ERA Reviews

This is an exceptionally well written and concise book. Most, if not all of the facts and information in it is true.

Peter Cappelli provides a case-study analysis of airline labor in this book. The material is historically relevant and is a good snapshot of labor from multiple perspectives. Unfortunately, the book is not a stand-alone. Readers unfamiliar with airline labor will need a primer before reading this book. The book also does not account for the recent sweeping changes in the airline industry. Despite its shortcomings, this work is a good compliment for collegiate studies in human resources, aviation, and labor unions.

If one identifies with the Messianist approach within Lubavitch today, then this is the book for you. (I don't, by the way). Admittedly, the compilers of this work delve into the Rebbe's sichos and find many excerpts that strongly indicate the Rebbe's messianic aspirations, e.g., "The leader of the generation is the Moshiach of the generation." Also presented are excerpts from Kuntres Beis Rabbeinu Shebebavel, a fascinating, albeit controversial sicha where the Rebbe delineates in great detail the uniqenuess of 770 (Lubavitch World Headquarters), that it constitutes the primary "mikdash meat" of the galus, that it's Beis Moshiach (which incidentally possesses the same numerical value as 770), that the third Holy Temple will descend first to 770, and then they both will go together to Jerusalem inasmuch as 770 will be connecting immediately adjacent to the Temple. As I said, difficult to grasp and controversial, yet nonetheless indisputably from the Rebbe and edited by him personally. Regarding Moshiach from the dead, the compilers present statements of the Rebbe delivered after 1950 (which are, like the aforementioned ones, undoubtedly on the record and published) in which the Rebbe expresses his fervent wish that his predecessor and father-in-law, the Previous Rebbe (1880-1950) redeem the Jewish people. (Presumably, one can only conclude, as Moshiach!) Again, this was after his father-in-law's passing! Many other such sources from the Rebbe's own talks and writings are presented- which is precisely what fuels the Messianists and frustrate the anti-Messianists and make their arguments countering the Rebbe's messianic aspirations inherently disingenuous. The above notwithstanding, the book is replete with a beautiful section of photographs of the Rebbe. At the end of this work are two photographs, purported as never before revealed. The first is the now-famous picture of the Rebbe as a three year old child. The second is one of the Rebbe taken for his naturalization papers- and it doesn't come without its own great share of controversy. In the second volume of Larger than Life, Rabbi Shaul Shimon Deutsch refers to this precise photograph and exposes its deceptiveness, for he asserts that in the original, the Rebbe wasn't wearing a yarmulke, as it was later drawn by an artist for its publication in And He Will Redeem Us. (Rabbi Deutsch, by the way, does present the original photograph). At the end of this work are essays from various chassidim regarding the Rebbe/Moshiach issue. They are both revealing, and in many ways, disturbing. Ending on a positive note, a section of the book I thorougly enjoyed was the one presenting excerpts from the "Dollar Lines." It was very charming and inspiring. In the merit of following in the Rebbe's example to love all Jews and reach out to them, may we experience the coming of Moshiach -whomever he might be- speedily, now, in our days.

Although this collection has become the standard in terms of introducing the history of Japanese literature, it has one fatal flaw: it is only one volume. Admittedly it includes a large number of the more famous scenes from many famous works... the problem may be that that is all. What is a great scene or passage is up to the editor, and Dr. Keene knows better than anyone what his audience wants and needs to get a good glance at Japanese literature. However, there are many more scenes important to the overall picture of Japanese literature (such as Michiyuki-bun, aka travel stanzas) which do not exactly translate the best. The missing two stars are meant to serve as hope that the publisher will try for something with a little more meat on it next time, even at the risk of a few more pages.

The Apology which Montaigne wrote for the work of Raymond Sebond arose from his understanding of a book, Theologia Naturalis, written in an obscure form of Spanish, which Montaigne's father ("in the `last days' of his life") requested that Montaigne translate into French for the benefit of those who were engaged in the struggles of the Reformation, "a period of intellectual ferment and of religious and political disarray." (p. ix). Montaigne finished and dedicated his translation on the day of his father's death, 18 June 1568, when Montaigne was 35, married, and engaged in a legal position. The Apology does not identify which of its ideas were original with Sebond. There is no index, so I am unsure of how often the name Sebond appears in the text The Introduction on pages ix to xxxiii explains the circumstances and theology of the book philosophically, as understood at All Souls College, Oxford, on Easter 1986. The dedication and "Montaigne's translation and adaptation of the Prologus of Raymond Sebond" appear on pages xl to xliv. Those who have a complete edition of the ESSAYS OF MICHEL DE MONTAIGNE should be able to find the material in this book at II:12, though this book is clear in which portions appeared in 1580, 1582, 1588, or from the "text of the manuscript edition being prepared by Montaigne when he died, interpreted in the light of the posthumous editions." (p. xxxv).

On the doom or dumber question, we can find, "Philosophy in general agrees that there is an ultimate remedy to be prescribed for every kind of trouble: namely, ending our life if we find it intolerable." (p. 62). This is associated with, "As the Greeks said at their banquets: `Let him drink or be off! (Aut bibat, aut abeat!')~That is particularly apt if your pronounce Cicero's language like a Gascon, changing your `B's to `V's: Aut vivat ~ Let him live . . ." (p. 62). The long latin poems are provided with English translations in brackets, so it is possible to understand that a poem by Cicero ends with him worrying "lest you start to drink too much and find that pretty girls laugh at you and push you away." (pp. 62-3). This might be typical of philosophy, but Montaigne is capable of grasping more difficult situations. On learning, this work declares, "even our system of Law, they say, bases the truth of its justice upon legal fictions. Learning pays us in the coin of suppositions which she confesses she has invented herself." (p. 111). Civilization might be based on a belief that law is a better solution than suicide for every kind of trouble, but a lot of news is about people who have opted for some form of suicide or something worse. Our appreciation of knowledge about these things might be so small that this book will only appeal to those who might find it entertaining. People who can look back on life and realize that some of the best jokes that they ever heard were in latin ought to try reading this book, too.

Anyone intrested in the architecture and way of life of Greenwich, Connecticut during the early 1900s will appreciate this sweet and simple memoir of Joan De Garmo that memorializes her mother-in-law Marjorie Prescott.

The black and white photos are exquisite and tell as much of the tale as the narrative. It's like sneaking a glimpse into an old family album that has been collecting dust and cobwebs in the attic and finding long-forgotten relatives, each with a unique tale to tell.
-- Patricia A. Burke, editor The Hungry Soul: An Online Literary Magazine

Collier's book on Goodman is okay, but it could have been better. He has a bad habit of rarely if ever seeking primary sources. Instead he relies on past published materials, acting as an assimilator rather than a biographer. This leads to the needless perpetration of myths and errors rather than (as a biography should) the clarification and correction of facts. He also tends to psychoanalyze too much, sometimes making some huge leaps, while to the best of my knowledge he has no degree in psychology. A far better book on BG is Ross Firestone's "Swing Swing Swing," which breaks new ground and sheds some real light on Goodman and what drove him and what made him behave as erratically as he did, particularly in his later years.

The book speaks of the continuing problems with immgration due to border policies between America and Mexico. Out of about 9 chapters eight are facts and figures charts and graphs and only the last chapter is thought provoking. In it the authors give their opinion of how America's border policies should change in order to accomodate Mexican immigrants- they made good points that leaves you somewhat satisfied after a mind numbing 8 chapters of...???? But For research purposes and stats I would definately recommend this book.

In Carnival on the Page, Isabelle Lehuu argues that antebellum America was a 'liminal era' situated uneasily between the restrained republicanism of the early national period and the soulless commercialism of the late nineteenth century. Drawing on the theories of ritual anthropology, Lehuu contends that this 'betweenness' manifested itself in a vibrant, carnivalesque, and subversive print culture. Focussing on genres that pushed the definition of the book, Lehuu offers analyses of the sensational penny press, mammoth news sheets, gift books, and sentimental magazines. Her theory is that each form reflected the proliferating diversity of antebellum culture and refused to be constrained by traditional forms of authority. Although Lehuu's style can be ponderous at times and her contentions a little on the speculative side, this book will appeal to historians, literary critics, and cultural theorists for its subject matter and suggestive approach.

This book was quite good but the best part was the behind the scenes view of cinema in the 20's. It is quite well written and focus on the genius of the director. I quite enjoyed it bu it would have profered more on the actual films of DeMille rather than the backround. Also i did not think it had a acurate portryal of some of his helper and really neglected to mention the people who helped Demille become who he was.