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“As the [al-Qaida terrorists] charged one wall, three Green Berets leaned over the parapets, oblivious to the enemy small-arms fire that was cracking by their heads and shoulders.

“ ‘Focus, squeeze, focus, squeeze,’ they recited quietly. . . . Each time . . . the lifeless body [of an al-Qaida terrorist] would snap back through the desert air and drop onto the sandy courtyard.”

The war in Afghanistan was the most secret conflict since the CIA’s covert war in Laos; thousands of journalists covered it, yet, ironically, little is known about how it was waged or what really happened—until now.

The Hunt for bin Laden plunges the reader into America’s War on Terror, from the first top-secret meetings of TASK FORCE DAGGER in Tampa on the afternoon of September 11, 2001, through the liberation of Kabul sixty-two days later and the tragedies of OPERATION ANACONDA. The book takes the reader into the heat of battle—as seen through the eyes of the Green Berets on the ground. This is the story of how only a few hundred men, operating from a secret Special Forces base, changed the course of history in Central Asia and destroyed a hundred-thousand-man terrorist army in less than ninety days.

Action-packed and controversial, The Hunt for bin Laden is teeming with revelations and inside information: the truth about John Walker Lindh and Mike Spann; the failure of the “conventional” generals; the courage of the Northern Alliance; the wounding and murder of journalists; and the flaws and frustrations of the hunt for bin Laden himself.

In mid-December 2001, Robin Moore arrived in Afghanistan, where he joined his old friends, whom he had celebrated thirty-five years earlier in his book The Green Berets and who were now calling in airstrikes and fighting alongside the armies of the Northern Alliance against the terrorist al-Qaida and Taliban. In less than three winter months, about a hundred Green Berets accounted for the deaths of perhaps as many as forty thousand terrorists and the winning of a war in Afghanistan—where the Soviets had found fighting a war all but impossible.

• Sales Rank: #1605900 in Books
• Published on: 2003-03-04
• Released on: 2003-03-04
• Original language: English
• Number of items: 1
• Dimensions: 9.53" h x 1.35" w x 6.46" l, 1.10 pounds
• Binding: Hardcover
• 400 pages

Amazon.com Review
The first wave of U.S. Army Special Forces arrived in Afghanistan in mid-October, 2001; a few months later, they had routed the Taliban and taken control of the country. In fact, writes Robin Moore, "fewer than 100 American soldiers were on the ground when Kabul fell." The Hunt for Bin Laden is both a celebration of the Special Forces, "the most fearsome fighting unit the world has ever known," and a detailed account of how just a few hundred Green Berets, working alongside the Northern Alliance, were able to overcome nearly 100,000 entrenched al-Qaida and Taliban members and take control of Afghanistan in such a short time. Though Special Forces had participated in all of the small conflicts since World War II, the war in Afghanistan was the first time they were in charge of an entire operation. For these gung-ho soldiers, it was the moment they had been waiting for.

From the beginning, the operation was a blend of cutting-edge and 19th-century weaponry. The Northern Alliance soldiers, though brave and determined, were often outfitted with only rusted rifles and worn-out boots. In one particularly fascinating scene, Moore writes of the Northern Alliance cavalry leading a charge on horseback while American fighter jets roared overhead dropping laser-guided missiles with pinpoint accuracy on Taliban forces. The author of the military classic The Green Berets, Moore knows his subject intimately and his access to the troops on the ground is impressive. This makes the book incredibly detailed, but unquestionably subjective, so those interested in a political overview or an objective look at the policy behind the operation should look elsewhere. This is strictly a heroic portrayal of a military victory and the difficult search for Osama bin Laden, and at times Moore's writing sounds like copy out of Soldier of Fortune magazine. This bombast may not appeal to all readers, but his deep knowledge of Special Forces and his inside information makes this book a must read for those interested not only in this particular conflict but in how guerilla and unconventional warfare is executed. --Shawn Carkonen

Review
“Fast-paced and immensely entertaining.”
–The Washington Post Book World

“BLACK HAWK DOWN–IN THE SNOW . . . Little is held back in the sweeping reality of the text. It is all there: the pain, the suffering, the fear, the courage, the sardonic morgue humor of war, the strength somehow found in its jaws–
and the honor in fighting the good fight.”
–MASTER SERGEANT THOMAS R. BUMBACK (Ret.)
Soldier of Fortune magazine

“A DRAMATIC AND IMPORTANT STORY.”
–New York Daily News

“GRIPPING . . . AN EXPLOSIVE TALE . . .
Moore is a good action writer.”
–The Commercial Appeal (Memphis)

“Authoritative . . . Moore guides you through volatile Afghanistan as seen through the eyes of Special Forces operators–team by team–battle by battle. IF YOUR BLOOD IS NOT STIRRED, CHANCES ARE YOU’RE RUNNING ON EMPTY.”
–MAJOR JIM MORRIS (Ret.)
Soldier of Fortune magazine

“[This book] transports you inside the beating heart of America’s war on terror, then spirals you down a main artery onto the front lines with a special Forces detachment cutting down al Qaeda terrorists. . . . By the time I finished reading The Hunt for Bin Laden, I was in awe of this force America had unleashed against our enemies. . . . The Hunt for Bin Laden has the epic style and reality of We Were Soldiers Once . . . and Young.”
–MASTER SERGEANT THOMAS R. BUMBACK (Ret.)
Soldier of Fortune magazine

“Swashbuckling . . . [Moore reaches] a kind of ground truth in his narrative of Special Forces at war: the dangerous, sometimes thrilling but unpredictable nature of combat that makes soldiers laugh bitterly at the phrase ‘military precision.’ ”
–The Washington Post Book World

“Robin Moore is back in his element. . . . The Hunt for Bin Laden offers valuable insights into the war.”
–San Diego Union-Tribune

From the Inside Flap
In this acclaimed, groundbreaking bestseller about America?s war against al-Qaida in Afghanistan, Robin Moore?with exclusive access and his trademark expertise?takes you on a top-secret tour of the most covert conflict since the CIA?s war in Laos. This is a blistering, behind-the-scenes account of America?s first strike in its war against terrorism. From the international outrage of 9/11 to its immediate aftermath?the unprecedented Special Ops assault on Osama Bin Laden?s bases?all aspects of this astonishing story are revealed for the first time. Here is how a few hundred Green Berets toppled the Taliban and how Bin Laden may have made his escape.

Most helpful customer reviews

50 of 55 people found the following review helpful.
Take it off the non-fiction shelf; make it a drink coaster
By Al
The members of the SFOD-A that I served with during my first tour in Afghanistan and I are absolutely amazed this passed any factual quality control check. It reads as if it were written at a corner table in the Green Beret Club at Ft. Bragg by people who weren't there, interspersed with details by someone who heard something from someone else who said he was there. The account of Tora Bora was absolutely laughable; the pictures and the tale that was told was akin to having someone who landed on Normandy Beach on 6 JULY 1944 (a month later) give his account of an assault he did not participate in. Critical parts of Operation Anaconda were omitted. Contrary to the content of this work, those who wear a green beret are not instantly contemptous of those who do not; those are our roots where we first learned to soldier. The book's incessant recounting of petty inter-service and rank-conscious jealousies distort the reality of the sheer effort involved by all of those involved in prosecuting the fight in the early days of the war. The theme of "swaggering barrel-chested freedom fighters fight valiantly yet alone to overcome the juggernaut military bureaucracy" is so far off the mark as to make this whole story read like a comic book. He tries and fails time and again to draw logical comparisons between the Special Forces experience in Vietnam and Afghanistan, two different times, places, missions, and national moods.
Robin Moore is a fine man who has given much as an author to the history of our branch. This was not his best effort.
This book is best used as a beverage coaster, placed under the cold drinks of those who were actually there while they recall the deeds of others, their frustrations, and the pride of their service. For those who weren't there, this book is best used at the beach to keep the sand off your suntan oil botle while you read light fiction that is truthfully advertised as such.

Maybe when the time is right, those with their egos in check can gather and tell their fellow citizens the truth -- a far more interesting history than this fantasy.

33 of 38 people found the following review helpful.
Impossible to have any confidence in this book
By Christopher Nieman
The sheer potential of this book makes it extremely seductive -- it is an account of the Green Beret "A" teams in action in Afghanistan in 2001, written by the author of the first book about the Green Berets way back in 1965. At first glance, it's easy to believe that this might be the definitive early work about war in the post-September 11th world.

But as they say, you should never judge a book by its cover, and there's no better example of that maxim than this incredibly uneven and deceiving book.

I have to say I am grateful to the many cautionary reviews here. They helped soften the blows of aggravation and disappointment early on in the reading, as I learned where the book's center of balance was.

By any reasonable standard, this book is sketchily researched and often very poorly written. In my opinion, the quality of writing in this book would score low marks in any reputable high school. Sources and quotations are almost nonexistent in the text (and lazily compiled in the appendices), and there isn't a single corroborative interview acknowledged. There appear to be no first-hand accounts of enemy engagements shared directly with the author for his book. Battle descriptions are so unreliable that it's impossible to trust the veracity of any of the reports.

The book contains so much hearsay that if the manuscript had ever darkened the desk of a professional fact-checker, it's probable it would never have made it to press. Moore (or his ghostwriter, perhaps) uses extremely declarative language that makes it read more like the adrenaline-charged propaganda of a military pulp novel than anything even remotely resembling journalism.

This cannot possibly be considered an unbiased examination of the war in Afghanistan. The Afghanistan war deserves first-class treatment from a professional writer, and unfortunately this is not an example. It reads more like a personal memoir of news reports from the period rather than a direct piece of history. It is arguably the worst-written book I have ever read, and it merits the only one-star review I have ever written on Amazon to this date. Just say no.

22 of 26 people found the following review helpful.
I was there
By Greg
The author is faced with a chance to write the story as it actually happened and Mr. Moore lost that opportunity. Now this book will forever be known as a complete work of fiction by those of us who were there, conducted the operations and then interviewed by Robin Moore as to what happened. Venturing too far off the path of validity was perhaps due in part to his "buddy" Jack Idema, who is referenced far too much throughout the book. Mr Idema is a compelete work of something else, just google search the name. In short, disappointing is too nice a word for the effort.

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This comprehensive AP guide from the test-prep experts brings you everything you need to prepare for the AP U.S. History Exam. Inside Cracking the AP U.S. History Exam, 2010 Edition you’ll find proven techniques and strategies, as well as:

•2 full-length AP U.S. History practice tests with detailed explanations
•Essential review of all key historical eras and timelines covered on the exam
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• Sales Rank: #1112621 in Books
• Published on: 2009-08-04
• Released on: 2009-08-04
• Original language: English
• Number of items: 1
• Dimensions: 10.85" h x 1.00" w x 8.30" l, 1.55 pounds
• Binding: Paperback
• 432 pages

Most helpful customer reviews

68 of 72 people found the following review helpful.
Worth it for the summary alone
By Mike
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43 of 46 people found the following review helpful.
Amazing.
By R. Holcomb
Since APUS was the only AP class I took this year, I decided to take it seriously.

So I got four AP review books. (Barrons, REA, Princeton Review, and 5 Steps to a 5).

And, after having read all of them, and having taken the AP test, I can affirm that this is the BEST one. Nothing helped me study as well as the Princeton Review did. Seriously. It helped me review the period of time between November and February when I don't think I learned anything. It really helped me with my DBQ and FRQs. It has all the accurate information.

My only complaint is that the practice tests are based on practice tests released by the College Board, so there was no variety. BUT other than that it was amazing. I cannot overemphasize how helpful this book was. It got me from a 3 to a 5.

26 of 28 people found the following review helpful.
Solid review for AP Test
By Cole
I would like to start off by saying that this is probably the best APUSH test review booklet that you are going to find. It's not perfect and does have some flaws, but this one is by far the most helpful.

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It also includes a section explaining certain trends and tips on how to take the test and understand the way it is working. It explains how to answer multiple choice questions, which most AP students should already know how todo. But what is very helpful, are the sections on the DBQ and FRQ. It explains specifically what the graders are looking for in an essay and how to structure it in the given amount of time. This is one of the most helpful things about the book, as most test takers weak points are the essay's.

The test also includes many many many sample questions at the end of each chapter to help you review what you just reviewed. Also in the back are two full tests, and it includes answers.

The only problem that I see with this book, is that while it is extensive, it alone is not enough to get a 4 or 5 on the AP test. To get a higher score, you would have needed to start studying about a month in advance for the test, reviewing you own notes from in-class. This booklet should be the final stage of your review. Just going over all of the information one more time, because as I said, it is not very specific and detailed. With prior studying and this book, however, you should do just fine and get a high score on the AP test!

See all 286 customer reviews...

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~~ Download PDF Persepolis 2: The Story of a Return, by Marjane Satrapi

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In Persepolis, heralded by the Los Angeles Times as “one of the freshest and most original memoirs of our day,” Marjane Satrapi dazzled us with her heartrending memoir-in-comic-strips about growing up in Iran during the Islamic Revolution. Here is the continuation of her fascinating story.

In 1984, Marjane flees fundamentalism and the war with Iraq to begin a new life in Vienna. Once there, she faces the trials of adolescence far from her friends and family, and while she soon carves out a place for herself among a group of fellow outsiders, she continues to struggle for a sense of belonging.

Finding that she misses her home more than she can stand, Marjane returns to Iran after graduation. Her difficult homecoming forces her to confront the changes both she and her country have undergone in her absence and her shame at what she perceives as her failure in Austria. Marjane allows her past to weigh heavily on her until she finds some like-minded friends, falls in love, and begins studying art at a university. However, the repression and state-sanctioned chauvinism eventually lead her to question whether she can have a future in Iran.

As funny and poignant as its predecessor, Persepolis 2 is another clear-eyed and searing condemnation of the human cost of fundamentalism. In its depiction of the struggles of growing up—here compounded by Marjane’s status as an outsider both abroad and at home—it is raw, honest, and incredibly illuminating.

• Sales Rank: #48157 in Books
• Brand: Satrapi, Marjane
• Published on: 2004-08-31
• Released on: 2004-08-31
• Original language: English
• Number of items: 1
• Dimensions: 9.15" h x .77" w x 6.20" l, .99 pounds
• Binding: Hardcover
• 192 pages

Amazon.com Review
Picking up the thread where her debut memoir-in-comics concluded, Persepolis 2: The Story of a Return details Marjane Satrapi's experiences as a young Iranian woman cast abroad by political turmoil in her native country. Older, if not exactly wiser, Marjane reconciles her upbringing in war-shattered Tehran with new surroundings and friends in Austria. Whether living in the company of nuns or as the sole female in a house of eight gay men, she creates a niche for herself with friends and acquaintances who feel equally uneasy with their place in the world.

After a series of unfortunate choices and events leave her literally living in the street for three months, Marjane decides to return to her native Iran. Here, she is reunited with her family, whose liberalism and emphasis on Marjane's personal worth exert as strong an influence as the eye-popping wonders of Europe. Having grown accustomed to recreational drugs, partying, and dating, Marjane now dons a veil and adjusts to a society officially divided by gender and guided by fundamentalism. Emboldened by the example of her feisty grandmother, she tests the bounds of the morality enforced on the streets and in the classrooms. With a new appreciation for the political and spiritual struggles of her fellow Iranians, she comes to understand that "one person leaving her house while asking herself, 'is my veil in place?' no longer asks herself 'where is my freedom of speech?'"

Satrapi's starkly monochromatic drawing style and the keenly observed facial expressions of her characters provide the ideal graphic environment from which to appeal to our sympathies. Bereft of fine detail, this graphic novel guides the reader's attention instead toward a narrative rich with empathy. Don't be fooled by the glowering self-portrait of the author on the back flap; it’s nearly impossible to read Persepolis 2 without feeling warmth toward Marjane Satrapi. --Ryan Boudinot

From Publishers Weekly
Part one of Satrapi's autobiographical graphic novel found her surviving war, the Islamic Revolution, religious oppression and the execution of several close friends. If part two covers less traumatic events, it's also more subtle and, in some ways, more moving. Sent by her liberal, intellectual parents from Tehran to Vienna to get an education and escape the religious police, rebellious but vulnerable teenage Satrapi learns about secular freedom's pitfalls. Struggling in school, falling in with misfits and without a support group, she ends up dealing drugs for a boyfriend and eventually finds herself homeless on the streets. Forced to return to Iran, Satrapi must once again take up the veil, but learns to live within the constraints of her native land, which border on the surreal. For instance, while Satrapi's racing to catch a bus, the religious police tell her to stop running so her bottom doesn't make "obscene" movements. "Well, then, don't look at my ass!" she angrily responds. The book's cornerstone is her relationship with her parents, who seem to have enough faith in her to let her make the wrong decisions, as when she marries an egotistical artist. Satrapi's art is deceptively simple: it's capable of expressing a wide range of emotion and capturing subtle characterization with the bend of a line. Poignant and unflinching, this is a universally insightful coming-of-age story.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–In Persepolis:The Story of a Childhood (Pantheon, 2003), Satrapi vividly described her early life in Iran. This second installment covers the period after the 1979 Revolution when, at 14, she was sent to Vienna for a freer education than that allowed in her newly fundamentalist country. At first, the distinct differences in her life were overwhelming and exciting. During the next four years, she made new friends, some very liberal and some quite conservative, had several relationships, became increasingly aware of the sexual freedom of her new milieu, and even dealt drugs for a boyfriend. Eventually, she ended up living on the streets. She became ill and returned home, a somewhat liberated 18-year-old in a repressive land. She married, mistakenly thinking that would allow her freedom, and graduated from art school. At the end of this volume, feeling out of place in her homeland and unhappy in her marriage, she has divorced and is preparing to move to France with the blessing of her understanding parents. (A third volume is soon to be translated.) Satrapi's simple-seeming, black-and-white drawings add a surprisingly expressive depth to her already compelling story. Teens will appreciate this memoir on many levels, identifying with the feelings of alienation and misunderstanding, if not the actual events. Young people who have had to flee to new environments will identify even more.–Susan H. Woodcock, Fairfax County Public Library, Chantilly, VA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Most helpful customer reviews

224 of 232 people found the following review helpful.
Heartwarming insight. As rich in art as it is in history.
By Christian Hunter
I read Persepolis tonight.

I mean the whole thing. I started it after dinner, and just finished it at the 153rd page. For those of you who've read, or should I say "experienced" this work, that won't come as a surprise. For those of you who haven't, consider it a high-endorsement. I had other plans for my night...

..I also had my doubts about this work. Despite the rave reviews, I've never even read a comic book. That, coupled with the fact that at first glance, it seemed very...well, childish?

Oh the shame! Marjane Satrapi has created an apologetic convert out of me.

Persepolis is the story of one girls experience during the fall of the Shah of Iran, the ensuing Islamic Revolution (which included Stalin like "purges"), and war with Iraq. Only it's not told in plain text, but rather is a pictured in a comic book style.

A history buff myself, I have an above-average awareness of the historical goings on of that period. However, told in this unorthodox style, with pictures, through the creative and emotional eyes of a child, the "facts" gained a vibrance and color for me like never before. The human side of history had so much more meaning, and seemed to imprint a deeper and easier understanding in my mind than most accounts.

When I was thinking about what was so compelling about this book, I thought of Edward Tufte. He's a famous professor and scientist in the field of displaying information graphically. I went to a seminar by him once. He passionately explained the concept of neural bandwidth, and how most text and plain graphs don't take advantage of the massive processing power of our minds. The pictures in Persepolis, coupled with Marjane's rich historical account seemed to take advantage of that latent neural ability. For me, they compounded and achieved something of an emotional critical mass of understanding that few books have.

So, like I said, I'm a convert. I just ordered her second work "The Story of a Return". Only this time, I'll have a nice bottle of wine, and no plans for the night.

Enjoy,

Christian Hunter

Santa Barbara, California

0 of 0 people found the following review helpful.
War and Oppression Through The Eyes of A Child
By Cosmic Girl
Persepolis is the autobiography of Marjane Satrapi told in graphic novel form. It can most easily be described as a combination of of Maus and The Diary of Anne Frank. However, it is much more than that. It is a book that stands on its own with an account and lessons that are both unique and deeply personal.
At its most basic level, Persepolis is a history of Iran. It begins with an introduction which recounts a brief history of Iran from its founding until the Islamic Revolution. The story of the Satrapi family then takes over. It reveals how a relatively progressive family must cope and change every aspect of their lives under an increasingly oppressive regime. This story is told from the eyes of a fiercely independent young girl. She must not only deal with the normal circumstances of growing from a child to an adult, but she also has to grow up dealing with Iran's Islamic Revolution and its war with Iraq. She must learn to deal with the imprisonment and "disappearance" of many people who she knows and knows of. She must also cope with having to hide the person she is since most of her interests and thoughts are illegal in her country.
I read a review of this book several months ago and knew I just had to read it. It turned out to be much more than I ever thought it would be. Although it is an "easy read" and in comic book format, the emotions and thoughts of Satrapi and the people around her come through quite poignantly. I recommend this book for the story it tells and the emotions it conveys. I believe it will be enjoyable to people of many ages and backgrounds. I can't wait to read the sequel!

0 of 0 people found the following review helpful.
Great book
By Amazon Customer
I had to read this book for my literature class and throughly enjoyed it. It was a great book about uncovering one's identity and rebelling out of social norms. The comic book format was an added bonus. Would definitely recommend.

See all 578 customer reviews...

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The First Paperback Edition of The Definitive Reference Work On The Guitar, And The Most Beautiful Book On The Subject Ever Produced

"When you get right down to it, these guitars represent something uniquely American . . . You're transported to a place where it's always Saturday night in the summertime, a place where cars are fast and girls are pretty. And when you pull into the parking lot and cut the engine, you can hear the music and know that everybody's inside, twisting the night away." --David Nicholson, Washington Post Book World

A stunning visual guide to the history and development of this instrument -featuring specially commissioned photographs of famous, rare, and vintage guitars, from the earliest acoustics to the latest electrics. Packed with construction and design information, and with detailed, informative profiles on everything from the legendary (Martin, Gibson, Fender) to the weird, the exotic, and the oddball (Burns, Hagstrom, Danelectro, to name a few), The Ultimate Guitar Book brings each instrument to life and makes immensely pleasurable browsing for players and collectors alike, from beginner to professional.

• Sales Rank: #588990 in Books
• Published on: 1997-10-15
• Released on: 1997-10-15
• Original language: English
• Number of items: 1
• Dimensions: 10.96" h x .52" w x 9.05" l, 1.84 pounds
• Binding: Paperback
• 192 pages

Amazon.com Review
The guitar is the most popular and versatile of all musical instruments, lending its humble presence to musical forms and genres from rock, country, and bluegrass to classical, jazz, and blues. In The Ultimate Guitar Book, the guitars on display show an almost infinite range of variations and refinements on one basic theme "a box with a neck," as the editors put it in the introduction to the acoustic guitar. From 17th century Stradivari to the latest guitar-synthesizer hybrids, it's all here: instruments famous and rare, antique and novel, including guitars owned or used by notable musical figures from Les Paul to Paul McCartney. The text includes helpful notes on the instruments' construction, as well as information about legendary designers like Martin, Gibson, and Fender. Whether you are a guitarist, collector, or simply an admirer of exquisite musical craftsmanship, this lovely book is a testament to human ingenuity in search of the perfect sound.

From School Library Journal
YA-- A multitude of full-color photos, with accompanying description of the parts, types, and spin-offs, enhance this chronological history of the guitar, beginning with an example from 1552 and continuing through current times. Covering acoustic, electrical, and bass guitars, including all the big-name manufacturers such as, Fender, Gibson, Martin, and Stratocaster, this informative and beautifully illustrated work will have wide appeal.
Copyright 1992 Reed Business Information, Inc.

From the Inside Flap
The First Paperback Edition of The Definitive Reference Work On The Guitar, And The Most Beautiful Book On The Subject Ever Produced
"When you get right down to it, these guitars represent something uniquely American . . . You're transported to a place where it's always Saturday night in the summertime, a place where cars are fast and girls are pretty. And when you pull into the parking lot and cut the engine, you can hear the music and know that everybody's inside, twisting the night away."
-- David Nicholson, Washington Post Book World
A stunning visual guide to the history and development of this instrument -featuring specially commissioned photographs of famous, rare, and vintage guitars, from the earliest acoustics to the latest electrics. Packed with construction and design information, and with detailed, informative profiles on everything from the legendary (Martin, Gibson, Fender) to the weird, the exotic, and the oddball (Burns, Hagstrom, Danelectro, to name a few), The Ultimate Guitar Book brings each instrument to life and makes immensely pleasurable browsing for players and collectors alike, from beginner to professional.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Guitar book is great!
By Roxann
Great book for all ages. Very informative!

18 of 19 people found the following review helpful.
The pictures make the book.
By A Customer
If you were to never read one word of the text of Mr. Bacon's fine book, it would still be worth the cost. Encased between the two covers are some of the finest photos of guitars you'll ever lay your eyes on. Not only are there pictures of your "standard" American-made guitars (Fender, Gibson, Rickenbacker), but also "axes" from around the world. Bacon has also included some interesting and unusual guitars as well. This is a book that you will go back to over-and-over; it's that interesting.

10 of 10 people found the following review helpful.
Excellent book on all types of guitars!!
By Martin J. Macary
Tony Bacon's book "The Ultimate Guitar Book" goes into detail about acoustic, solidbody and bass guitars and is full of great pictures of all types. The book starts out with a hitory of the guitar from the 16th and 17th centuries and how it developed to it's current form.

The acoustic guitar section begins with the anatomy of the acoustic guitar and some basic terminology. The chapter progresses through classical guitar builders Antonio De Torres and discusses the styles of classical and flamenco guitar. The Martin guitar company's guitars are discussed next with a discussion of the various body sizes, inlays and production dates. The chapter continues with D'Angelico, D'Aquisto, Epiphone, Gibson's archtops and flattops and Ovation guitars. The chapter finishes up with resonators and lap and pedal steels.

The electric section starts with the earlist pioneers of amplified guitars like the Rickenbacker "Frying Pan" and the Les Paul "Log". The Fender Telecaster, Stratocaster and various Fenders are covered along with Gibsons Les Pauls, Flying V's, Rickenbackers and various American and European guitars.

This book is a great starting point for reference and research but is only a starting point. There are many other books devoted to single models such as the Les Paul and Stratocaaster that one book could not possibly cover everything. Well worth the price espcially for all of the wonderful pictures.

See all 38 customer reviews...

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!! Download Ebook Lust, Caution: The Story, the Screenplay, and the Making of the Film, by Eileen Chang, Wang Hui Ling, James Schamus

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To me, no writer has ever used the Chinese language as cruelly as Zhang Ailing (Eileen Chang), and no story of hers is as beautiful or as cruel as "Lust, Caution."

Eileen Chang's thrilling short story "Lust, Caution"--a devastating tale of love, betrayal, and manipulation set in Shanghai during World War II--marks with a forceful clarity her mastery of the form. Newly adapted into a major motion picture by Academy Award-winning director Ang Lee, Lust, Caution has become an equally remarkable addition to the work of one of the most internationally renowned directors.

Included in this unique volume are the original story by Eileen Chang, as well as the screenplay by Wang Hui Ling and James Schamus. Key members of the production have written notes about Chang and about the process of adapting "Lust, Caution." With a biographical essay on Chang by translator Julia Lovell and eight pages of color stills from the film, this volume will become the definitive edition for film students and aficionados alike.

• Sales Rank: #1585983 in Books
• Published on: 2007-09-04
• Released on: 2007-09-04
• Original language: English
• Number of items: 1
• Dimensions: 8.54" h x 1.26" w x 5.80" l,
• Binding: Hardcover
• 336 pages

Review
“A dazzling and distinctive fiction writer.”
—New York Times Book Review

“Chang’s sensual writing has elements of both China and the United States; the smoky, formal world of respect for tradition and the irresistible, harshly lighted future.”
—Los Angeles Times

“A master of the short story.... Chang’s world is a stark and mysterious place where people strive to find their way in love but often fail under the pressures of family, tradition, and reputation.”
—The New Yorker

“Chang has strong and sensuous power of description.... Her stories could hardly be more eloquent.”
—New York Review of Books


From the Trade Paperback edition.

About the Author
Eileen Chang (1920-1995) was born in Shanghai. She studied literature at the University of Hong Kong but returned to Shanghai in 1941 during the Japanese occupation, where she published two works, Romances (1944) and Written on Water (1945), that established her reputation as a literary star. She moved to Hong Hong in 1952 and to the United States in 1955, where she continued to write. She died in Los Angeles in 1995.

Wang Hui Ling was born in Taipei, Taiwan, where she still lives. She majored in piano in the music department at Taipei College of Education before beginning a career as a writer of films and television programs. She has cowritten several movies for Ang Lee, including Eat Drink Man Woman and Crouching Tigger, Hidden Dragon, for which she was nominated for an Academy Award, among other honors.

James Schamus is CEO of Focus Features, the studio behind such films as Eternal Sunshine of the Spotless Mind and The Constant Gardener. He is also an award-winning screenwriter and producer (The Ice Storm; Crouching Tiger, Hidden Dragon) and an associate professor at Columbia University's School of the Arts. He received his Ph.D. in English from the University of California at Berkeley in 2003.

Excerpt. © Reprinted by permission. All rights reserved.
Though it was still daylight, the hot lamp was shining full-beam over the mahjong table. Diamond rings flashed under its glare as their wearers clacked and reshuffled their tiles. The tablecloth, tied down over the table legs, stretched out into a sleek plain of blinding white. The harsh artificial light silhouetted to full advantage the generous curve of Chia-chih's bosom, and laid bare the elegant lines of her hexagonal face, its beauty somehow accentuated by the imperfectly narrow forehead, by the careless, framing wisps of hair. Her makeup was understated, except for the glossily rouged arcs of her lips. Her hair she had pinned nonchalantly back from her face, then allowed to hang down to her shoulders. Her sleeveless cheongsam of electric blue moiré satin reached to the knees, its shallow, rounded collar standing only half an inch tall, in the Western style. A brooch fixed to the collar matched her diamond-studded sapphire button earrings.

The two ladies—Tai-tais—immediately to her left and right were both wearing black wool capes, each held fast at the neck by a heavy double gold chain that snaked out from beneath the cloak's turned-down collar. Isolated from the rest of the world by Japanese occupation, Shanghai had elaborated a few native fashions. Thanks to the extravagantly inflated price of gold in the occupied territories, gold chains as thick as these were now fabulously expensive. But somehow, functionally worn in place of a collar button, they managed to avoid the taint of vulgar ostentation, thereby offering their owners the perfect pretext for parading their wealth on excursions about the city. For these excellent reasons, the cape and gold chain had become the favored uniform of the wives of officials serving in Wang Ching-wei's puppet government. Or perhaps they were following the lead of Chungking, the Chinese Nationalist regime's wartime capital, where black cloaks were very much in vogue among the elegant ladies of the political glitterati.

Yee Tai-tai was chez elle, so she had dispensed with her own cape; but even without it, her figure still seemed to bell outward from her neck, with all the weight the years had put on her. She'd met Chia-chih two years earlier in Hong Kong, after she and her husband had left Chungking—and the Nationalist government—together with Wang Ching-wei. Not long before the couple took refuge on the island, one of Wang Ching-wei's lieutenants, Cheng Chung-ming, had been assassinated in Hanoi, and so Wang's followers in Hong Kong were keeping their heads down. Yee Tai-tai, nonetheless, was determined to go shopping. During the war, goods were scarce in both the unconquered interior and the occupied territories of the Mainland; Yee Tai-tai had no intention of wasting the golden purchasing opportunity offered by a stopover in the commercial paradise of Hong Kong. Someone in her circle introduced her to Chia-chih—the beautiful young wife of Mr. Mai, a local businessman—who chaperoned her on her shopping trips. If you wanted to navigate Hong Kong's emporiums, you had to have a local along: you were expected to haggle over prices even in the biggest department stores, and if you couldn't speak Cantonese, all the traders would overcharge you wickedly. Mr. Mai was in import-export and, like all businesspeople, delighted in making political friends. So of course the couple were incessantly hospitable to Yee Tai-tai, who was in turn extremely grateful. After the bombing of Pearl Harbor and the fall of Hong Kong, Mr. Mai went out of business. To make some extra money for the family, Mai Tai-tai decided to do a little smuggling herself, and traveled to Shanghai with a few luxury goods—watches, Western medicines, perfumes, stockings—to sell. Yee Tai-tai very naturally invited her to stay with them.

"We went to Shu-yü, that Szechuanese restaurant, yesterday," Yee Tai-tai was telling the first black cape. "Mai Tai-tai hadn't been."

"Oh, really?"

"We haven't seen you here for a few days, Ma Tai-tai."

"I've been busy—a family matter," Ma Tai-tai mumbled amid the twittering of the mahjong tiles.

Yee Tai-tai's lips thinned into a smile. "She went into hiding because it was her turn to buy dinner."

Chia-chih suspected that Ma Tai-tai was jealous. Ever since Chia-chih had arrived, she had been the center of attention.

"Liao Tai-tai took us all out last night. She's been on such a winning streak the last couple of days," Yee Tai-tai went on to Ma Tai-tai. "At the restaurant, I bumped into that young Mr. Lee and his wife and invited them to join us. When he said they were waiting for guests of their own, I told him they should all join us. After all, it isn't often that Liao Tai-tai gives dinner parties. Then it turned out Mr. Lee had invited so many guests we couldn't fit them all around our table. Even with extra chairs we couldn't all squeeze in, so Liao Tai-tai had to sit behind me like a singsong girl at a banquet. 'What a beauty I've picked for myself tonight,' I joked. 'I'm too old a piece of tofu for you to swallow,' she replied. 'Old tofu tastes the spiciest,' I told her! Oh, how we laughed. She laughed so much her pockmarks turned red."

More laughter around the mahjong table.

While Yee Tai-tai was still updating Ma Tai-tai on the goings-on of the past couple of days, Mr. Yee came in, dressed in a gray suit, and nodded at his three female guests.

"You started early today."

He stood behind his wife, watching the game. The wall behind him was swathed in heavy yellowish-brown wool curtains printed with a brick-red phoenix-tail fern design, each blade almost six feet long. Chou Fo-hai, Wang Ching-wei's second in command, had a pair; and so, therefore, did they. False french windows, and enormous drapes to cover them, were all the rage just then. Because of the war, fabrics were in short supply; floor-length curtains such as those hanging behind Mr. Yee—using up an entire bolt of cloth, with extra wastage from pattern matching—were a conspicuous extravagance. Standing against the huge ferns of his backdrop, Yee looked even shorter than usual. His face was pale, finely drawn, and crowned by a receding hairline that faded away into petal-shaped peaks above his temples. His nose was distinguished by its narrowed, almost ratlike tip.

"Is that ring of yours three carats, Ma Tai-tai?" Yee Tai-tai asked. "The day before yesterday, P'in Fen brought a five-carat diamond to show me, but it didn't sparkle like yours."

"I've heard P'in Fen's things are better than the stuff in the shops."

"It is convenient to have things brought to your home, I suppose. And you can hold on to them for a few days, while you decide. And sometimes she has things you can't get elsewhere. Last time, she showed me a yellow kerosene diamond, but he wouldn't buy it." She glanced icily at Mr. Yee before going on: "How much do you imagine something like that would cost now? A perfect kerosene diamond: a dozen ounces of gold per carat? Two? Three? P'in Fen says no one's selling kerosene or pink diamonds at the moment, for any price. Everyone's hoarding them, waiting for the price to get even more insane."

"Didn't you feel how heavy it was?" Mr. Yee laughed. "Ten carats. You wouldn't have been able to play mahjong with that rock on your finger."

The edges of the table glittered like a diamond exhibition, Chia-chih thought, every pair of hands glinting ostentatiously—except hers. She should have left her jadeite ring back in its box, she realized; to spare herself all those sneering glances.

"Stop making fun of me!" Yee Tai-tai sulked as she moved out one of her counters. The black cape opposite Ma Tai-tai clatteringly opened out her winning hand, and a sudden commotion of laughter and lament broke the thread of conversation.

As the gamblers busily set to calculating their wins and losses, Mr. Yee motioned slightly at Chia-chih with his chin toward the door.

She immediately glanced at the two black capes on either side of her. Fortunately, neither seemed to have noticed. She paid out the chips she had lost, took a sip from her teacup, then suddenly exclaimed: "That memory of mine! I have a business appointment at three o'clock, I'd forgotten all about it. Mr. Yee, will you take my place until I get back?"

"I won't allow it!" Yee Tai-tai protested. "You can't just run away like that without warning us in advance."

"And just when I thought my luck was changing," muttered the winning black cape.

"I suppose we could ask Liao Tai-tai to come over. Go and telephone her," Yee Tai-tai went on to Chia-chih. "At least stay until she gets here."

"I really need to go now." Chia-chih looked at her watch. "I'm going to be late—I arranged to have coffee with a broker. Mr. Yee can take my place."

"I'm busy this afternoon," Mr. Yee excused himself. "Tomorrow I'll play all night."

"That Wang Chia-chih!" Yee Tai-tai liked referring to Chia-chih by her full maiden name, as if they had known each other since they were girls. "I'll make you pay for this—you're going to treat us all to dinner tonight!"

"You can't let your guest buy you dinner," Ma Tai-tai objected.

"I'm siding with Yee Tai-tai," the other black cape put in.

They needed to tread carefully around their hostess on the subject of her young houseguest. Although Yee Tai-tai was easily old enough to be Chia-chih's mother, there had never been any talk of formalizing their relationship, of adopting her as a goddaughter. Yee Tai-tai was a little unpredictable, at the age she was now. Although she had a dowager's fondness for keeping young, pretty women clustered around her—like a galaxy of st...

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6 of 6 people found the following review helpful.
A fluid translation of a captivating tale
By Minnow
I read this book first in Chinese and then in English because I wanted to know how it was translated. Even for the Chinese reader Eileen Chang's original text could be hard to follow and necessitated rereading to fully grasp the details. Chang's writing is famously dense, lush, sensuous, and chock full of puns, symbolism and suggestion. She wrote with a vocabulary distinctive to her era and to her world. Her description of colors, for example, can be foreign to many contemporary Chinese readers. To translate her work will therefore inevitably strip the writing of that period flavor. Julia Lowell did an admirable job in presenting Chang's story in a very fluid and stylish manner in English, even if she could not adequately convey the mood that Chang evoked. In fact, it was easier to follow the plot by reading the English translation.

Unlike her other fiction pieces, Chang's Lust|Caution was extremely spare. Though Chang had always been precise and terse with her language she never spared details. In Lust|Caution, however, she seemed to have deliberately skipped some descriptions. Chang provided the motive for the two central characters to become drawn to each other: Chia-chih and Mr. Yee chose their diametrically opposite paths during Japan's invasion of China but in the process both ended up emotionally repressed, insecure, and isolated. This void drew them together, but Chang only informed the readers that they had become intimate twice without further details. This was unlike her other novels/novellas that at least briefly described the seduction (Red Rose, White Rose) or what the character was thinking as she got intimate with her lover (Love in a Fallen City). Such deliberate omissions added to the mystique of Chia-chih's impulsive and fateful decision at the end, leaving readers lingering with imagination and postulation long after they finished the story. For Chang's fans, in particular, we wonder if the conciseness stemmed from Chang's reluctance to delve into a personal wound that inspired the story.

2 of 2 people found the following review helpful.
Lust, Caution The Story, The Screenplay, and The Making of the Film
By Scott P. Barnes
I can recommend this expanded version of Lust, Caution to those who are interested in the adaptation of a novel to screenplay. It gives the reader insight into the mind of the seasoned screenwriter and how he goes about his work. I also found much information in the preface by director Ang Lee and the introduction by screenwriter James Schamus.

0 of 0 people found the following review helpful.
Performance & Reality
By Michael Brindley
This book brings together the original story by Eileen Chang and its screenplay adaptation by Wang Hui Ling and James Shamus, as well as succinct pieces of thinking by director Ang Lee and screenwriter Shamus. For students of screenwriting, the comparison between source material and adaptation is fascinating - for one thing, the story is short but the film is long (but not 'too long'). More fascinating still is the examination in story and movie of how people can escape into a role that then becomes both stronger and more real than their 'real' selves. As a 'Resistance' story (here Chinese resistance to Japanese occupation in WWII Shanghai), it is perhaps implausible, but the setting is not the subject.

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# Download PDF Stepin Fetchit: The Life and Times of Lincoln Perry, by Mel Watkins

Download PDF Stepin Fetchit: The Life and Times of Lincoln Perry, by Mel Watkins

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The first African American movie star, Lincoln Perry, a.k.a. Stepin Fetchit, is an iconic figure in the history of American popular culture. In the late 1920s and ’30s he was both renowned and reviled for his surrealistic portrayals of the era’s most popular comic stereotype—the lazy, shiftless Negro. After his breakthrough role in the 1929 film Hearts in Dixie, Perry was hailed as “the best actor that the talking pictures have produced” by the critic Robert Benchley.

Having run away from his Key West home in his early teens, Perry found success as a vaude-
villian before making his way to California. The tall, lanky actor became the first millionaire black movie star when he appeared in a string of hit movies as the whiny, ever-perplexed, slow-talking comic sidekick. Perry was the highest paid and most popular black comedian in America during Hollywood’s Golden Age, but his ongoing battles with movie executives, his rowdy offscreen behavior, and his extravagant spending kept him in gossip-column headlines. Perry’s spendthrift ways and exorbitant lifestyle hastened his decline and, in 1947, having squandered or given away his fortune, he was forced to declare bankruptcy.

In 1964 Perry was discovered in the charity ward of Chicago’s Cook County Hospital; he later turned up in Muhammad Ali’s entourage. In 1972 he unsuccessfully sued CBS for defamation because of a television program that ridiculed the type of characters he had portrayed. But his achievements were eventually acknowledged: in 1976 the Hollywood chapter of the NAACP gave him its Special Image Award for having opened the door for many a succeeding African American film star, and in 1978 he was inducted into the Black Filmmakers Hall of Fame. In Stepin Fetchit, Mel Watkins has given us the first definitive, full-scale biography of an entertainment legend.

• Sales Rank: #1716848 in Books
• Published on: 2005-10-18
• Released on: 2005-10-18
• Original language: English
• Number of items: 1
• Dimensions: 6.38" h x 1.24" w x 9.53" l,
• Binding: Hardcover
• 352 pages

From Publishers Weekly
The name Stepin Fetchit evokes images of an African-American caricature, a lazy, cowering fixture in early films. Watkins, a former New York Times Book Review editor, details the story behind the stereotype, examining the life and career of actor Lincoln Perry (1902–1985), creator of Stepin Fetchit. Watkins makes a case that the character's "rebellious, folk-inspired subversiveness (avoiding unrewarding labor by pretense and sham) was subverted and, ultimately, perverted." Perry started performing in early 20th-century traveling minstrel shows and was part of the two-man act "Step and Fetch It." By the early 1920s, when he reached Hollywood, he'd gone solo but kept the name. After breaking into films and working with luminaries like Will Rogers, he fought for treatment and salaries similar to his white co-stars. He became a millionaire; Hollywood pegged him as a troublemaker. Furthermore, the black middle class opposed his profligate lifestyle. Once the Civil Rights movement demanded more positive black images in the media, Stepin Fetchit became an embarrassment. Although Perry received a Special Image Award from the NAACP in 1976, his film work is not easily available. Watkins does an excellent job of capturing the distinctive voice of a determined and savvy film pioneer.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Lincoln Perry's Stepin Fetchit personified the image of a shiftless, lazy, and cowardly Negro, reaching the height of popularity in the 1920s and 1930s. Watkins suggests that Perry opened the doors for other blacks in white Hollywood. Born at the turn of the twentieth century in the Caribbean, Perry ran away from home to work in minstrel and vaudeville shows in the South. His initial fame and appeal was with black audiences. But major success came in Hollywood, where he made more than 40 movies from 1927 to 1948 and became the first black millionaire actor. Perry's very presence on the big screen fed hope to black Americans, and many saw in Perry's apparent acquiescence a hidden message of survival and rebellion. Yet, in the post-World War II period, with the rise of the civil-rights movement, the Fetchit character was almost universally condemned. Watkins maintains that Perry was truly an enigma who fought to improve conditions for blacks in the film industry and created a near-surreal persona whose presence speaks volumes about American race relations. Vernon Ford
Copyright © American Library Association. All rights reserved

Review
"Beautifully evokes the 'times' of Stepin Fetchit, providing a surprisingly fresh look at the complex history of blackness and the silver screen." –Entertainment Weekly

“Commendable . . . thorough and authoritative.”–The New York Times

"Enthralling. . . .Watkins goes back . . . to the vaudeville road, the black-theater circuit, the tent shows, dance clubs, burlesque houses, carnivals, cabarets, race riots and lynch mobs. Stepin Fetchit is a shadow history of performance as survival." –Harper's

"Fascinating. . . . An engrossing study of Perry." –Essence


From the Trade Paperback edition.

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15 of 15 people found the following review helpful.
The First Black Star
By Rob Hardy
Chances are you don't know who Lincoln Perry is, and chances are you do know who Stepin Fetchit is, even though you may never have seen any of Fetchit's movies. Fetchit was Perry's stage persona, famous for playing the "shiftless darky," the slow-talking, drowsy shuffler that was the comic bane of his white masters. Perry was as full of contradictions as the character he portrayed, and both get a full biography in _Stepin Fetchit: The Life & Times of Lincoln Perry_ (Pantheon) by Mel Watkins. Watkins has previously written a history of African American comedy, and so is well acquainted with Fetchit, his fellow performers, and the social changes of the twentieth century that led to the changes in feeling about Fetchit's screen character. This biography is not just about the man and character, but about a particular aspect of twentieth century American race relations.

Perry was born in 1902 in Key West, Florida, and followed his father into performing, working tent shows, carnivals, and eventually vaudeville. Movies were not a career that black performers considered at the time, because if depicted, blacks were played by whites in blackface. Perry may have taken a job as a porter at MGM, and in 1927 he acted in _In Old Kentucky_, his first film appearance, one which got him some critical notice. Perry did not invent Fetchit's "torpid physical presence and halting, meandering speech," but he performed the role with meticulous attention and timing. When onstage before an audience, a key part of his act (it sounds like the sort of transformation for which Andy Kaufman was famous) was to come meandering out, looking lost and confused, and start a whining, incoherent monologue. He would then suddenly burst into a spirited dance that showed that the sloth and stupidity were nothing but pretense. Watkins makes the point that on the screen, there was no such transformation; Perry's sluggard, always performed with skillful languor, was the only role he got to play. He became the first true black movie star, and one of the first to have a studio contract. Like so many actors of his time, he spent lavishly and foolishly. Throughout his movie career, he would irritate studio executives so much that he would get fired from a movie or from his contract, whereupon he would go back to the road for work on the stage. He was criticized by the civil rights movement in the 1940s, and was unemployable because of it, although he could have made a comeback in drama in the sixties. He died in a home for Hollywood actors in 1985.

Watkins has provided a full picture of a complex man of real talent who used it in a timely way, a way that simply became unfashionable as times changed. Perry's aggressive demands to be treated (and paid) like white stars branded him a troublemaker. His fame opened doors for other black actors in less controversial roles, but his name stands for a now-regrettable image. This entertaining biography shows that there was more to him than the image.

8 of 8 people found the following review helpful.
Steoin Fetchit: The Kife and Times of Lincoln Perry
By Carolyn J. Watson
A Fascinating Character"

I'd heard the term "Stepin Fetchit," but I didn't know that there was a real person (Lincoln Perry) or movie star who used the name. So when a friend suggested I read this book I was leery. But after a few pages I was caught up in the times and in Perry's struggle to break into films and establish himself as a star. What surprised me most is that he was apparently an intelligent, gifted performer who was nothing like our picture of the "Uncle Tom" that the name is associated with. Who knew that Perry wrote for the Chicago Defender, fought for higher pay and better roles for black actors, hung out with the heavyweight champ Jack Johnson as well as Muhammad Ali, and, for years, lived such a lavish life in Hollywood. Watkins gives us a rich, detailed account of this complex, talented black comic actor. And when one reads about the racial restrictions and circumstances of black actors in the 1920s and 30s, the reasons for his being cast in the cartoonish movie roles he played become clear. He was a man before his time. I finished the book thinking that Perry, with his ambition and outrageous knack for publicity and self-promotion, could have been a star today. It seems that Perry had more flair and attitude than many of today's biggest stars.

This is an entertaining, eye-opening book - a great read. I recommend it for anyone interested in entertainment history or the bumpy road that black actors had to travel to become accepted in Hollywood, and for everyone who wants to be introduced to one of the most fascinating characters I've ever read about. Lincoln Perry's achievements need to be reevaluated and "Stepin Fetchit" definitely deserves * * * * * Five Stars.

11 of 12 people found the following review helpful.
Eye Opening and Enlightening
By Ria
Lincoln Perry, the man the world came to know as Stepin Fetchit, was a complex man. After reading this book, I realize I have childhood memories of seeing Fetchit in films on television. I also remember some of his imitators. Mel Watkins brought to mind cartoons like "Who Killed Cock Robin?" where a Stepin Fetchit type character was being beaten by the police. I asked my sister to quote our deceased mother using the title of this book. She said, "Stop acting like Stepin Fetchit." That made us laugh. But I also remember being taught by my elders who were the great grandchildren of ex-slaves, the subtle form of "playing dumb" to avoid being oppressed by the oppressor. Unfortunately, when "the oppressor" saw Stepin Fetchit movies, he didn't get the joke because it was at his expense. Therefore, forward thinking black people had to cringe watching some of movies movies in mixed company because they knew that this comedians "act" was being accepted as typical black man behavior. Mel Watkins did a fantastic job of explaining Lincoln Perry and the time in which he lived.

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@ Fee Download The Greeks and Greek Love: A Bold New Exploration of the Ancient World, by James Davidson

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For nearly two thousand years, historians have treated the subject of homosexuality in ancient Greece with apology, embarrassment, or outright denial. Now classics scholar James Davidson offers a brilliant, unblushing exploration of the passion that permeated Greek civilization. Using homosexuality as a lens, Davidson sheds new light on every aspect of Greek culture, from politics and religion to art and war. With stunning erudition and irresistible wit–and without moral judgment–Davidson has written the first major examination of homosexuality in ancient Greece since the dawn of the modern gay rights movement.

What exactly did same-sex love mean in a culture that had no word or concept comparable to our term “homosexuality”? How sexual were these attachments? When Greeks spoke of love between men and boys, how young were the boys, how old were the men? Drawing on examples from philosophy, poetry, drama, history, and vase painting, Davidson provides fascinating answers to questions that have vexed scholars for generations. To begin, he defines the essential Greek words for romantic love–eros, pothos, philia–and explores the shades of emotion and passion embodied in each. Then, exploding the myth of Greek “boy love,” Davidson shows that Greek same-sex pairs were in fact often of the same generation, with boys under eighteen zealously separated from older boys and men.

Davidson argues that the essence of Greek homosexuality was “besottedness”–falling head over heels and “making a great big song and dance about it,” though sex was certainly not excluded. With refreshing candor, humor, and an astonishing command of Greek culture, Davidson examines how this passion played out in the myths of Ganymede and Cephalus, in the lives of archetypal Greek heroes such as Achilles, Heracles, and Alexander, in the politics of Athens and the army of lovers that defended Thebes. He considers the sexual peculiarities of Sparta and Crete, the legend and truth surrounding Sappho, and the relationship between Greek athletics and sexuality.

Writing with the energy, vitality, and irony that the subject deserves, Davidson has elucidated the ruling passion of classical antiquity. Ultimately The Greeks and Greek Love is about how desire–homosexual and heterosexual–is embodied in human civilization. At once scholarly and entertaining, this is a book that sheds as much light on our own world as on the world of Homer, Plato, and Alexander.

• Sales Rank: #988825 in Books
• Published on: 2009-05-26
• Released on: 2009-05-26
• Format: Deckle Edge
• Original language: English
• Number of items: 1
• Dimensions: 9.54" h x 1.84" w x 6.65" l, 2.85 pounds
• Binding: Hardcover
• 832 pages

From Publishers Weekly
Starred Review. Ithis marvelously entertaining and erudite follow-up to Courtesans and Fishcakes: The Consuming Passions of Classical Athens, Davidson has written the definitive study of the varieties of same-sex love in ancient Greece. Abjuring recent theory-laden views of ancient Greek sexuality, and in particular homosexuality, Davidson examines the great variety of loves practiced across all ages and classes in such locales as Sparta, Crete and Macedonia. He draws deeply on etymology, philology, archeology, poetry and philosophy, observing, for instance, that the various Greek words for love—from agape (fondness) to pothos (longing) and eros (driving love)—define an amatory universe in which a variety of feelings and sexual practices characterize relationships between individuals. Thus, love manifests itself differently depending on whether the lovers are Spartan women, gods and heroes, comrades-in-arms or master and slave. There is the sweet and playful eros of the lyric poets, the patriotic eros of Pericles' funeral speech, and the letters of Alexander that reject offers to send him the most beautiful boys in the world. Davidson's study is brilliant social history and a first-rate history of classical Greece. B&w illus. (May 26)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
Praise from the UK:

“A highly erudite work of social and cultural history.”
—The Guardian (London)

“[A] massive work of research, reflection and surprise.”
—Daily Telegraph (London)

“Massively informed and informative . . . [a] vital and outstanding study.”
—The Spectator (London)

“A landmark in gay studies . . . James Davidson’s revisionist account emerges with winning charm.”
—Time Out London

About the Author
James Davidson is a classical scholar and history professor at the University of Warwick in England. He is the author of Courtesans and Fishcakes: The Consuming Passions of Classical Athens and is a regular contributor to the London Review of Books, among other journals. He lives in London.

Most helpful customer reviews

43 of 49 people found the following review helpful.
Not Just Platonic
By Charlus
Ever since Kenneth Dover's pioneering work Greek Homosexuality: Updated and with a new Postscript, the homoerotic current in Classical studies has been removed from an embarassing footnote and placed front and center in many studies of Ancient Greek Civilization. Nonetheless, James Davidson feels historians still have it wrong, especially in reducing the concept of Greek Love to sexual acts and who does what to whom being of central importance.

In what promises to be the new landmark study, not only in its controversial theses but in the sheer volume of detail and example accumulated, Davidson has made the case that homoerotic relationships in Ancient Greece were far more complex than historians have previously been willing to explore.

Initially, by examining various words used to describe various shades of amorousness, desire, attraction, friendship, love and sex, and how meaning changes based on context, a complexity is exposed that goes far to impress the basic ambiguities inherent in reading the record and elucidating the questions being asked. Eventually, by further examining vast amounts of written and pictorial elements, a more complete picture of Ancient Greek sexuality is revealed, allowing the Greeks a foreigness that modern writers have frequently ignored, often in order to coopt them for modern political purposes.

It is by allowing the Greeks to be themselves, in all their strangeness, ambiguity and humanity, and by exploring in clear, frequently witty prose what can and cannot be known, that Mr. Davidson has made his indelible mark on the historic record.

14 of 17 people found the following review helpful.
A Historical Masterpiece
By Colton Kelley
It is long yes but it is not written in a way that is difficult to understand. Davidson covers every aspect of Greek life in regards to the practice of male-male (and female-female) love, from art to religion to military to societal differences in practices from city-state to city-state. It is well detailed, and very few things mentioned are irrelivent. Some may criticize this book for focusing on homosexual practices amoungst the ancient Greeks, but the author makes it clear that the Greeks were a predominently Heterosexual based culture and homosexual love was not viewed by the ancients as being at odds with this. The ancients loved based on beauty and quality rather than gender. Anyone who wants to learn about same-sex practices in the ancient world will enjoy this wonderful book and learn a lot from it.

6 of 7 people found the following review helpful.
Why all the squirming in the negative reviews?
By Abbot of Acorn Abbey
The negative reviews of this book are fascinating, in a Freudian sort of way. Frankly I doubt whether the negative reviewers have even bothered to read this book. Get over it, negative reviewers: James Davidson has brilliantly exposed the biases of the likes of K.J. Dover and Michel Foucault. Foucault, remember, never did any primary work on this subject; he only sermonized on the work of others, using a postmodern jargon generator (it would seem) to do his writing for him. As for Dover, Dover remains valuable if you can read him in the context of the staunch traditionalist that he was.

Negative reviewers of "The Greeks and Greek Love" would have us believe that James Davidson expends almost 800 pages in some sort of prolonged recitation of the modern "homosexual agenda." Nothing could be farther from the truth. Davidson takes us into the texts, and into Greek philology, far deeper than Dover did. And besides, Dover seemed to have a preference for urns and vases, which served as more suitable Rorschach images into which Dover could project what he was predisposed to see. Does Davidson write with full awareness of, and often from the perspective of, modern gay men? Yes. What of it? Is that somehow a disqualification, or some sort of guarantee that his scholarship will go astray? Is a "straight" perspective (or a tortured pseudo-straight perspective like Foucault's) on Greek love the only valid perspective? Hardly. It's all about remaining grounded in the texts. Not only does Davidson remain grounded in the texts, in 800 pages he has the room elucidate the texts and to explain and defend his thinking.

So, to all those who want scholarship in this area to remain ossified where Dover left it: Kenneth Dover is dead. Long live James Davidson.

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