a Lord Mayor's lobscouse. Orrage had been wonderfully generous with his slush, and the liquid fat stood half an inch deep over the whole surface, while the potatoes and pounded biscuit that ordinarily made up the bulk of the dish could scarcely be detected at all, being quite overpowered by the fat meat, fried onions, and powerful spices." ...yum? Either way, you gotta admire the detail that went into this book. O'Brian knows his stuff. And now we come to my favorite aspect of this book. -Ladies! (yeah!) Ladies! (yeah!) In addition to the two women on board the Surprise (one of whom gets a really good, albeit tragic, subplot where she has an affair with one of the crewmen), there's the previously-mentioned bit where Aubrey and Maturin get rescued by a ship of Polynesian women. Polynesian women who decorate the masthead of their ship with the severed dicks of their victims. Also one of the women jumps into the ocean and kills a shark with a knife. Okay, on the one hand, I understand why this was left out of the movie version, because it would be a total distraction from the whole let's-get-the-French plot. But on the other hand, where is my movie about a ship full of castrating Polynesian women! Scratch that, I want a miniseries. Anyway, that entire subplot is awesome, and combined with the two women who travel on the Surprise, completely obliterates the argument that female characters don't belong in seafaring stories because "it's not historically accurate!" Check and mate, says O'Brian. Also the Polynesian women are fantastic because they prompt this conversation between Stephen Maturin and another man, which I will reproduce in its entirety because that's how happy it made me: "'No,' said Martin, 'I saw nothing but a swarthy crew of ill-looking female savages, full of maligned fury, a disgrace to their sex.' 'I dare say they had been ill-used, the creatures,' said Stephen. 'Perhaps they had,' said Martin. 'But to carry resentment to the point of the emasculation you described seems to me inhumane, and profoundly wicked.' 'Oh, as far as unsexing is concerned, who are we to throw stones? With us any girl that cannot find a husband is unsexed. If she is very high or very low she may go her own way, with the risks entailed therein, but otherwise she must either have no sex or be disgraced. She burns, and she is ridiculed for burning. To say nothing of male tyranny - a wife or a daughter being a mere chattel in most codes of law or custom - and brute force - to say nothing of that, hundreds of thousands of girls are unsexed every generation: and barren women are as much despised as eunuchs. I do assure you, Martin, that if I were a woman I should march out with a flaming torch and a sword; I should emasculate right and left.'" (at this point, I have to point out that earlier in the book Maturin refuses to perform an abortion on a woman who tells him that her husband will literally kill her if he finds out she's pregnant, so way to put your money where your mouth is, douche. But the speech is still awesome, and Maturin is still great.) ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 8 [votes] votes 20 [read count] # times read 1 [date started] date started not set [date read] date read Oct 2014 [date added] date added Nov 02, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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[0] checkbox [#] position [cover] cover [title] title One More Thing: Stories and Other Stories [author] author Novak, B.J. * [isbn] isbn 0385351836 [isbn13] isbn13 9780385351836 [asin] asin [num pages] num pages 288 pp [avg rating] avg rating 3.62 [num ratings] num ratings 19,251 [date pub] date pub Feb 04, 2014 [date pub (ed.)] date pub edition Feb 04, 2014 [rating] Madeline's rating 3 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "The Walk to School on the Day After Labor Day I was sad that summer was over. But I was happy that it was over for my enemies, too." Take a minute and "The Walk to School on the Day After Labor Day I was sad that summer was over. But I was happy that it was over for my enemies, too." Take a minute and examine your reaction to that quote, one of the shortest pieces (I can't in good conscience call it a story) in BJ Novak's collection of short stories. I imagine that your reaction was similar to mine when I first read it - you probably smiled a little, maybe did one of those almost-laughs where you just blow air out your nose, and thought, "Oh, that's clever" and then immediately forgot about it. That's the experience I had reading this book, repeated for several dozen stories. There's nothing particularly bad about any of the stories, and I giggled a couple of times while reading, but that's about it. The collection isn't awful, but it's nothing special. It's funny, but a pretentious kind of funny, and it's clever, but mostly for the sake of cleverness. And most of the stories are not stories so much as they're half-baked ideas that needed more love and attention. Some of the stories were fun in an absurdist way, like the one about Johnny Depp deciding to crash his motorcycle in front of a Hollywood tour bus, and many of them read like first drafts of a stand-up routine - like "Chris Hansen at the Justin Bieber Concert," where Hansen explains to his teenage daughter the numerous reasons he can't go to the concert with her. Others are more like little snippets of larger stories, like "Julie and the Warlord," where a woman goes on a date with an African warlord and debates ethics with him. This story is a lot more fun if you mentally cast Mindy Kaling as Julie - in fact, I'm ashamed to admit that I spent a lot of the book searching for evidence that proves my long-standing theory that Novak and Kaling are soulmates and need to get married yesterday (in response to the question of whether it's creepy to ship real people: yes, yes it is). Mostly though, I spent my reading time thinking about how much better these ideas would be in the hands of another writer. "Sophia," a story about a man who returns a sex robot after it falls in love with him, could have been masterful in Stephen Millhauser's hands. Sometimes they just fall flat: "One of These Days, We Have to Do Something About Willie" ended with an emotional gut-punch that didn't feel earned. And sometimes they feel like they've been recycled from somewhere else. "Kellog's (Or the Last Wholesome Fantasy of the Middle-School Boy)" reads like a script for The Office that got rejected for being too dark. He's not great at forming full stories, but Novak excels at sharp humor and realistic portrayals of modern life - at its best, his writing resembles Dorothy Parker and her acidic one-liners, like here: "The casino looked like a straight person's attempt to replicate what he thought a gay kid he bullied in high school would have designed." and here: "'Do you have any regrets, Grandpa?' asked the ten-year-old, solemnly, as if he imagined himself wearing a tie." Did you do the blow-air-out-your-nose laugh again? Like I said - that's about the best you can hope for with this book. Reading it wasn't a waste of an afternoon, but I'm glad I got it from the library instead of buying it. As an added bonus, please watch this trailer for One More Thing (because apparently book trailers is a thing now?) featuring BJ Novak and Mindy Kaling and tell me they aren't totally in love. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 4 [votes] votes 22 [read count] # times read 1 [date started] date started not set [date read] date read Oct 2014 [date added] date added Oct 28, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title The Screaming Staircase (Lockwood & Co., #1) [author] author Stroud, Jonathan * [isbn] isbn 0857532014 [isbn13] isbn13 9780857532015 [asin] asin [num pages] num pages 440 pp [avg rating] avg rating 4.17 [num ratings] num ratings 9,526 [date pub] date pub Aug 29, 2013 [date pub (ed.)] date pub edition Aug 29, 2013 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review I can't believe I almost forgot about Jonathan Stroud. His Bartimaeus trilogy was one of my favorites when I was in middle school/high school, but I n I can't believe I almost forgot about Jonathan Stroud. His Bartimaeus trilogy was one of my favorites when I was in middle school/high school, but I never thought I would find another one of his books, because for some reason I believed that he hadn't written anything else after that series. It was pure chance that I learned about this book at all - I can't remember which of my Goodreads friends put this on their to-read list, but someone did, and I happened to be looking at my feed at the exact right moment, so whoever it was, I thank you. It's been at least ten years since I read the Bartimaeus books, and going back to Stroud's writing was like catching up with an old friend. Like his previous series, The Screaming Staircase concerns supernatural elements and takes place in Stroud's signature setting, London in an unspecified time period that feels like it should be the Victorian era but isn't (seriously, I don't know how Stroud does it - there's never anything in his books that specifically says "we're in the reign of Queen Victoria right now," but somehow that's always how I imagine the setting, and then I'm totally thrown off whenever someone starts talking about plastic or microwaves). With the Bartimaeus trilogy, it was demons and magicians. Here, it's ghosts. The book starts out in media res, with teenagers Lucy Carlyle and Anthony Lockwood going to ghost-bust a haunted house. This is a great way to open the story, because we get to see Lucy and Lockwood in action and learn about their specific ghost-hunting gifts (Lockwood can see death-glows, and Lucy is an empath who can hear spirits and their emotions) without needing to sit through lots of buildup and exposition. It's only after the ghost-hunting section is over, and we're fully hooked, that Stroud has Lucy explain what's going on to the reader. About fifty years ago, she tells us, England was beset by "the Problem." Ghosts started appearing every night, and worse, they gained the ability to hurt people - Lucy talks about "ghost-touch," which can kill a person. Ghosts are invisible to adults, but children can see them, and have psychic abilities that fade when they grow up. So now ghost-hunting has become a profession in England, and the ghost hunters are all children and teenagers (which is a very neat solution to the central problem found in most YA-adventure lit, the question of why children are always running around unsupervised with weapons and magic). The worldbuilding is fantastic, with Stroud fully exploring what a society threatened by ghosts would look like. City-wide curfews are enforced, because ghosts only come out at night, and houses have to be protected with iron and channels of running water to keep the ghosts out. As I said, ghost-hunting has become an official profession, and Lucy works for Lockwood & Co, a pretty ragtag agency consisting of her, Lockwood, and another boy named George (who has been rather unfairly left off the cover of every edition of this book). The job that's described in the beginning of the book is what starts the action. Lucy and Lockwood discover the body of a girl who was murdered fifty years ago (and is therefore the source of the haunting). The murderer was never caught, so the group starts trying to figure out who killed the girl, while also trying to keep their agency from going bankrupt. Then they get hired to investigate one of the most haunted buildings in England - it houses the screaming staircase of the title, and also "the Red Room" and don't worry, it's just as terrifying as it sounds. The writing is sharp and witty, although none of the kids can match Bartimaeus in snark. All of the ghosts are legitimately terrifying, and the entire sequence at the haunted house is suspenseful and delightfully scary. The characters are well-done and fun, and Lucy is a fantastic heroine. This was the only wobbly part of an otherwise well-paced, witty, scary, and well-written story - the haunted house and the murder investigation seem like two separate stories, and don't really mesh well together even after we learn how they're connected. The murder mystery itself is pretty good, but it's solution is so weak that I had to take a star from the book's rating. Without giving anything away (I'll save that for the spoiler button in a minute), it's one of those very irritating mysteries where the culprit is only caught because they kept doing shit to scare someone off the case, like every villain in every episode of Scooby-Do ever. Stroud's villain gives those guys a run for their money in the scaring-people-off-the-case-and-therefore-helping-them-solve-it department. We eventually find out that (view spoiler)[the guy hired Lockwood & Co to investigate the house because he hoped that the ghosts would murder them. This is completely stupid, especially because he had no reason to be worried in the first place. The big important evidence he was trying to keep hidden? It's a coded inscription on the victim's locket, and once the kids figure it out they're like, aha, we've got you now! But all the inscription proves is that the guy was having an affair with the victim. We've still got a fifty-year-old cold case, no witnesses, and the body and the crime scene were destroyed in a fire. There's literally zero proof that the guy is a murderer, but he decides to be clever and kill the kids off, and that's how he gets caught, and it's so stupid and clumsy and it hurts my mystery-loving heart. (hide spoiler)] The book can almost function on its own as a story, although there's some setup for a sequel at the end, hinting that we're going to learn more about Lucy's abilities and the origins of the Problem. I'll have to track down Book 2 as soon as I can. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 7 [votes] votes 26 [read count] # times read 1 [date started] date started not set [date read] date read Oct 2014 [date added] date added Oct 09, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Wild Magic (Immortals, #1) [author] author Pierce, Tamora * [isbn] isbn 1416903437 [isbn13] isbn13 9781416903437 [asin] asin [num pages] num pages 362 pp [avg rating] avg rating 4.31 [num ratings] num ratings 44,454 [date pub] date pub Dec 01, 1992 [date pub (ed.)] date pub edition Jun 01, 2005 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review After a short break, I've returned to Tortall, and guys, it's great to be back. I decided to resume my long-overdue Tamora Pierce education for two re After a short break, I've returned to Tortall, and guys, it's great to be back. I decided to resume my long-overdue Tamora Pierce education for two reasons: first, the Immortals quartet was completely new to me (as a kid, I had a passing familiarity with the Alanna, Kel, and Aly series, having read a few chapters of each before abandoning them); and also I found out that my sister has all four of the books in one volume, so I stole it from her. Sorry, borrowed. The first book takes place about ten years after Lioness Rampant left off - a lot of familiar characters are here, including Jonathan, Thayet, George, and of course Alanna (we also get to meet Jon and Alanna's respective kids, and even though I knew from the Trickster series that Alanna and George have three kids, my heart still squee'd super hard just like it did at the end of The Deathly Hallows SHUT UP THAT EPILOGUE WAS BEAUTIFUL AND NECESSARY I WILL FIGHT YOU). Our heroine this time is Daine (short for Verlidaine Sarrasri - oof) and we first meet her getting a job working with the royal horsemistress of Tortall. Daine is good with animals, and because this is a Tamora Pierce book, not only does Daine have a way with animals, but she can actually talk to them. Daine's magic is different than Alanna's though - she has something called "wild magic" and may not, in fact, be completely human. Alanna will always be first in my heart, but I have to admit that I already prefer this series to the Lioness quartet. First, because the problems that plagued the Lioness series are not present here. Pierce's most obvious struggle in those books was the fact that she was forced to cram about eight years' worth of action into four books, and often the pacing felt rushed and disjointed. The action of Wild Magic occurs over a couple of months, so it never feels like we're rushing through events to get to the main conflict. The return of so many familiar characters means that, aside from telling Daine's story, the book also serves as kind of reunion for the characters we loved in Alanna's series. Also the conflict of the story is much better here - in this book, we learn that the Immortals have been released from magical captivity and are wreaking havoc on Tortall. Immortals include stock fantasy creatures like dragons and griffins, but we also have some original creations like spidrens and stormwings. Duke Roger, the primary antagonist in the Lioness series, always felt like more of a cartoon villain than a real threat, and even the mean gods were never much of a concern because Alanna was the Goddess's best buddy or something. The creatures in Wild Magic are generally terrifying, and I found myself wishing that someone would make this series into a movie, just so I could see all of this brought to life - imagine what Guillermo del Toro could do with the stormwings! It's really unfair to compare this series with Alanna's (even though I keep doing that), because even though they take place in the same universe and include many of the same characters, the similarities end there. The books are alike on a surface level (plucky girl character learning to be a badass and use cool magic with the help of talking animal friends) but in reality the books are trying to do very different things. Alanna's books were all about teaching girls about hard work, courage, and never letting society dictate what you can and can't do. Wild Magic is about how family is sometimes what you find, not what you're given. It spends a lot of time exploring the concept of loyalty and sacrifice, and in much more eloquent detail than Alanna's books ever did - there's a great scene at the end, when Daine is trying to prevent her animal friends from fighting in the big climactic battle because she doesn't want them to get hurt, and she realizes that she has to let her friends fight for her, and it's so good. The magic in these books is also more well-done than it was in the Lioness series. Where Alanna was literally handed her powers ("Hi Alanna! I'm the Goddess, and you're the Chosen One. Here, have a magic sword, a magic necklace, and a magic cat."), Daine has to learn to use her powers and trust them. The actual mechanics of magic are also explored in more detail, and Tamora Pierce seems to have a better handle on how the magic in her books actually works. Better villains, better storytelling, great new characters, a nice revisit with old ones...so far, the Immortals series is off to a great start. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 9 [votes] votes 13 [read count] # times read 1 [date started] date started not set [date read] date read Oct 2014 [date added] date added Oct 05, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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[0] checkbox [#] position [cover] cover [title] title Unsinkable: The Full Story Of The RMS Titanic [author] author Butler, Daniel Allen [isbn] isbn 0306811103 [isbn13] isbn13 9780306811104 [asin] asin [num pages] num pages 312 pp [avg rating] avg rating 4.06 [num ratings] num ratings 458 [date pub] date pub Mar 1998 [date pub (ed.)] date pub edition Mar 07, 2002 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review I was eight years old when Titanic barreled its way into theaters, so I wasn't at the epicenter of the hysteria over the movie (my best friend in elem I was eight years old when Titanic barreled its way into theaters, so I wasn't at the epicenter of the hysteria over the movie (my best friend in elementary school saw the movie in theaters and immediately became obsessed with Leonardo DiCaprio - meanwhile, I was still spending recess pretending to be a horse, because I was super cool). I don't think I actually saw the movie in its entirety until I was a teenager, so I was never as fascinated by the story as everyone else was, but I still understood the appeal. Even if you remove the hysterical star-crossed lovers plotline (You jump I jump, Jack!), the story of the sinking of the Titanic is almost too classically Hollywood to be believable. A ship that was billed as "unsinkable", one of the most luxurious ocean liners of its time, strikes an iceberg and sinks, resulting in the highest casualties of its time (prior to the sinking of the Titanic, the grand total of deaths on an ocean liner in the past forty years was six people). Poor people trapped below as the ship sinks, families saying tearful goodbyes at the lifeboats, and musicians playing even as the ship goes under? You can't make this shit up. I've always wanted to read a good nonfiction account of the sinking, and when I saw this at the library, I decided to give it a try. Having never read any other accounts of the sinking of the Titanic, I obviously can't compare Butler's book to anything or evaluate its accuracy. That being said, it's definitely thorough and well-researched. Butler gives us some background into the building of the Titanic and some general stats about the ship, but he wastes no time getting to the good stuff - the night of the sinking occurs on page 63, and Butler goes into almost exhausting detail covering almost every moment of the ship's final two hours. Working off primary sources and secondary accounts, Butler discusses the crew's response as well as the experiences of multiple passengers, from first class to steerage. It's true that there were gates keeping the third class passengers from the rest of the ship, Butler says, but this was an immigration regulation (can't have those dirty Europeans down in steerage getting their lice on the rich people) and most of those gates were unlocked when the ship began to sink. The real problem was that the people in third class had no idea how to get around the ship, which was specifically designed to keep them belowdecks, and they had to be led to the upper decks by crewmen: "At half past midnight the word came down to Third Class to send the women and children up to the Boat Deck. Steward Hart, who had realized early on that the Third Class passengers had almost no chance of negotiating the passageways and corridors that were usually inaccessible to steerage if left to themselves, began to organize his charges into little groups. Around 12:50 he set off for the Boat Deck, leading a score of women, some with children in tow. ...It wasn't an easy trip: the design of the ship, because of those outdated American immigration laws that required Third Class physically separated from the other classes of passengers, allowed no direct route from the Third Class berthing areas to the Boat Deck, and access to what routes there were was very limited. That was why Hart had to lead his group up the stairs to the Third Class Lounge on C Deck, across the after well deck, past the Second Class Library, into First Class, along a stretch of corridor that led past the surgeon's office and the private dining saloon for the First Class' servants, and finally out to the Grand Staircase, which carried them up to the Boat Deck." The only good thing to come out of the Titanic sinking was that it illustrated how dangerously out of date the safety regulations on ships were. After he finishes covering the sinking and the rescue of the passengers, Butler spends several chapters discussing the numerous investigations and inquests that followed the sinking. The sinking was the direct cause of massive reforms on ocean liners, improving everything from the radio technicians shifts to the number of required lifeboats. The Titanic was a horrifying tragedy, Butler argues, but it was a tragedy that could have been avoided numerous different ways, and because of the sinking, ocean travel became safer for future passengers. This is important to discuss, but then Butler takes his "effects of the Titanic sinking" several steps further, arguing that the sinking was responsible for the breaking down of social barriers and class systems (I kinda think that World War I was the big reason for that, but whatever Butler, it's your book), and even argues that the sinking of the Titanic set the suffrage movement back several years. No, for real: "...the sad truth for the women's suffrage movement was that, as Mrs. John Martin of the League for the Civic Education of Women put it, 'We are willing to let men die for us, but we aren't willing to let them vote for us.' She was merely underscoring the basic hypocrisy of the suffrage movement of the early 20th century, a hypocrisy that the Titanic exposed and that the suffragettes had not considered: equality of rights also entailed equality of risk. The suffragettes lost much of their credibility as a result, as too many of their number, unlike the women of sixty years later, were eager to secure rights without accepting responsibility." This is me right now. Butler also loses me when he tries to rationalize why the majority of the people who made it to the lifeboats were the First Class passengers, while the Third Class and the crew had the most casualties. Butler spends a lot of time discussing the social constraints on the ship, and wants us to believe that the reason most of the third class passengers didn't survive was because they were waiting for someone in charge to tell them where to go, but no one ever did. Butler argues that at the time, lower-class people were so conditioned to do as they were told that none of the steerage passengers would even consider taking drastic steps to save themselves, and instead waited patiently to be led out of the lower levels of the ship and directed to a lifeboat. It never would have crossed their minds, Butler insists, to upset the social order and act above their station. Bull. Fucking. Shit. I don't care what time period you're in - if you're on a sinking ship, all bets are off. Personally, I choose to believe that at least one Third Class woman punched out a lady in an evening gown to beat her to a lifeboat. I can't prove that this happened, but Butler can't prove that it didn't, either, so NYEH. Butler even discusses film versions of the sinking, but does not mention James Cameron's juggernaut - Butler's book was published in 1998, although Titanic came out in 1997. Maybe Butler never got a chance to see it, since the theater was always sold out thanks to teenage girls going to the movie for the tenth time? Or maybe his book had already gone to print by then and there was no time to stick in a paragraph about the movie. Either way, I was a little disappointed that I wouldn't get to find out what Butler thought of the movie, since it came out too close to his book's publication. Talk about two ships passing in the night, right? (SEE WHAT I DID THERE) Overall, this is a really good, really thorough examination of the sinking of the Titanic and it's immediate and long-lasting results. The research seems sound, and Butler is a good historian most of the time. A good source for anyone wanting to know how accurate James Cameron's version of the sinking really was. Now if you'll excuse me, I have an appointment with a bottle of wine and 1997-era Leo. It's been a long time. OH! I almost forgot to quote my favorite line in the entire book. Presented without context: "[Astor] had even written a science fiction novel, A Journey Into Other World, whose hero, Colonel Bearwarden, was contracted by the Terrestrial Axis Straightening Company to make the Earth's axis perfectly vertical, creating perpetual springtime." That's adorable, and I want to read that book. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 5 [votes] votes 15 [read count] # times read 1 [date started] date started not set [date read] date read Sep 2014 [date added] date added Sep 30, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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40/1438042988305.14_20150728002308-00151-ip-10-236-191-2_468076360_1.json
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048e4ba4_f_564___sorted_by__date_added___format
|
[0] checkbox [#] position [cover] cover [title] title A History of the Vikings [author] author Jones, Gwyn [isbn] isbn 0192801341 [isbn13] isbn13 9780192801340 [asin] asin [num pages] num pages 552 pp [avg rating] avg rating 3.82 [num ratings] num ratings 590 [date pub] date pub 1968 [date pub (ed.)] date pub edition Jul 19, 2001 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review "...the temptation is strong to offer generalizations about the viking himself, produce a 'typical' figure, and prop him against the museum wall with "...the temptation is strong to offer generalizations about the viking himself, produce a 'typical' figure, and prop him against the museum wall with his catalogue number and descriptive label. It is a temptation to be resisted because of its limiting and misleading consequences. Harald Hardradi, who waged war from Asia Minor to Stamford Bridge for thirty-five years, was a viking; so was his father Sigurd Sow, who stayed at home and counted haystacks. Hastein, who led the Great Army of the Danes into England in the early 890's, was a viking; so too was Ottar, who came peaceably to his lord kind Alfred's court with walrus tusks and lessons in northern geography. The men who destroyed churches in England, Ireland, and France were vikings; so too were the woodcarvers of Osberg and the metalworkers of Mammen. The men who said 'With law shall the land be built up and with lawlessness wasted away' were vikings; so were the practisers and curtailers of blood-feud, the profit-makers and those who robbed them of profit, the explorers and colonizers, the shaper's of verse-forms and makers of legend. The kings and their counselors who brought the Scandanavian countries within the boundaries of Christian Europe were vikings. In short, the viking is the aggregate of this book and recalcitrant to summary." Earlier this year I had a serious need to read some Viking history, thanks in no small part to the fact that the History Channel made a scripted show about vikings and it's awesome. Having no idea where to start, I bought TD Kendrick's A History of the Vikings from the bargain shelf at Barnes and Noble and dived in. It was disappointing. Kendrick's book, while thorough, is almost exclusively concerned with what the vikings did while they were in places like England and Iceland. Which is great, if you already have a base of knowledge about their daily life and their homelands, but I didn't, so the book was frustrating for me. But I still had a viking itch to scratch, and so I decided to try again with Gwyn Jones book of the same title. And I was glad I did - Jones' book is everything Kendrick's wasn't. Jones still discusses viking campaigns to Canada and England (also the Middle East, which I can't remember Kendrick getting into), but also gives the reader a ton of information about viking society and how it functioned. You learn about the viking social structure, their laws, their burial rites, their religion, their language - there's even a detailed description of how they built their boats. And you get to learn exactly what a "blood eagle" is, and trust me, it's just as cool and gross as it sounds. There are tons of photos and drawings included, so the history feels fully explored. The book goes through the lives of several important figures in viking history, as well as some other major players from the era, and gives an overview of the age of the vikings from the beginning in the 8th century, to 1066 when it officially ended. Best of all is the writing style, which is written in the same overly-scholarly tone that Kendrick's book was, but since Jones was writing about thirty years later, it's more readable and fun, as you can see from this passage: "The Moors took so many prisoners that the gallows of Seville did not suffice for them, and the city's palm trees bore strange fruit. Report of the Emir's victory was not entrusted to mouth and quill alone: he sent the severed heads of 200 vikings on a dumb but eloquent embassy to his allies in Tangier." I love that so much. People just don't write history books that way anymore, and it's a damn shame. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 1 [votes] votes 8 [read count] # times read 1 [date started] date started not set [date read] date read Sep 2014 [date added] date added Sep 25, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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format Paperback
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
|
format
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40/1438042988305.14_20150728002308-00151-ip-10-236-191-2_468076360_1.json
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048e4ba4_f_564___sorted_by__date_added___format
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[0] checkbox [#] position [cover] cover [title] title My Venice and Other Essays [author] author Leon, Donna [isbn] isbn 0802120369 [isbn13] isbn13 9780802120366 [asin] asin [num pages] num pages 240 pp [avg rating] avg rating 3.29 [num ratings] num ratings 263 [date pub] date pub Jan 01, 2007 [date pub (ed.)] date pub edition Dec 03, 2013 [rating] Madeline's rating 4 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Donna Leon and I have a strange relationship. She's nowhere near the top of my list of favorite detective writers, yet I've read six of her Commissari Donna Leon and I have a strange relationship. She's nowhere near the top of my list of favorite detective writers, yet I've read six of her Commissario Brunetti mysteries (sort of how I really don't like Rent all that much, yet through an odd combination of circumstances have seen the show three times). Her books always leave me feeling unfulfilled, even though at this point I should know better than to expect miracles from them. But I keep coming back to her books, hoping to find that really great one that I know is hidden in the series, and I do this for one reason: Venice. Much in the way that I will happily watch paint dry if the narrator from Bridezillas is providing commentary, I will read just about any book that takes place in Venice. It's a killer setting, especially for a mystery, and despite all her weaknesses as a writer, Leon uses the setting to its full potential in every book. Which is all a long-winded way of saying that when I found this book, I was delighted - Donna Leon discussing Venice, without the distraction of her half-baked murder mysteries and useless filler scenes? Sign me up. The book, as the "Other Essays" part of the title suggests, is about more than just the author's experiences in Venice (where she's lived for over twenty years). There's a lengthy section on opera, some stories about Leon's country house in Italy, a lot of essays bashing the United States, and a few essays that get into Leon's childhood and frankly fascinating career history (she was living in Iran at the time of the revolution, and also did a teaching stint in Saudi Arabia - Donna Leon, I am delighted to report, is a badass). Other reviewers took issue with the negative tone of a lot of the essays, but I found her curmudgeonly air delightful. If she's not complaining about going back home and being surrounded by fat Americans who have probably never even been to Europe, gross, she's expounding on opera and how once a friend forced her to go to a non-Baroque opera, prompting a delightful list of "warnings meant to govern attendance at the opera," the first of which goes like this: "1. Beware of beds. If, at any time during a performance, a bed appears on stage in a place other than a bedroom it is probably being used as a symbol. Opera directors often use symbols in place of ideas. They are not the same." My only complaint is that many of the essays feel too short. They're more like anecdotes instead of fully-formed stories, and there are potential essays hidden within the text that I would have enjoyed reading. In one of her opera pieces, Leon gets to the end and mentions that when she was at the reception, she started imagining how a murderer would escape the room, and says that this is one of the perils of being a detective writer. I could have read an entire essay about how Leon can't stop imagining grisly murder scenarios everywhere she goes, but instead it's tacked on at the end of a completely unrelated essay, which was frustrating. She also has some essays about writing at the end of the book, including some advice on writing detective stories. I enjoyed this, although she seemed to have sort of a dismissive attitude towards the detective genre (I forgot to mark it, so I can't quote the line directly, but I remember her implying that mysteries are not "real" books). It was weird to watch Leon essentially bite the hand that feeds her, and it made me wonder if she only started writing mysteries because of the money, which makes me sad. Although it would explain why none of her books have managed to impress me so far. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 2 [votes] votes 10 [read count] # times read 1 [date started] date started not set [date read] date read Sep 2014 [date added] date added Sep 23, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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format Hardcover
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
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format
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40/1438042988305.14_20150728002308-00151-ip-10-236-191-2_468076360_1.json
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048e4ba4_f_564___sorted_by__date_added___format
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[0] checkbox [#] position [cover] cover [title] title Angela's Ashes (Frank McCourt, #1) [author] author McCourt, Frank [isbn] isbn 0007205236 [isbn13] isbn13 9780007205233 [asin] asin [num pages] num pages 432 pp [avg rating] avg rating 4.05 [num ratings] num ratings 346,576 [date pub] date pub 1996 [date pub (ed.)] date pub edition Oct 03, 2005 [rating] Madeline's rating 3 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood. This book is kin Worse than the ordinary miserable childhood is the miserable Irish childhood, and worse yet is the miserable Irish Catholic childhood. This book is kind of like that bit in A Chorus Line where the director is making everyone tell him about their childhoods and the one guy goes, "Nobody wants to admit they had a happy childhood." There are two instances where this statement is extremely true: show business, and memoir writing. Angela's Ashes (which is apparently the first in a series?) chronicles the childhood and adolescence of Frank McCourt, born into a poor Irish family with no money but a surplus of babies. His mother, Angela, does the best she can to prevent her children from starving to death on a daily basis; meanwhile the patriarch of the family is a man who, as Jack Donaghy might say, "belongs in the Smiling Irish Bastard hall of fame." Things aren't good, is what I'm saying. The kids dress in filthy rags, they have to collect coal on the side of the road to heat their depressing shack of a house, the majority of the kids die of some horrible disease, the father insists on drinking every goddamn penny he earns, and Frank just wants to drop out of school so he can get a job and maybe afford a meal every few weeks. Bleak does not begin to cover it. (giant sidebar: did anyone else watch Enlisted? Of course no one did, that's why it got cancelled after one season even thought it was fantastic. Anyway, there's a bit where one of the characters is super depressed so he decides to read Angela's Ashes, to further wallow in misery, and he tells another character, "I'm at the part where he gives a raisin to the boy with no shoes." I watched that part and thought, well obviously the writers made that up, that's just a spot-on parody of the stuff that goes on in miserable memoirs like that. But then I read the book a few weeks later and guys, that scene totally happens. That's the level Frank McCourt is operating at.) Look, I'm not saying Frank McCourt had to put a happy face on his horrible, horrible childhood just to make me less uncomfortable. His memoir is searing and honest, but it is also unrelenting in its bleakness. There are small flashes of happiness here and there, but the book was so overwhelming sad that every time something good happened to the family in this story, my first thought was, "Well, this can't last." Which, actually, is a very Irish-Catholic reaction to have, so congratulations to me for making my ancestors proud. The writing is very good, at least, so all the misery is very well-described and the characters are subtle and well-drawn. The book certainly deserved the Pulitzer it won, although if we're being really honest with ourselves the prize was probably awarded not for the great writing or characters but because the people at the Pulitzer awards get giant literary boners for misery porn like this. Realistically, I should give this four stars, because I liked the book, but I'm docking a point because of the ending. Without giving anything away, it's just too abrupt. Nothing gets resolved, there's no sense of a conclusion, it's just like McCourt got tired of the book and said, "Well, let's just stop here" and then it ends. It was not satisfying, and not worth all the misery I went through to get to the end. ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 6 [votes] votes 18 [read count] # times read 1 [date started] date started not set [date read] date read Aug 2014 [date added] date added Sep 04, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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format Paperback
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
|
format
|
http://www.goodreads.com/review/list/111921-madeline?shelf=don-t-judge-me&sort=purchase_location
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40/1438042988305.14_20150728002308-00151-ip-10-236-191-2_468076360_1.json
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048e4ba4_f_564___sorted_by__date_added___format
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[0] checkbox [#] position [cover] cover [title] title Le Morte d'Arthur: King Arthur and the Legends of the Round Table [author] author Malory, Thomas [isbn] isbn 0451528166 [isbn13] isbn13 9780451528162 [asin] asin [num pages] num pages 512 pp [avg rating] avg rating 3.91 [num ratings] num ratings 25,060 [date pub] date pub 1485 [date pub (ed.)] date pub edition Oct 01, 2001 [rating] Madeline's rating 1 of 5 stars [my rating] my rating 1 of 5 stars2 of 5 stars3 of 5 stars4 of 5 stars5 of 5 stars add to shelves [review] review FINALLY finished this last night. No exaggeration: I have been reading this book for six months. Not six continuous months, mind you. I kept the book FINALLY finished this last night. No exaggeration: I have been reading this book for six months. Not six continuous months, mind you. I kept the book by my bed and would try to read a little bit every night, but I could never manage to read more than twenty pages in a single sitting, and I would usually be reading another book in the meantime and forget about Le Morte d'Arthur for weeks at a time. This thing is a hell of a slog, in other words. Sure, there are knightly adventures and duels aplenty, but once you've read two or three you've pretty much read them all. It's just dudes getting smote off their horses and slicing other dudes in the head and damosels running around being pretty and useless, and wasn't there supposed to be something about a grail quest? (further research tells me that all the stuff about the Holy Grail takes place in Volume Two, which I have absolutely no interest in tracking down) It got to the point where I had to invent games to keep myself invested in the story, like "How Many of the Fight Scenes Can Be Interpreted as Gay Sex Scenes?" The answer, dear reader, is A Lot. "By that Sir Launcelot was come, then he proffered Sir Launcelot to joust; and either made them ready, and they came together so fiercely that either bare down other to the earth, and sore were they bruised. ...and so they rushed together like boars, tracing, raising, and foining to the mountenance of an hour; and Sir Launcelot felt him so big that he marvelled of his strength, for he fought more liker a giant than a knight, and that his fighting was durable and passing perilous. For Sir Launcelot had so much ado with him that he dreaded himself to be shamed, and said, Beaumains, fight not so sore, your quarrel and mine is not so great but that we may leave off. Truly that is truth, said Beaumains, but it doth me good to feel your might, and yet, my lord, I showed not the utterance." "And then they hurled together as wild boars, and thus they fought a great while. For Meliagaunce was a good man and of great might, but Sir Lamorak was hard big for him, and put him always aback, but either had wounded other sore." ...more [notes] notes Notes are private! [recommender] recommender none [comments] comments 17 [votes] votes 39 [read count] # times read 1 [date started] date started not set [date read] date read Aug 2014 [date added] date added Aug 14, 2014 [date purchased] date purchased [owned] owned [purchase location] purchase location [condition] condition [29] actions view (with text) [format]
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format Mass Market Paperback
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Madeline's bookshelf: don-t-judge-me (showing 1-30 of 564) (sorted by: date added)
|
format
|
http://www.goodreads.com/review/list/111921-madeline?shelf=don-t-judge-me&sort=purchase_location
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40/1438042988305.14_20150728002308-00151-ip-10-236-191-2_468076360_1.json
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183999e2_gram___Australian_War_Memorial__Diversity_Program_2010___2012_OUTCOME
|
[OBJECTIVE] 1. Ensure relevant recruitment practices are based on merit, are open and consistent with diversity principles, and recognise the four target groups: Women Aboriginal and Torres Strait Islander people People with disabilities People with different origins or cultural backgrounds [STRATEGIES] Ensure job advertising is inclusive, merit-based and supported by the appropriate information Encourage applicants to nominate any assistance needed to participate fairly in the process Monitor selection processes to ensure equity and merit Capture employee diversity data on commencement [SUCCESS INDICATOR] All Memorial recruitment activities are completed as planned, utilizing all appropriate methods for attracting diverse fields of applicants Representation that reflects or exceeds the proportion of identified groups in the broader ACT community Number of requests from applicants for assistance Number of appeals against process Adjustments made to accommodate and utilise skills and abilities of people in target groups Assessed degree of self disclosure [OUTCOME]
|
Memorial is able to attract sufficiently diverse fields for advertised vacancies Target group representation meets or exceeds targets Applicants assisted through the process if necessary Memorial recognised as sensitive to and supportive of diversity Memorial responds to perceived employee and volunteers’ needs
|
[] |
Australian War Memorial Workplace Diversity Program | Australian War Memorial
|
OUTCOME
|
https://www.awm.gov.au/about/workplace-diversity/
|
9/1438042990611.52_20150728002310-00250-ip-10-236-191-2_886250270_0.json
|
183999e2_gram___Australian_War_Memorial__Diversity_Program_2010___2012_OUTCOME
|
[OBJECTIVE] 2. Encourage indigenous employees to participate in National Indigenous Cadetship Project (NICP) and other recognised programs [STRATEGIES] Participation in National Indigenous Cadetship Project (NICP) [SUCCESS INDICATOR] Submission of applications by indigenous staff for participation in the program. [OUTCOME]
|
Participation of staff from target group meets or exceeds targets
|
[] |
Australian War Memorial Workplace Diversity Program | Australian War Memorial
|
OUTCOME
|
https://www.awm.gov.au/about/workplace-diversity/
|
9/1438042990611.52_20150728002310-00250-ip-10-236-191-2_886250270_0.json
|
183999e2_gram___Australian_War_Memorial__Diversity_Program_2010___2012_OUTCOME
|
[OBJECTIVE] 3. Encourage employees to be aware of, and committed to, workplace diversity principles [STRATEGIES] Appoint Diversity Coordinator to promote diversity principles using corporate communication tools All new employees informed of diversity principles during staff induction training and other courses Consult with employees to develop Diversity Plan and Program [SUCCESS INDICATOR] Policies and practices strongly reflect diversity principles Staff display a positive attitude to diversity and actively support associated initiatives Diversity Plan reflects employee input High level of awareness shown by staff [OUTCOME]
|
Employees have access to a Diversity Coordinator for assistance and advice Staff recognise and support the principles of workplace diversity Employees have input to Diversity Plan
|
[] |
Australian War Memorial Workplace Diversity Program | Australian War Memorial
|
OUTCOME
|
https://www.awm.gov.au/about/workplace-diversity/
|
9/1438042990611.52_20150728002310-00250-ip-10-236-191-2_886250270_0.json
|
183999e2_gram___Australian_War_Memorial__Diversity_Program_2010___2012_OUTCOME
|
[OBJECTIVE] 4. Encourage employees to recognise the positive contribution of a diverse workforce to the workplace [STRATEGIES] Involve all employees in development of the Corporate and Business plans and the Teamwork Agreement Encourage employee input to corporate programs and committees [SUCCESS INDICATOR] Corporate management arrangements embody teamwork and diversity practices and values All relevant policies and practices reference the diversity policy [OUTCOME]
|
Memorial recognised as supporting diversity throughout all aspects of its business operations Memorial fully uses the skills and experiences of employees
|
[] |
Australian War Memorial Workplace Diversity Program | Australian War Memorial
|
OUTCOME
|
https://www.awm.gov.au/about/workplace-diversity/
|
9/1438042990611.52_20150728002310-00250-ip-10-236-191-2_886250270_0.json
|
183999e2_gram___Australian_War_Memorial__Diversity_Program_2010___2012_OUTCOME
|
[OBJECTIVE] 5. Encourage employees to integrate workplace policies and principles in their day-to-day work [STRATEGIES] Include teamwork and diversity performance assessments of employee in the Business Management and Performance Feedback Scheme (BM&PFS) [SUCCESS INDICATOR] A culture within the Memorial that embraces and reflects Diversity principles Number of employees that are assessed as meeting this target in their BMPFs [OUTCOME]
|
Employees recognised for teamwork and diversity performance
|
[] |
Australian War Memorial Workplace Diversity Program | Australian War Memorial
|
OUTCOME
|
https://www.awm.gov.au/about/workplace-diversity/
|
9/1438042990611.52_20150728002310-00250-ip-10-236-191-2_886250270_0.json
|
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