No comments about Stranger Than Fiction.

No comments about En Bellas Artes.

No comments about From Rags to Richie.

5 comments about An Unsung Cat.

1. I have been reading about and listening to the Tristano guys for almost a year now, but was always partial to Lee Konitz. I've done some study of his playing and listened to a lot, from Tristano to present day. I am a great fan of his playing, through all the evolutions of his style.
   
   Unfortunately, it caused me to overlook Warne Marsh on those recordings. I've read Konitz's bio and Tristano's, and picked this up to complete the set. The biography is compelling, and so very well written. I've read some horrible biographies recently, but this one just grabbed me, both with Marsh's story and the way Safford Chamberlain writes about it. Plenty of detail, without going overboard (I'm looking at YOU, Tad Szulc. Chopin admirers, don't waste your time on "Chopin in Paris"...).
   
   Perhaps my favorite aspect of the book are the transcriptions. Chamberlain has included transcriptions of Warne Marsh solos, generally chronological through his career, and they are spaced out in the book several chapters at a time. If you can find the recordings, it's really great to watch his solos unfold. Even after reading along with the first one, my ears were opened in a new way to Warne Marsh's playing, and he has quickly become a favorite. The analysises (anylysi? Analyses? Whatever, plural, there is one with each transcription) included are also good, they point out some important things that might be overlooked.
   
   
   All the information about Warne Marsh and his music is so wonderful, and compiled MASTERFULLY. The perfect amount of info, spaced and presented perfectly, and the inserted transcriptions really seal the deal.
   
   
   I have since gone back to listen to the older solos, and also check out the evolution of his playing (the Red Mitchell records...my god!), and "An Unsung Cat" is so very true. Him and Konitz, from Tristano through their individual growth away from that style (while never abandoning what they gained through it), are, generally, the only two horn players I can get excited about any more (aside from the undeniable legends). They've effectively ruined most jazz for me...a mixed blessing, but my appreciation for a well constructed solo is so much deeper than a year ago, in no small part thanks to this book.
   
   
   HIGHLY RECOMMENDED FOR ALL JAZZ FANS.



2. This book is a decent read for Warne Marsh fans and has some interesting insights into Lennie Tristano and his school; awfully dry at times though.
   
   While I really like Warne Marsh's playing, the book seems to idolize him and hold him in a much, much higher realm than I think he belongs.
   
   Again, a good read with some very interesting information.



3. Mr. Chamberlain has done a great service for jazz musicians and fans with the creation of this book. One of the most refreshing points of the book (which actually sets it apart from most other jazz biographies) is that Safford is not scared to be critical of Warne and his associates, especially Lennie Tristano. The book only paints a vague picture of Warne as a person, but I interpret that as a way of showing how hard it was to really get to know the man. This is definitely a book that should be picked up to help spread the word about one of jazz' most important and creative improvisers.



4. My biggest complaint about Ken Burns' "Jazz" was how many great musicians were ignored. People like Herbie Nichols, Serge Chaloff, Jimmy Raney, the list is almost endless. Safford Chamberlain's book about one of the most sorely underappreciated improvisers ever is superb. It puts in human terms the struggles that almost all jazz musicians faced from the late 1940's on in trying to document a music that was falling further and further from the public view. Lee Konitz has stated "I don't know of any other musician that realy surprised me as much as Warne did with his inventiveness." Mr. Chamberlain is an excellent writer, and I hope this book helps to turn more jazz fans onto to Warne.



5. Safford Chamberlin's love for his subject matter, the jazz solos of the late tenor saxophonist Warne Marsh, comes out on every page of this unusually well researched and well written biography.

   Marsh was a child prodigy who fell under the spell of the eccentric jazz recluse Lennie Tristano, the founder and guru of a school of highly disciplined post-bebop jazz in New York City during the late 1940's. Marsh ping-ponged between Tristano and the West Coast, mostly in relative obscurity, until he died on stage at Donte's in North Hollywood in December 1987.

   Chamberlin skillfully weaves the facts of Marsh's life with details about his milieu and descriptions of his recordings. The chapters describing Marsh's early recordings with fellow Tristanoite Lee Konitz are particularly interesting. Chamberlin delicately deals with the difficult subjects of drugs, commercialism and racism in jazz music.

   I have read many jazz biographies, some lurid, some sloppy and inaccurate. This one, however, treats the subject matter with the seriousness and attention to detail this wonderful music we call "jazz" deserves.

5 comments about High Exposure: An Enduring Passion for Everest and Unforgiving Places.

1. This book is organized such that each chapter is devoted to a single milestone of Breashears' life. In each case he gives a general overview of that milestone, along with a few descriptive details of particular situations. But mostly, it is an OVERVIEW of the experiences that made him the man that he is today. After my initial disappointment that the book wasn't as detailed as I had hoped it would be, I accepted it the way that it was and truly enjoyed the rest of it.



2. As a young man, David Breashears looked at a photo of Tenzing Norgay standing atop Mount Everest. He knew at once that he wanted to pursue mountain climbing. His dedication drew him to hone his skill until climbing became his life and Mt. Everest in particular, "etched itself in the landscape of his soul". I look at a photo of someone standing in -65 degree weather, punishing their bodies to the limits of what a human can endure and think, "Wow, people do the damndest things, don't they?" This book provides insight into a life filled with a passion I will never feel.
   It is not easy to live a life dedicated to mountain climbing and still earn enough money to allow you to follow your dream. David explains how he was able to succeed and live well by discovering he could become a specialist in climbing photography.
   The story of his life is compelling. He grows up with an abusive father, who almost completely disappears from the family's life when the mother divorces him. David swears to never become like his father and sets off to make his way in life driven by his need to climb. He lives rough, works at the most menial jobs, and studies his calling. He totally rejects the cruelty he saw in his father, and totally embraces his love of climbing. His is a most unusual life. As attested to in many other books, there is plenty of drama on a shear face or Himalaya climb. But not every moment of climbing is as fascinating to me as it is to those who love this sport. The proper use of various alpine tools is no doubt a life and death issue, but parts of these discussions failed to hold my interest. Still, it is a fascinating book. There is poignancy in the fact that even though David vows to not become like his father, he distances himself from his wife until the marriage simply melts into nothing. The relationships he likes best are those formed on climbing expeditions; brief, intense, soon over. He is the quintessential "guy's guy". I don't usually look to autobiographies for great writing. And while the writing in this book is competent, it is the story that keeps it compelling. This is a look at a fascinating life, a saga that allows the "rest of us" a glimpse into a life obsessed with mountains.



3. A short, climb-heavy, autobiography about famous filmmaker/climber David Breashears, High Exposure captures the imagination with it's simple, sparse narrative style. The story follows the author from his youth as an army brat traveling from base to base with his mother, siblings, and an abusive father, to his apprenticeships on the rock faces of the American west, where he gradually earned the respect and admiration of his fellow climbers, to his eventual travel to the Himalaya, and his work there as cameraman for numerous expeditions.
   
   Breashears doesn't write with the lyrical style of a Greg Child, or the novelist/journalist style of a Kraukauer, or the heavy human-interest angle of a Jim Curran. Rather, his writing is simple, easy to digest, and paints stark pictures of a life in the mountains. In fact, the climbing descriptions are first-rate, and he discusses pitches he's ascended, their difficulty, the challenges overcome, and the lessons learned. I was struck by the attention-to-detail he reveals in his writing, and this book gives you that 'you are there' feel more than any of the other aforementioned writers - and leaves you hungering for more.
   
   Out of the probable fifty books I've read on mountaineering in the Himalayas, I would rank this as one of the finest. While reading, Breashears does a first-rate job of capturing the exhilaration, fear, sense of accomplishment and dedication that climbing one of these giant peaks brings to those who attempt it.
   
   Highly recommended.



4. What an incredible book. Once you start reading it, you won't be able to set it down. I even got yelled at by my boss for reading the book on company time. I've read it 4 times and each time is like the first time. There is alot of information to process so get ready be blown away. It's awsome. Also, if you missed reading Tino Georgiou's masterpiece--The Fates, go and read it.



5. I've read several mountain climbing/Everest books lately and this is in the top half of that list. That having been said, as one reviewer noted, it was more interesting than gripping, and for all the ability to give a auto-biographical look at a world class climber, it didn't really capture the drama of the climb. Since reading about it is about as close as I'm ever going to get to doing it, I need something that makes me feel the cold and the wind and the struggle for air. This was more of a narrative retelling, and emotion is overly removed from the story.
   
   Everest is almost as much of a protagonist as Breashears himself, and it was indeed very interesting to read about the history, about the other expeditions, and about the call on the author that brought him to climbing as a life. It was enough, and I recommend the book without reservation, but I would say read "Into Thin Air" if you are looking for a more powerful and exciting retelling of an Everest climb.

5 comments about Rome: The Biography of City.

1. I found the book to be well written and engaging in that typical British anecdotal style that breathes life into historical characters. It offers a detailed account of the sometimes bizarre history of this magnificent city during more than two millennia, all in one book, up until the middle of the 20th century.
   
   However, I felt that the book was quite lacking in providing answers, or even clues to answers, to the Big Questions: the rise and fall of the Republic and the later Empire, and the rise of Christianity. I did miss the context of all these facts that streamed by page after page, and there was no scholarly interpretation from the learned author regarding these inevitable Big Questions.
   
   The latter part of the book gets even better, when the author seems more at ease dealing with the 19th and 20th century. I found the detailed portrait of the rise and fall of the fascist state headed by Mussolini especially riveting. But even there, I wanted a bit more background and historical interpretation.
   
   If you look for a book that introduces you to more than two thousand years of Roman history, and is both educating and reads more like a novel than a thesis, you will not be disappointed. Furthermore, the book includes maps and pictures, to be used during a stay in the Eternal City. But if you want a more intellectual interpretation, there are better books on offer. I decided to buy both.



2. In Self-Reliance, Emerson says, "In history our imagination plays us false. Kingdom and lordship, power and estate are gaudier vocabulary than private John and Edward in a small house and common day's work; but the things of life are the same to both; the sum total of both is the same," (130). This is a good place to begin articulating my discomfort with Hibbert's Rome: The Biography of a City. Halfway through the book one still has not seen any of Emerson's view that history is more than a succession of popes and kings. On the contrary, Hibbert seems to think that history is only that. It is an older book, and so we spare it some of our modern politics, but thus far, I've read nothing of women, nothing even of artists or architects in a city renowned for these, only that this king fought with this pope etc. through the centuries. I thought historians somehow knew better. One possible explanation for Hibbert's lack of attention to the actual soul of Rome is that he casts a broad net, writing so many histories he can hardly have time to do anything like justice to a place. He's written about France, Britain, America, and India, about their revolutions and separate books about their major figures, lending the impression that he may approach theses "biographies" like assembly-line machinery. One last neglect which seems to me not only in bad taste, but odd: Hibbert's Rome has been pretty overt in its dismissal of the Catholic Church. Nothing has been said about its many acts of charity, nor of its social/art educational status in the community, nor about the individual faiths of the saints and pilgrims, whose devotion, in the face of such obvious abuses, I find heartening.



3. With a book that covers over 2,500 years of history, don't expect in-depth coverage here. That's not what this book is about. It provides a very good, bird's-eye view of the city and its history, however, and does a good job of impressing on the reader the incredible continuity of the city's history. I think there's a tendency to concentrate on ancient Rome and then to jump a thousand years to the Renaissance and the Baroque, without focusing on the incredible medieval history of the city. I found the chapters of the book devoted to the medieval period to be some of the more interesting.



4. This is a good book for those interested in learning about general Rome History but not necessarily in reading thick textbooks. If you're interested in learning about specific periods/events (or the Roman Empire as a whole), you might want to look elsewhere. If you're interested in reading about a great city as a whole, this is a solid choice.



5. I planned to visit Rome and was told Mr Hibbert's book was better than any travel guide. I was worried it would be a boring, textbook read. To my surprise, I was absolutely engrossed from cover to cover. The endnotes were a bit too inclusive for my taste, but for a true historian, the information would be captivating. Mr. Hibbert's focus on numerous Vatican events is eye opening.

4 comments about That Summer In Sicily: A Love Story.

1. This author can write! Her descriptions of people, environments, food and relationship are first class.
   
   Unlike the first three books that were memoirs of her travels and life with her husband, A Thousand Days in Venice, A Thousand Days in Tuscany, and The Lady in the Palazzo, this book is really Tosca Brazzi's story as told to Marlena.
   
   De Blasi descriptions of simple, everyday things are strong, such as: Unskilled, unshy hands pounded scales on the piano." I could hear the music and see that person working the keys.
   
   What an interesting story de Blasi tells because of her chance meeting with a woman, now in her mid 60s, while traveling with her husband, Italian born Fernando. Tosca, the nine-year-old daughter of a peasant under the last prince in Sicily, was given to the prince by her father in trade for a stallion. She was educated along with the prince's young children and as she grew, became their teacher. A priest who knew her in the beginning described her as having "splendid arrogance."
   
   At 18, Tosca became the mistress of Leo, the prince, now 36. When Leo disappeared mysteriously because his work for the people went against the local mafia, Tosco became an heiress. She carries on his work of modernizing some of culture. Sicily is like a major character in the book and we learn about many aspects of life there.
   
   The story today is of Tosca's role in helping women who are alone--many who come to the beautiful Villa Donnafugata (house of fleeing women) to live, and maybe to die.
   
   If you love good writing that is descriptive to the finest detail, read this book. In the first chapter she describes the ceiling of the dining room in the Villa: "Fragment of frescoed gods and goddesses--plump flanked and rolling eyes--hurtle across the high crumbling walls, giving chase up onto the great vault of the ceiling."
   
   The author has been a journalist, restaurant critic, and cookbook author. She took a trip to Italy, and there experienced a whirlwind love affair with a man and with Venice, inspiring her to write _A Thousand Days in Venice.
   
   Armchair Interviews says: Not a memoir of de Blasi's life, but of Tosca's, however this is a good read you'll enjoy.



2. That Summer in Sicily is the fourth Marlena de Blasi book I have read. When I picked up the first one, A Thousand Days in Venice, I didn't take to it right away. I am a Texan who writes exactly the way I speak, and I am irritated by flowery prose. However, I am also a sensualist, in love with taste, aroma, color, texture and sound. These elements--these things that define a particular place--come alive for me in these books.
   
   Unlike her previous three memoirs, this story is not really about American Marlena and her Venetian husband. It is an almost unbelievable love story, a story about what it means to be Sicilian. As with most other adventures in her life, this one began with a writing assignment. Marlena was asked by a scholarly magazine to write a seminal piece on the interior regions of Sicily. Several people had already turned the job down, and soon she discovered why. Despite a meticulously drawn route and prearranged interview appointments, she was met at every turn with "misanthropic silences, closed doors and epic heat." Eventually she gave up.
   
   Marlena's husband had come along for the ride, and before wending their way down from the mountains, they decided to take a day or two to recover. Finally, a policeman responded to their numerous inquiries for a place to stay. "There is a woman called Tosca. Her place is Villa Donnafugata (house of fleeing woman), although there's no sign to tell you so."
   
   When they entered the gates they found what looked like a castle with sweeping gardens. In fact, it was nothing more than a hunting lodge, once belonging to the last Anjou prince in Sicily. Everywhere, they passed groups of women in long black dresses, laughing and singing as they went about their daily chores. A beautiful woman dressed in jodphurs and boots approached them. "I'm Tosca Brozzi. We'll be sitting down at one. I'll let you know later if there's room for you to stay."
   
   From one of the other women there, Marlena learned that Tosca had inherited the villa from the prince, whose ward she once was. Bit by bit, she had restored the place. For more than thirty years she had lived there with an assortment of villagers who had found themselves alone, and in need of other people. This sort of communal life helped them to stay well, to stay young. Babies were born there, some people died there. "We are all related by affection," they said. "We are part of one another's history. We are Sicilian." They grew and prepared their own food, cared for the animals and for each other. Though there was much work to be done, it seemed to be merely a diversion to fill the hours between meals. "We eat often and well here, signora," Marlena was told. It was a society she never would have believed could exist.
   
   "We never decide to stay but simply get caught up in the imperishable rituals and rhythms of the villa," wrote Marlena. One day Don Cosimo, a seventy-six year old priest, approached Marlena. He told her that he'd been the household's resident cleric and the prince's chauffeur when, fifty-six years previously, the prince had taken Tosca to live with him in the palace, a few hours drive from the lodge. "She was, even then, of that splendid arrogance. Leo claimed her when, I think, she was nine. Her beauty was already fearsome," he recalled. It was a common enough feudal custom, this sanctioned purloining of the children of one's peasants. Most people believed that the prince had requested Tosca. However, it was Tosca's father who'd offered her to the prince, in exchange for a stallion he coveted. And so Tosca was schooled by a French governess with the prince's daughters, tamed, formed, refined.
   
   Later, it was Tosca who approached Marlena. "I'd like to tell you a story, Chou," she said. "Oh, I don't mean right now, of course. But soon. It's a long story, you see... It might take a few days. A week... I want to try out my story on someone from another place. I want to tell it to you, leave it with you, I guess, knowing that you'll go away." And so it began, the unfolding of a saga that spanned decades. It is a story that explores the ravages of war, poverty, the origins of the Cosa Nostra, the responsibilities of wealth and privilege, the cost of defying rigid traditions, the meaning of love, and finding one's true place in the world. It is also a story of miracles.
   
   by Becky Lane
   for Story Circle Book Reviews
   reviewing books by, for, and about women



3. I have read and re-read A Thousand Days in Venice, A Thousand Days in Tuscany and The Lady in the Palazzo, so was delighted when That Summer in Sicily was released. It is another exquisitely-written, tender story of love and food in Italy. Di Blasi replaces the on-going love story of herself and Fernando with the stories of Tosca and the Last Prince and Tosca and The Widows. It is not only di Blasi's ability to create visual images with her words but more to evoke an atmosphere of timeless, genuine romance that draws one in. This is a woman totally seduced by food who can fall completely in love with an Italian man, whose idea of cuisine before they met was under-cooked pasta paired with over-cooked chicken breast and jarred sauce. This is a book in which to appreciate, understand and share the true joy of love. I can't wait for her next book.



4. I fell under Ms. de Blasi's spell with the trilogy (1000 Days In Venice, 1000 Days in Tuscany and The Lady In The Palazzo) and here is another book of delicate prose woven with insight and beauty. This type of writing probably isn't for everyone. One reviewer of a book she wrote was shocked that she could write about food without having step-by-step photos of preparations. How sad for that person that the whole purpose of her writing isn't about how to cook but how to enjoy cooking, how to enjoy the friends that will eat your food and how to enjoy life. This is a book by a writer who will transport you into another world - if you give her your time and hand.

5 comments about Star Trek Memories.

1. Worth every penny - Chock full of fascinating details about all the backstage and front office folks, and some about the cast. Doesn't go into individual episodes much, and we actually don't hear all that much about Bill Shatner's Star Trek experience: it's more like Bill is the narrator for EVERYONE ELSE'S Star Trek memories. As a die-hard Shatner worshipper I was bummed about that; still, the book has enough juicy backstage scoop to be a really fun read.



2. While Star Trek made a great deal of television history, there were many other significant consequences. To the best of my knowledge, it was the first show to make significant profits via syndication. It was so popular that three subsequent television series, "Star Trek: The Next Generation", "Star Trek: Deep Space Nine" and "Star Trek: Voyager" each ran for years. Finally, there is also the enormous number of books about Star Trek. I own nearly one hundred Star Trek novels and have read nearly every one of the "memories" books written by a major cast member of the original series.
   In this book, Shatner sets down many of his recollections about the original series. To his credit, Shatner is very honest about things, giving all of the other major players the opportunity to contribute to the book. Those contributions are included even when they are critical of his actions on and off camera. In defense of Shatner, it is difficult to see how it could have been any other way. This was a show about a quasi-military ship that by necessity had to operate independently of any central command structure. The captain of the ship was lord of his surroundings, so the premise of the show was that all the action had to resolve around the captain. Secondly, television shows, especially in that period of time, revolved around the stars of the show.
   These are the reasons why I have always taken comments critical of Shatner by the secondary members of the cast with a grain of salt. Had the show simply languished and died off, none of them would have ever achieved the fame that they did. Therefore, they are criticizing the very means whereby they achieved their fame.
   As Shatner makes very clear in this book, all the members of the cast and production crew were under enormous pressure to get the work done. Given those circumstances, it is amazing that more serious and lasting rifts between the principals did not occur. The fact that they did not speaks to the sense of purpose and community that existed between them.



3. After reading this book, I was able to tell that William Shatner knows how to write! Not that I had any doubts, but this book is so intriguing, it feels like he is talking to me as a friend while I read. This is written like a documentary, and it is just as interesting. There are facts in here that I never knew, and stories are told about things that happened in front of and behind the camera. About the smallest detail of how Star Trek works that you wanted to know is talked about. Shatner not only talks about and interviews the cast, but the behind the scenes set builders and script writers among other people that are revealed and talked about.
   
   The book is written in a light hearted, joking way, with Shatner making fun of himself and having fun at other people's expense. The only problem I had is that the book also kind of brags on how great Shatner is, and how many problems some of the other cast members had while filming. Coming from the man who wrote the book, it feels kind of like an ego trip since it occurs many times throughout the read. There is also a very nice collection of pictures that are on some of the pages that shows behind the scenes laughs and on set memorable scenes. Overall, this is a book I recommend to all fans. It hardly ever gets dull and by the end, it feels too short and could have lasted longer.



4. The first big chunk of this book is taken up with giving lots of attention and credit to Gene Roddenberry and the many people behind the scenes, and explaining the interworkings of network TV- very interesting to those who like to know how the series was created and why it started losing in the ratings wars and why it was eventually cancelled.
   
   I would have loved to hear more about the crew of the USS Enterprise and enjoyed immensely the few stories related. The book became much more interesting once he launched into the separate sections with the interviews with Grace Lee Whitney, Leonard Nimoy, Nichelle Nichols, but there was not much on the rest of the crew. The format used of letting others speak for themselves was unique and entertaining. The conversational style of writing made one feel right at home. William Shatner is a fine actor and a gifted writer. Obviously, he was the star of the series and movies and that caused much friction, especially since the other cast members didn't let him know when he upset them or hurt their feelings. I would have loved to read much more concerning all the crew of the Starship Enterprise. "The Captain" turned the spotlight on the cast and crew but overall kept out of the spotlight in this book. Since William Shatner has all the notes from extensive interviews and possibly the ability to gain more information from the other actors, I would love to see one more book on our Star Trek heroes.



5. Keep in mind going in that William Shatner (with Chris Kreski) set down these "Star Trek Memories" a quarter century after Gene Roddenberry's "Wagon Train to the stars" aired on television, so this is not a contemporaneous account by the actor of the television that made him a pop culture icon. In fact, this memoir begins with a mea culpa from Shatner, who acknowledges that he was "Blind with personal problems, with fatigue and with the necessity of spending those incredibly hard hours shooting 'Star Trek,' the series." Sometime between the end of the series and when he wrote this book Shatner apparently made a transition from being a supreme egotist to someone who can make fun of his own persona (the man sold his kidney stone for charity this week), passing somewhere along the way the Shatner who did the infamous "Star Trek" convention skit on "Saturday Night Live."
   
   Shatner began writing this book on the final day of shooting "Stark Trek VI: The Undiscovered Country," which was being promoted as "the final voyage of the Starship 'Enterprise/.'" Consequently, Shatner found himself in a nostalgic state of mind, and goes back to the beginning. "Star Trek Memories" proceeds chronologically, from the creation of the series, when Shatner was not the captain of the "Enterprise," to the show's cancellation. Of course around the same time that Neil Armstrong first walked on the moon, "Star Trek" was becoming enormously popular in syndication, which is why there were all those new "Star Trek" movies and television series. However, the epilogue to this book is not about the success of "Star Trek" after the original series, but about Shatner learning what his co-workers thought about him, his efforts to reconcile with them, and his regrets over the lack of stronger friendships. The final subject of the book is Roddenberry's death and the legacy of "Star Trek."
   
   In covering the three seasons of "Star Trek," Shatner tells what he remembers about the various episodes and guest stars, with his developing friendship with Leonary Nimoy a constant element. But not as much as the series of practical jokes that took place on the "Star Trek" set. There are chapters devoted to the Shatner's favorite episode, "The Devil in the Dark," which was filmed the week Shatner buried his father, and Harlan Ellison's "City on the Edge of Forever." There is much more about the first two seasons than the show's third and final season when it became obvious cancellation was inevitable. The story of the "Save 'Star Trek'" campaign receives more attention from Shatner than the season it produce, which makes sense. The result is a decent but certainly not comprehensive look back at the history of the television show, Die-hard fans should read in paperback as opposed to hardback. Shatner and Kreski followed this book up with "Star Trek Movie Memories," which continues the actor's journey to the death of the character of James T. Kirk.
   
   In addition to his recollections and anecdotes, Shatner includes the personal recollections of cast members, producers, designers, and crew, who are able to provide some different perspectives on the series (No surprise, Nimoy provides thoughtful insights, but my favorite is Nichelle Nichols getting to the heart of the NBC suits worried about the first interracial kiss on television, which, Shatner reveals, did not really happen). There are also more than 120 photographs and illustrations scattered throughout the book, most of which include wry captions because while Shatner might be willing to give up his ego, he is always going to go for the laugh. It is clearly pathological with the man, which explains why he has won consecutive Emmy Awards as Denny Crane on "Boston Legal."

No comments about American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer Part 2.

5 comments about Alexander the Great: Journey to the End of the Earth, Library Edition.

1. I bought two copies of this book so that my grandson and I could read and discuss it. My two purposes were 1) teach him about Alexander the Great and 2) show him how scholarly history books, as opposed to history text books, are written.
   
   This book has served as a good example of a bad example.
   
   To be charitable, I see that the copyright belongs to the Estate of Norman Cantor and was published after his death. I will assume that his illness led to the low quality of this book. Otherwise, I must assume he was a piss-poor professor.
   
   For the sakes of New York University, Tel Aviv University, and the Rhodes and Fulbright organizations, besides Mr. Cantor's reputation, the Estate should never have published this book in its present form.
   
   I am very disinclined to read any other works of Mr. Cantor's.



2. This is the worst book ever written on Alexander. There are historical inaccuracies on nearly every page. Heresay and universally discounted legend are presented uncritically alongside historically accepted fact.



3. Is it possible to make the life one of the most compelling men who ever lived into an incredibly boring biography? Cantor does it somehow. I barely made it through half the book, it was so tediously written. Worse, much of the facts were oversimplified to the point of being wrong. It's not even smart enough to be a children's book, although it's written at that level of diction. Please don't make it your choice.



4. This book is a gem, in large because the analysis of the "greatness" of Alexander in the fifth and closing chapter is designed to generate thought, debate and ideas for every student of history.
   
   "The impact of Alexander on the Mediterranean world has always been a subject for debate," Cantor notes, and proceeds to add provocatively to that debate. Alexander, like Achilles, Caesar, King Arthur, Abraham Lincoln, Winston Churchill, embodies the spirit of the times and the people of their eras. Alexander and Achilles were heroic; Caesar and Arthur were innovators; Lincoln and Churchill gave words to enhance the decency of great nations.
   
   Lincoln, to cite an example, did not invent democracy in America. However, when he defined democracy as government "of the people, by the people, for the people", he greatly sharpened and enhanced already existing attitudes. Alexander did the same in his time; he did not invent war, but he set an ideal seldom matched and thus established the warrior ideal for much of the Mediterannean. King Arthur does the same with his round table; Churchill gives credit to the British people for stopping Hitler.
   
   Now, consider George Bush with his Texas swagger and flight suit while strutting across the deck of an aircraft carrier to announce "Mission Accomplished" as if he were a warrior. Alexander, in contrast to the coddled and well-protected life of Bush, survived numerous serious wounds acquired while leading his troops from the front. Whether it's Bush or Clinton or Reagan, there's a vast difference between Alexander and the perspiration and spin of today's leaders. As Canton aptly shows, it's why "the Great" title is retired.
   
   Intended or not, there are numerous subtle parallels between ancient and modern events in the Near and Middle Easts. Alexander was successful because he responded immediately and brilliantly to local events rather than try to rule from afar; instead of being an ideologue, he worshipped every God he met along the route of his conquests.
   
   Because he was handicapped by "faulty intelligence," when he reached Afghanistan and India he realized it was time to listen to his troops, then "cut and run". Why? To quote Cantor, "One of the old soldiers, a man named Coenis . . . . gave the speech of his life, ending with these words: 'Sir, if there is one thing above all others a successful man should know, it is when to stop'. Instead of trying to stay the course, Cantor says "Alexander sulked for two days but then tried to find a way to make this defeat appear to be a victory."
   
   Cantor offers an intriguing psychological assessment of Alexander; not only was he "the supreme exemplar of that old pagan world" but he also knew how to sulk and then accept the will of his troops. Perhaps that is why there are no modern Alexanders; today we tend to look at his heroism, courage, strength and vision but overlook his ability to sulk.
   
   It's a masterful biography, not merely because of what it says about Alexander but also for what it teaches us about ourselves.



5. 
   This is a great little history, and I hope the publishing industry gives us more of them.
   
   It's amazing how much of history was created by teens and twentysomethings. Alexander and his army were like a punk rock band gone wild. He drinks and debauches his way through half a continent. He must have had extraordinary health given the punishing environment and the many battle wounds. He is a master builder and does have a command of battle strategy (if not his army).
   
   I found the comparisons to Ceasar and the speculation of how Alexander would have done against the Roman army thought provoking. Not mentioned is that Ceasar earned the support of his army, Alexander just expected it and was unable to keep it.
   
   There is an interesting the analysis of his "greatness" at the end and a description of the other major biographical works.