Shelby Reviews

"Shelby Tucker's Among Insurgents: Walking Through Burma is the account of an American adventurer who entered Burma illegally from China, was captured by Communist guerrillas, passed on to Kachin freedom-fighters and was eventually arrested by the Indian Army. A hugely informative book of near-lunatic courage."

"For near-lunatic courage and a unique mine of information, [this book] by Shelby Tucker might belong to another century. At the age of 53, Tucker, a maverick American lawyer, decided to cross North Burma, entering illegally from China and departing illegally into India. He was captured by Burmese Communist guerrillas, passed on to Christian Kachin rebels (with whom he was soon consorting), was arrested by the Indian army, and six months later emerged to write this astonishing book: a surreal mixture of "Boy's Own" derring-do and expert knowledge of an almost unknown region."

--Colin Thubron, for The Sunday Telegraph (UK), in "Books of the Year" Column

"I cannot recommend Among Insurgents highly enough. Shelby Tucker describes a quite extraordinary trek across the genuinely remote and dangerous mountainous north of Burma. His account gets to grips with an immensely complicated political scenario and is written in the classic manner. I was reminded quite often of Fitzroy MacLean and Peter Fleming." --Justin Wintle "To one familiar with the dangers inherent in such an enterprise, the story almost defies belief. A 53-year-old American teams up with a 22-year-old Swede, whom he has met on a train and known for less than an hour, with the aim of trekking across one of the most inaccessible and least explored areas on earth, in a country which, everyone recognizes, is ruled by a military autocracy and which has been engaged in a vicious civil war for nearly half a century." --Stephen Morse

"I read it in growing amazement. What a journey and what a lot of research since! Very impressive." --Robin Hanbury-Tenison

"I think [Shelby Tucker] may have written a classic of modern travel writing." --John McEnery

"Among Insurgents is a vastly impressive piece of work and life. Shelby Tucker may be a mad man, but he certainly writes wonderfully." --Peter Wolf

"I read it at one sitting, with my wife providing earthly sustenance at intervals, and thoroughly enjoyed the adventure. The vitality and freshness of the enterprise shone throughout." --Robert Pelletreau

"Those of us who would never go on such an adventure (and that's most of us!) can have something stirred within us, feel a little freer, more willing to take risks, after reading this book." --Fred Fenton

These characters come to life in the readers imagination, and it is hard to believe that such powerful writing is possible from the human mind. This novel is harrowing to read, and while you hope for things to get better for the people inside these pages, it is simply not to be. Completely devoid of cliches, there is not one phony moment in the entire read. The movie really did an admirable job of recreating the story, yet it is when Selby gets into the characters heads that we experience emotions that no movie can really create. It is disturbing and heartbreaking to travel down the dark path of addiction with Sara, Marion, Tyrone and Harry. One can only assume that Selby had some kind of personal experience with addiction, as the writing seems to come from a place of deep understanding and empathy. I have no idea what to read now, as I can't imagine I will ever read anything again in my life that pulls me in so far emotionally. I will absolutely never forget this book, and as someone who also has been through the hell of addiction, I can honestly say that this book pulls no punches, and truly manages to avoid glamorizing drug addiction, while avoiding pedantic or trite exploration of the subject. There is nothing preachy about the book - just brutal brutal honesty and complete tragedy. I cared about these people, and wanted so badly for them to find a way out of their pain. It will be a while before I recover from this one.

To say that Foote has a way with words is an understatement. Here is a completely compelling story of a campaign that was a defining moment of the war. In the course of less than 300 pages, Foote provides a powerful tale told in such subtle strokes that you become part of history without being aware of being pulled into it.

There are lots of other works about Gettysburg. Most are longer, none are so well told.

I read most of this book while we were on a family outing to the Gettysburg battlefield last year. It put the battle in complete context. The combination of reading this brilliant account and seeing firsthand how geography shaped the battle was priceless.

Written with the powerful and eloquent prose for which Shelby Foote is noted, "Stars In Their Courses" vividly describes the events of the first three days of July 1863, in what mant historians consider the "greatest battle in the history of the Western Hemisphere." The Battle of Gettysburg, in all its horror, fairly leaps from the pages of this book at the hands of Shelby Foote.

"Stars in Their Courses" is not only a wonderful preview of Foote's "The Civil War: A Narrative History," trilogy, but it also stands alone as one of the best accounts of the Battle of Gettysburg I have found. Highly recommended for any military history and Civil War enthusiast!

In Chekhov's stories, marriage is hardly a bed of roses, usually resulting in discontentment, depression, and adultery; nowhere is this more perfectly executed than in "The Lady with the Dog," which ends with the two transgressors not contrite over their sins, but resolving to carry on their affair in the face of uncertainty. In "The Party," a young married couple's disharmony culminates in a tragedy that underscores their need to love each other. Chekhov's characters tend to marry for the wrong reasons, like societal pressure, false hopes of marital bliss ("The Helpmate," "Betrothed"), and convenience and mutual benefit ("Anna on the Neck"). His characters usually are people who mean well but do the wrong things: In "At a Country House," a cultural elitist has a habit of scaring off the very men he wants his daughters to marry.

Chekhov also touches on themes of pure, often unrequited, love. "The Beauties" is a plaintive tale of infatuation, of a boy's enthralling first discovery of intangible feminine beauty. His lonely characters, such as in "The Schoolmistress," "A Doctor's Visit," and "The Darling," are often prisoners of their own inhibitions, obsessions, and self-obligations.

Other topics are covered, often exhibiting a world-weary cynicism. In the amusing fable "The Shoemaker and the Devil," the protagonist's conclusion is not the cliched lesson to be thankful for the few things he has in life, but rather that there is nothing in life worth selling his soul to the devil for. "Rothschild's Fiddle" is like a Marc Chagall painting set to prose, portraying the futility and bitterness of life offset by the beauty of art, while "Whitebrow" is a fuzzy parable. Chekhov also displays a talent for drawing comical characters, such as the talkative blowhard in "The Petchenyeg" and the prudish protagonist of "The Man in a Case." A mark of Chekhov's style is that these people often are oblivious to their own idiosyncrasies, a touch that injects as much comedy as tragedy into the stories.

These stories might leave one with the impression that Chekhov was pessimistic about love and marriage, and even life, but in my opinion they emphasize a fundamental truism about fiction -- much as in comedy, where failure is funnier than success, even though "good" love is what makes the world go around, "bad" love is more interesting to write about.

Chekhov is a master, but I almost wish he'd never existed. His prose is so deceptively simple that it will make everyone reading him, be they caterers, kids, or Senate whips, think "I can do that!" Needless to say, they can't.

This doesn't mean anyone will ever stop trying. Chekhov fans the flames of megalomania in what Sartre called the "Sunday writer", dilettantes like Mathieu in The Age of Reason. Almost every short story written now is in either the style of Raymond Carver or Chekhov, and Carver was just the first to graft Chekhov's style onto American subjects. What is that style? It's not as instantly recognizable as Kafka's or Joyce's -- two terminal figures who can't be imitated -- but if you want an example of it, grab any New Yorker that might be lying around the house and flip to the short story. Got one? Okay, now notice how it doesn't end with a swordfight or an orgy. Instead, it will most likely hinge on a simple misunderstanding, such as a man making an offhand comment that causes his wife to lose all respect for him, or else some kind of sudden revelation; like an interior monologue where, after seeing two schoolgirls share a bologna sandwich, a professional woman realizes her entire life is corrupt and shallow. Shocks of recognition, mundane realism, and a muted climax ( this last is especially crucial; the professional woman above wouldn't throw off her worldly chattels and move to India, but would simply go back to her office, maybe even with a little excitement to get to work on a new ad campaign ) -- these are the hallmarks of Chekhovian writing.

The bad news is that we can look forward to an eternity of these pale imitations. Because the times are always changing, Chekhov's journalistic style -- remember he started out as a newspaperman -- ALWAYS APPLIES. It's a nightmare. But that's no reason to keep you, as it kept me for so long, from the original. All of Chekhov's best stories are here, or in the other two volumes of the Modern Library series ( where the nitpicker below can find the other stories whose absence he laments, except "Gusev," which is in this one. )

The author is very upfront about not covering the object extensions - I can almost forgive him. But these are the future - our top management is very object/web oriented.

I think there is a slide on the LE coverage. After we went through the Y2K conversion, our programs are loaded with language environment calls. Section 3.13 is a listing only of what should have been a great amount of detail on using LE calls and intrinsic functions.

In defense of the author I did find an example of the function used with a date (on page 384) MOVE FUNCTION CURRENT-DATE (1:8) to WS-GREGORIAN which is close to our shop standard MOVE FUNCTION CURRENT-DATE (1:14) TO WS-DATE-TIME.

I've been on a spiritual quest for many years, reading everything I could find on the various spiritual traditions and incorporating bits of wisdom from each into my life philosophy. This straightforward, charming book brings much of that knowledge together in such a way as to make it immediately relevant to the daily journey of life.

In my experience, many people on a spiritual path may be enriched by what they learn, but a bit lost as to how exactly to apply those lessons on a day-to-day basis to find some sense of peace within a culture of chaos. This book-with its six simple steps-provides a concrete method for combining the teachings of many spiritual beliefs into a practice that brings positive and lasting change in the way we live our lives.

As a professional editor of publications in the psychological realm, I review a great many books that attempt to help us find happiness. I am deeply impressed with this one ... and fascinated with the positive effect it's had on a diverse group of people, from skeptics to spiritual veterans.

As Silverstein explains in the foreword (done here, as throughout the book, in his own handwriting), he has thought and thought about children and as he wasn't blessed with children of his own, he has come up with this "primer" for all children. The book opens with a wee poem:

O child learn your ABZ's
And memorize them well
And you shall learn to talk and think
And read and write and spel.

That ought to give you an idea of what's to come. Silverstein meticulously addresses every letter in the alphabet, descending further and further as he does into a swirling pit of black humor. He starts off, of course, with "A," writing with great jollity about how many green apples he thinks the reader can eat (everything is addressed directly TO the reader, as though the reader is a child, making the text all the more seductive). "E" is a hoot:

E is for egg.
See the egg.
The egg is full of slimey goosey white stuff and icky yellow stuff.
Do you like to eat eggs?
E is also for Ernie.
Ernie is the genie who lives in the ceiling.
Ernie loves eggs.
Take a nice fresh egg and throw it as high as you can and yell "Catch, Ernie! Catch the egg!"
And Ernie will reach down and catch the egg.

Silverstein's humor is subversive, to say the least. One page has a coupon, which Silverstein accompanies with the following text:

Kids! Clip out this certificate and bring it to your friendly neighborhood grocer and he will give you, absolutely free . . . A REAL LIVE PONY!

I have seen adults absolutely dissolve off their chairs with helpless laughter on reading "Uncle Shelby's ABZ." It wickedly plays off every insecurity and worry and doomed hope that any child secretly entertains, and it does so with a ruthlessness that's mighty to behold. This is highly, highly, HIGHLY recommended for any adult.