@ Ebook A Biographical Guide to the Great Jazz and Pop Singers, by Will Friedwald

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Will Friedwald’s illuminating, opinionated essays—provocative, funny, and personal—on the lives and careers of more than three hundred singers anatomize the work of the most important jazz and popular performers of the twentieth century. From giants like Ella Fitzgerald, Louis Armstrong, Frank Sinatra, and Judy Garland to lesser-known artists like Jeri Southern and Joe Mooney, they have created a body of work that continues to please and inspire. Here is the most extensive biographical and critical survey of these singers ever written, as well as an essential guide to the Great American Songbook and those who shaped the way it has been sung.
 
The music crosses from jazz to pop and back again, from the songs of Irving Berlin and W. C. Handy through Stephen Sondheim and beyond, bringing together straightforward jazz and pop singers (Billie Holiday, Perry Como); hybrid artists who moved among genres and combined them (Peggy Lee, Mel Tormé); the leading men and women of Broadway and Hollywood (Ethel Merman, Al Jolson); yesterday’s vaudeville and radio stars (Sophie Tucker, Eddie Cantor); and today’s cabaret artists and hit-makers (Diana Krall, Michael Bublé). Friedwald has also written extended pieces on the most representative artists of five significant genres that lie outside the songbook: Bessie Smith (blues), Mahalia Jackson (gospel), Hank Williams (country and western), Elvis Presley (rock ’n’ roll), and Bob Dylan (folk-rock).
 
Friedwald reconsiders the personal stories and professional successes and failures of all these artists, their songs, and their performances, appraising both the singers and their music by balancing his opinions with those of fellow musicians, listeners, and critics.
 
This magisterial reference book—ten years in the making—will delight and inform anyone with a passion for the iconic music of America, which continues to resonate throughout our popular culture.

• Sales Rank: #1069431 in Books
• Published on: 2010-11-02
• Released on: 2010-11-02
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 1.76" w x 7.03" l, 2.79 pounds
• Binding: Hardcover
• 832 pages

From Publishers Weekly
Starred Review. In this passionately opinionated encyclopedia of the old-school virtuosos of the American songbook, music writer Friedwald (Sinatra!) celebrates 200-odd performers of jazz and pop standards, from the mid-20th-century titans--Louis Armstrong, Bing Crosby, Ella Fitzgerald, Frank Sinatra--to latter-day acolytes like Diana Krall and Harry Connick Jr., with a raft of unjustly obscure singers in between. (Forget the Andrews Sisters--get a load of the Boswell Sisters!) Friedwald is all about the music; he primly shies away from his subjects' scandal-prone personal lives, but accords each a substantial career retrospective, selected discography and wonderfully pithy interpretive essay. His tastes are wide-ranging and idiosyncratic: he plumbs the artistry of Jimmy Durante's and Shirley Temple's novelty voices, decries the bombastic narcissism of "sacred monster" Barbra Streisand--"I remain completely unconvinced that she's a person who needs people"--and considers perky Doris Day's pop gems "the most erotic vocalizing you'll ever hear." However unconventional, his judgments are usually spot-on, as in his compelling reassessment of Elvis as the last great Crosbyesque crooner. Friedwald's exuberant medley is that rarest of things: music criticism that actually makes you sit up and listen. (Nov. 2) (c)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
“Top Five Books of the Year 2010: Friedwald chronicles the Great American Songbook, its creators, and its interpreters—a body of work that stands at the apogee of this nation’s civilization. Quirky, opinionated, shaped by exquisite taste and judgment, this feat of musical and cultural criticism offers an exuberant glimpse into the American character.”
—Benjamin Schwarz, The Atlantic

“A perfect holiday gift . . . An authoritative, comprehensive and oft-amusing guidebook that leads readers through the lives and recordings of hundreds of singers, from Louis Armstrong to Hank Williams.”
—The Wall Street Journal 
 
“Incisive and useful . . . In this mammoth volume, jazz critic Will Friedwald does for jazz and pop vocalists what David Thomson has done so brilliantly in his New Biographical Dictionary of Film. . . . The author also acts as a consumer guide, steering the reader toward particular songs or albums. . . . Vastly entertaining.”
—Dennis Drabelle, The Washington Post 
 
“In this passionately opinionated encyclopedia of the old-school virtuosos of the American songbook, music writer Friedwald celebrates 200-odd performers of jazz and pop standards, from the mid-20th-century titans to latter-day acolytes, with a raft of unjustly obscure singers in between. . . . [Friedwald] accords each a substantial career retrospective, selected discography and wonderfully pithy interpretive essay. His tastes are wide-ranging and idiosyncratic . . . However unconventional, his judgments are usually spot-on . . . Friedwald’s exuberant medley is that rarest of things: music criticism that actually makes you sit up and listen.”
—Publishers Weekly (starred review) 

“A fun reference book to dive into, get lost in—and use to add more songs and singers to your collection. . . . When it comes to the Great American Songbook, Will Friedwald is the keeper of the flame. He’s written some of the best books on popular song of the past quarter-century, from his engaging Jazz Singing to . . . his Sinatra! The Song is You [which] is one of the best studies of a singer’s craft ever written. With A Biographical Guide to the Great Jazz and Pop Singers, Friedwald gave himself a daunting task: put together essays on every singer he can who made a career singing those great songs. ‘Every’ is a lot, but Friedwald doesn’t miss too many, from the early 20th century to the cabaret singers of the post-swing revival. The essays—more than 200 in all, including pieces on multiple artists—are part biography, part career overview, focusing on the singers’ highs and lows while tossing in bits of fun trivia.”
—Chris Foran, Milwaukee Journal Sentinel 
 
“I think Will Friedwald’s Biographical Guide to the Great Jazz and Pop Singers will be of real interest to anyone who cares about the music.”
—Hugh Hefner, editor-in-chief of Playboy
 
“If there were such a volume as the Great American Songbook, this book should be right next to it on your shelf.  It is truly the definitive work on those who sing and swing those songs.”
—Alan Bergman, Grammy and Academy Award–winning songwriter

“Will Friedwald has created an instant classic reference tome with his Biographical Guide to the Great Jazz and Pop Singers, the wealth of information and the breadth of knowledge being quite staggering. It is written without academic posturing but with wit and warmth and accessibility, covering in fascinating detail the careers of everyone from Jolson and Sinatra, of course, to Lee Wiley, Noel Coward and Marlene Dietrich; from Armstrong to Doris Day, and everyone in between. It will surely be considered an essential text.”
—Peter Bogdanovich

“This extensive work is essential and comprehensive. In opinionated, sometimes witty essays, Friedwald sorts out the lives and careers of more than three hundred singers, some of the greatest vocalists of the twentieth century including such giants as Ella Fitzgerald, Bing Crosby, Frank Sinatra, and Bessie Smith. There are also dozens of unexpected inclusions. For example, Martha Raye merits almost seven pages and her entry helps dusts off her historical reputation as not just a zany character but rather an incredibly gifted and complex artist. . . . Friedwald spent ten years researching this magisterial reference book and it is certain to delight and inform anyone with a passion for the iconic music of America.”
—Larry Cox, Tucson Citizen

Stardust Melodies
“The closest thing we have to a standard text on American pop from the first half of the twentieth century . . . Friedwald is a deeply attentive and emotionally attuned listener. His descriptions of performances are so precise and detailed that Stardust Melodies could serve as a primer for how to listen to prerock music.”
—The New York Times Book Review
 
“Excellent . . . [With] good humor and lively anecdotes, Friedwald brings an open mind to the kaleidoscope of musical stylings that these songs have been treated (or subjected) to.”
—The Wall Street Journal
 
“Friedwald’s writing, both erudite and funny, complements the standards he so clearly loves, like a melody set to the perfect lyric.”
—Entertainment Weekly, “A”
 
“Informative and witty . . . So full of good stuff that I kept being distracted and forgetting what I was looking for.”
—Chicago Tribune
 
Sinatra! The Song Is You
“The most important book published about Frank Sinatra to date.”
—The New York Times Book Review
 
“Indispensable . . . A man with unexcelled knowledge of American popular song, Friedwald looks intensively at [Sinatra’s] career . . . Sinatra! hits a welcome high note . . . Excellent.”
—Cleveland Plain Dealer
 
“Blithe, respectful, snappy, and smart, Friedwald catches the creative fire of the singer . . . This is the best book ever written about Sinatra’s deepest secret: his craft.”
—Time

About the Author
Will Friedwald writes about music for The Wall Street Journal and was the jazz (and cabaret) critic for The New York Sun. He is the author of eight books, including Stardust Melodies: A Biography of Twelve of America’s Most Popular Songs; Jazz Singing: America’s Great Voices from Bessie Smith to Bebop and Beyond; Sinatra! The Song Is You: A Singer’s Art; and The Good Life (with Tony Bennett). He has written nearly five hundred liner notes for compact discs, for which he has received eight Grammy nominations. He has also written for Vanity Fair, The Village Voice, Entertainment Weekly, American Heritage, and The New York Times, among other publications.

Most helpful customer reviews

30 of 31 people found the following review helpful.
Pop, jazz, & some R&B: Will Friedwald's musical America
By Roochak
Will Friedwald's gift as a critic is his ability to make anyone reevaluate their opinions about popular singers, including his own. It'll come as a surprise to readers of his 1990 book Jazz Singing: America's Great Voices From Bessie Smith To Bebop And Beyond, in which he argued that rock & roll ushered in the Apocalypse for good music, that he now considers Elvis Presley to be one of the greatest of all popular singers, the first man to assimilate rhythm and blues, country, and mainstream pop into a seamless whole. Even in praising an artist, Friedwald's opinions are provocative, as when he avers that Dean Martin was a major influence on Elvis's singing; it sounds nutty, but careful listening will back it up.

What makes a jazz or pop singer "great"? Tricky question. The 811 double-columned pages of this book provide a series of contentious, informed, and highly entertaining answers in the form of extended essays on its two hundred or so performers. (The BIOGRAPHICAL GUIDE, which Friedwald spent a decade writing, is modeled after David Thomson's BIOGRAPHICAL DICTIONARY OF FILM, but with much longer, and better written, entries.) For Friedwald, great pop music is centered on the American songbook, and its finest singers were active during the LP era, the heyday of the concept album (1955 - 1985). What this means for his book is that he doesn't write about too many singers born after 1950, though Diana Krall, Kurt Elling, Michael Feinstein, Audra McDonald, and Dee Dee Bridgewater are among the boomers too interesting NOT to warrant an essay apiece.

Elsewhere, Friedwald is busy challenging our perceptions of the classic performers and throwing away critical gems on almost every page. For example: "I can only imagine that both Sinatra and Dylan had moments when they felt like Dr. Frankenstein: They had created a monster and couldn't control the damage it caused." "Streisand...is incapable of easing up -- whether on a note, on the beat, on the band, on the words, on anything. [She] nearly always sounds as if she's attacking you with a song." "What will it take to convince Aretha Franklin that she is, in fact, a great artist, and not a fly-by-night hit maker? Why does she consistently act as if she's in the same league with Mariah Carey and Whitney Houston?" And then there are the deeper insights: "One thing [Ray Charles] has in common with Tony Bennett is the way he revels in the rapture of the sound of strain -- like an alto saxist struggling for a high F. And one thing he has in common with Ornette Coleman and Albert Ayler, two bluesmen in a different kind of music, is that he challenges our notion of sound itself."

Chances are, several of your favorite contemporary singers, like several of mine, are going to be missing from this book, but there's more than enough interesting material here to make it an essential purchase anyway. You'll be reading and re-reading it for months.

6 of 6 people found the following review helpful.
Excellent Volume
By David Keith
You might not agree with the author's favorite picks, but his knowledge on the subject of jazz/pop singers is monumental. Don't think there's a better qualified individual to write such a book. I grew up in the 70s, was a fan of punk, and later on alternative music. This wonderful book sure is helping me explore the jazz and pop singers from before my time. It's about all I care to listen to anymore! Julie London, Frank Sinatra, Dinah Washington, Sarah Vaughn, Dean Martin, etc. They're all here. This book's a keeper. I'll be getting much use out of this book for years to come. It belongs in every music library!

I read a couple hundred books every year. If not more than that. This book is my favorite from 2010. It's a masterpiece.

1 of 1 people found the following review helpful.
INDISPENSABLE
By William W. Kerrigan
This book is patterned after David Thomson's Biographical Dictionary of Cinema. The font and page layout is a dead ringer for the Thomson book. This proves to be a perfect model for Friedwald, a jazz journalist, and author of numerous liner notes for cds. He excels at the short essay. Whereas his 1990 book covering much the same ground, Jazz Singing, suffered from serious organization problems, here we are given focussed entries on jazz and pop singers from Jolson and Gene Austin to Peter Cincotti and Ann Callaway. In general, Friedwald's opinions have mellowed somewhat, and are presented in a more balanced, less autocratic manner. He still champions (and for heaven's sake, why not?) Louis Armstrong, Bing Crosby, Frank Sinatra, Mel Torme, Doris Day, Nat King Cole, Rosemary Clooney, and Tony Bennett, but without the abrasive denigration of rival singers and differently minded pundits that marked his earlier work. He has also found room in his heart for artists such as Buddy Greco and Barbara Lea, mentioned only in passing in Jazz Singing, and even Bob Dylan, the subject of a loving entry toward the end of the book. As Friedwald notes, he is probably among the few people around who have been listening to Mel Torme for forty years and Bob Dylan for a mere five.
Though light on the biography, like Thomson before him, the entries contain usefully detailed accounts of the performing and recording careers of well over 200 singers. The book is chock full of invitations to listening pleasure. Friedwald is bound to create music collectors, or reinspire established collectors. His luscious descriptions of rare items from the catalogues of Tony Bennett, Lee Wiley, and Doris Day, to name but a few, will kick off some interesting and probably costly treasure hunts. Even if Friedwald only convinces you to get a couple of readily available cds, he will have improved your ear--and one good thing leads to another.
A Biographical Guide to the Great Jazz and Pop Singers opens up the history of American popular music in a concise and yet engaging fashion. If you only have time for one book on the subject, this is the indispensable one. Not cheap, but worth every penny. It is to be hoped that the book, again like Thomson's, will be periodically updated. I am already wondering what Friedwald thinks of the new Doris Day release, My Heart.

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! Free Ebook Essential AP U.S. History (flashcards) (College Test Preparation), by Princeton Review

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• Sales Rank: #747817 in Books
• Published on: 2010-12-28
• Released on: 2010-12-28
• Original language: English
• Number of items: 1
• Dimensions: 4.50" h x 2.73" w x 3.91" l, 1.20 pounds
• Binding: Cards
• 450 pages

About the Author
The Princeton Review is the fastest growing test-preparation company in the country, with over 60 franchise offices in the nation. Each year, we help more than 2 million students prepare for college, grad school, professional licensing exams, and successful careers.

Most helpful customer reviews

4 of 4 people found the following review helpful.
alphabetical not good for studying
By ellentalk
These flashcards aren't as useful as Barons since they are only in alphabetical order. Barons groups cards by time period which is much more useful when studying for a unit test. Otherwise, use the glossary at the back of your text book for free.

2 of 2 people found the following review helpful.
No Organization
By Madelyn
I highly suggest getting the Baron's flash cards. The Baron's are organized by category and time period where the Princeton simply come in alphabetical order. I ended up going through all of these, then borrowing the Baron's from my APUSH teacher 3 days before the exam and did some major cramming. Hopefully it paid off, but I wish I would have gotten the right ones to begin with so I didn't have to cram.

3 of 4 people found the following review helpful.
Essential AP U.S. History (flash cards) (College Test Preparations)
By swismaden3
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Detective Mike Hoolihan has seen it all. A fifteen-year veteran of the force, she's gone from walking a beat, to robbery, to homicide. But one case--this case--has gotten under her skin.

When Jennifer Rockwell, darling of the community and daughter of a respected career cop--now top brass--takes her own life, no one is prepared to believe it. Especially her father, Colonel Tom. Homicide Detective Mike Hoolihan, longtime colleague and friend of Colonel Tom, is ready to "put the case down." Suicide. Closed. Until Colonel Tom asks her to do the one thing any grieving father would ask: take a second look.

Not since his celebrated novel Money has Amis turned his focus on America to such remarkable effect. Fusing brilliant wordplay with all the elements of a classic whodunit, Amis exposes a world where surfaces are suspect (no matter how perfect), where paranoia is justified (no matter how pervasive), and where power and pride are brought low by the hidden recesses of our humanity.

• Sales Rank: #280838 in Books
• Color: Multicolor
• Brand: Amis, Martin
• Published on: 1999-01-26
• Released on: 1999-01-26
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .40" w x 5.20" l,
• Binding: Paperback
• 176 pages

Features

• Martin Amis
• Police Procedurals
• women sleuths
• British & Irish

Amazon.com Review
On a beautiful night in a second-tier American city, a beautiful astrophysicist with the clichéd everything to live for shoots herself dead with a .22. Tough-talking detective Mike Hoolihan, quickly summoned to the scene, has witnessed every sort of victim: "Jumpers, stumpers, dumpers, dunkers, bleeders, floaters, poppers, bursters." But this case is different. Mike has known the young woman for years--she's the daughter, it turns out, of Mike's mentor, Colonel Tom Rockwell. And the colonel is desperate to find a perp, despite massive evidence to the contrary.

In Night Train, Martin Amis has fixed his sights on the American female--with a difference. Mike is in fact a woman--a hulking, chain-smoking, deep-voiced alcoholic who comes complete with a squalid family background and a none-too-happy foreground. She even lives in a building next to the proverbial night train and can't survive without her tape with eight different versions of the R & B "hymn to the low rent."

Did this novel begin as narrative flexing, yet another test the hypertalented author--and number-one Elmore Leonard fan--wanted to pose to himself? If so, he has passed with flying colors. True, Mike's search occasionally pushes her up against pulp pathos, but mostly the genre keeps Amis true. "Police are pretty blasé about ballistics. Remember the Kennedy assassination and 'the magic bullet'? We know that every bullet is a magic bullet. Particularly the .22 roundnose. When a bullet enters a human being, it has hysterics. As if it knows it shouldn't be there."

Mike spends her time weighing the evidence, wishing it would point to murder, and letting us in on some current police realities. Whatever television tells us, in real life (not to mention postmodern crime fiction), there's no neat solution. Even that old standard, the good cop-bad cop approach, no longer works: "It's not just that Joe Perp is on to it, having seen good cop-bad cop a million times on reruns of Hawaii Five-O. The only time bad cop was any good was in the old days, when he used to come into the interrogation room every ten minutes and smash your suspect over the head with the yellow pages." With such discourses, Amis is stretching the rubber band of his book's realism. But in the end, all his fancy footwork doesn't stop us from admiring and pitying his heroine, and hoping she won't board the ultimate night train: suicide.

From School Library Journal
YA?"Suicide is the night train, speeding your way to darkness." Detective Mike Hoolihan is a case-hardened policewoman, but this case is different. The dead woman is Jennifer Rockwell, the daughter of Mike's friend (and boss), Colonel Tom Rockwell, head of criminal investigation. Even though all the evidence points to suicide, Colonel Tom asks Mike to take another look. Everyone agrees that Jennifer had everything; she was beautiful, a brilliant astrophysicist with a promising career, in love with a professor at the university. Why suicide? As Mike probes the secrets of the deceased woman's life, she is forced to re-examine her own, and the decision she makes at the end of her investigation says as much about her as it does about Jennifer, or Colonel Tom. The author's portrayal of the conflicts and complexities of a criminal investigation is utterly convincing, the dialogue is authentic, and the writing is both spare and powerful. YAs who like detective stories will find themselves pulled into this investigation.?Molly Connally, Kings Park Library, Fairfax County, VA
Copyright 1998 Reed Business Information, Inc.

From Library Journal
This intriguing new work from the ever gritty, disturbing Amis (e.g., The Information, LJ 5/1/95) is a sort of anti-police procedural, following all the rules and then blowing them away at the end to reach for something different. Detective Mike Hoolihan is a tough woman, on the force for years and currently recovering from the alcohol abuse that can go with a high-stress job. Now she has her toughest assignment yet. Jennifer Rockwell, the picture-perfect daughter of top cop Colonel Tom, has deliberately blown out her brains, using not one but three bullets, and the colonel is convinced it's murder. Hoolihan investigates, finds odd little facts (lithium use, a pick-up in a bar), and concludes that Jennifer was leaving clues to something. Tension builds as the reader awaits impatiently for the revelation of some dark secret, and at first it is a disappointment when none comes. But soon the anti-climax starts to feel right: beyond thrills, we've learned something important about how the human psyche really works. Recommended for most collections.
-?Barbara Hoffert, "Library Journal"
Copyright 1997 Reed Business Information, Inc.

Most helpful customer reviews

28 of 29 people found the following review helpful.
Necessary spoiler follows
By Deacon Ficks
It seems to me that the bad reviews that readers shower upon Martin Amis, on Amazon, are written by people who get so lost in Amis' wordplay that they miss the usually uncomplicated point.

Firstly, Night Train is a beautiful novel in which our hero(?) Mike Hoolihan is forced to examine her self worth. Faced with the suicide of a "perfect" girl, Mike is forced to reconsider whether or not her own existence is worth prolonging. She points out, fairly early in the novel, that suicides are prone to leaving a vast variety of commentary for those they leave behind. These suicide notes vary in style and form.

Night Train IS Mike's suicide note. Some two hundred pages of explaination for her loved ones. In the process she manages to prove that her self image is twisted. She has admirers and friends but views herself as ultimately alone.

Anyone who didn't appreciate this novel, I'm convinced, missed the point that what they were reading was something personal intended for Mike's loved ones. A farewell that was meant, as suicide notes usually are, to comfort, explain and beg forgiveness for their author's actions.

12 of 12 people found the following review helpful.
A profound and worthwhile read
By Fairbanksreader
This is one of those books that can not be characterized as a single genre. It is a compilation of mystery, psychological suspense, and an exploration of the impact of death and suicide on those close to the victim. Mr. Amis' writing is superb. He uses a concise and hard-hitting style to narrate the examination of an apparent suicide of the daughter of a police officer. I could not put the book down and I asked my husband to read it so that we could discuss it together. As a clinical social worker and psychotherapist, I found it profoundly insightful about the mysteries of death and suicide.

26 of 32 people found the following review helpful.
As usual Amis is misunderstood
By Robert Stribley
Much has been written below about Amis's Night Train, and it's interesting to see so many divergent opinions about a single book. I wish only to broach a couple of subjects, rather than give my overall impression of the book (I've reviewed it elsewhere).
First, to address the complaint that NT isn't good detective fiction. One writer complained that Amis has failed at detective fiction and should go back to writing modern fiction. Night Train *is* modern fiction. Amis has adopted the voice of noir fiction to tell another of his typically post-modern stories. The bulk of Amis's work is both satirical and thought-provoking. Night Train doesn't stray from this pre-established territory. If the reader is angered because NT's ending is something other than concrete, because things unraveled instead of being compartmentalized and shunted into pretty, neat, explainable bundles, then he or she has simply chosen the wrong book to read and should probably have picked up Elmore Leonard's latest instead. That doesn't mean Amis was unsuccessful in his endeavor.
Second, as to the complaint that the crime remains unsolved: bollocks. I think a close reading (you cannot successfully read this book thinking it to be a simple detective story)reveals that Amis is again satirizing modern society. I don't have the book in front of me, but I remember the essence of parts which discuss the following idea: in an are where motiveless murder is so common as to be mundane, what (area of crime, if you will) does that leave unexplored? Motiveless suicide. I'm oversimplifying what Amis wrote for the sake of brevity, but the seadlings for your own thought are certainly planted within those pages. I'll agree that the ending is somewhat nebulous. Many of Amis's are, I believe because he makes great efforts to avoid hackneyed, cliched writing, and so many endings are typically hackneyed, cliched; try appreciating his ending to his latest short story in the NYer, "The Janitor on Mars," what a bizarre, but similarly provocative little piece of work that is.
Having said all this, I can only give the book three stars for the simple reason that if I gave it more, what would I give to London Fields or the Rachel Papers?
Cheers!

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> Ebook Silk and Steel: Women at Arms, by R.L. Wilson

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Silk and Steel: Women at Arms is the first comprehensive presentation on the subject of women and firearms. No object has had a greater impact on world history over the past 650 years than the firearm, and a surprising number of women have been keen on the subject: as shooters, hunters, collectors, engravers, and even gunmakers.

From Queen Elizabeth I through her descendant Queen Elizabeth II, the numbers of aristocratic female arms enthusiasts, particularly shooters, have been impressive. Among those regal personages: Russia’s Empresses Elizabeth and Catherine the Great, France’s Marie Antoinette, and Great Britain’s Duchess of Devonshire. In the New World, Thomas Jefferson’s matched pair of Queen Anne–style flintlock pistols were made by London gunmaker Mary Dealtry. Pioneer American women took bold steps to defend home and hearth, and their courage earned them the right to vote in Western states, where hardiness and self-reliance were taken for granted. As Jefferson himself admonished: “[The gun gives] boldness, enterprise, and independence to the mind.” Many women were comfortable with firearms in early America, and among the world’s most famous women in the late nineteenth and early twentieth centuries was Annie Oakley—“Little Sure Shot.”

Turning back the clock to the time of Joan of Arc, R. L. Wilson shows how women have played a vital role in armed conflicts. For many centuries, women went to war—sometimes in the guise of men—without their comrades knowing that they were present. Increasingly, in our own era, there are female fighter pilots and cadets at West Point and at all the U.S. service academies. The 2001–2002 war in Afghanistan saw Northern Alliance women trained to fire AK-47s, some even shooting their Taliban tormentors.

Expanding on a long tradition, in the post–World War II period, millions of women and girls gravitated to sport shooting, including trap, skeet, and sporting clays, rifle and pistol target competitions, and the harvesting of game birds and even the dangerous big game of Africa. As evidenced in the writings of Ernest Hemingway, Robert Ruark, and Isak Dinesen, big game hunting in Africa was a favorite pursuit of many society women from Europe and the United States.

Following the publication of this book, the Rosenbruch Wildlife Heritage Museum will mount a traveling exhibition exploring the theme of women and firearms. Firearms, clothing, and accessories will be accompanied by paintings, photographs, drawings, and prints, as well as numerous other artifacts, to depict and document a captivating subject never before examined in such depth.

Silk and Steel joins the author’s series on the history of firearms, which commenced in 1979 with The Colt Heritage and continued through such later titles as Colt: An American Legend, Winchester: An American Legend, The Peacemakers, Steel Canvas, Ruger & His Guns, Buffalo Bill’s Wild West (with Greg Martin), and The World of Beretta.

Silk and Steel includes more than three hundred color plates, with spectacular new collages by Peter Beard. The bibliography lists myriad works of reference, some centuries old, and is accompanied by a detailed index.

• Sales Rank: #1321872 in Books
• Published on: 2003-11-04
• Released on: 2003-11-04
• Original language: English
• Number of items: 1
• Dimensions: 8.78" h x 1.08" w x 11.35" l,
• Binding: Hardcover
• 336 pages

From the Inside Flap
Silk and Steel: Women at Arms is the first comprehensive presentation on the subject of women and firearms. No object has had a greater impact on world history over the past 650 years than the firearm, and a surprising number of women have been keen on the subject: as shooters, hunters, collectors, engravers, and even gunmakers.

From Queen Elizabeth I through her descendant Queen Elizabeth II, the numbers of aristocratic female arms enthusiasts, particularly shooters, have been impressive. Among those regal personages: Russia?s Empresses Elizabeth and Catherine the Great, France?s Marie Antoinette, and Great Britain?s Duchess of Devonshire. In the New World, Thomas Jefferson?s matched pair of Queen Anne?style flintlock pistols were made by London gunmaker Mary Dealtry. Pioneer American women took bold steps to defend home and hearth, and their courage earned them the right to vote in Western states, where hardiness and self-reliance were taken for granted. As Jefferson himself admonished: ?[The gun gives] boldness, enterprise, and independence to the mind.? Many women were comfortable with firearms in early America, and among the world?s most famous women in the late nineteenth and early twentieth centuries was Annie Oakley??Little Sure Shot.?

Turning back the clock to the time of Joan of Arc, R. L. Wilson shows how women have played a vital role in armed conflicts. For many centuries, women went to war?sometimes in the guise of men?without their comrades knowing that they were present. Increasingly, in our own era, there are female fighter pilots and cadets at West Point and at all the U.S. service academies. The 2001?2002 war in Afghanistan saw Northern Alliance women trained to fire AK-47s, some even shooting their Taliban tormentors.

Expanding on a long tradition, in the post?World War II period, millions of women and girls gravitated to sport shooting, including trap, skeet, and sporting clays, rifle and pistol target competitions, and the harvesting of game birds and even the dangerous big game of Africa. As evidenced in the writings of Ernest Hemingway, Robert Ruark, and Isak Dinesen, big game hunting in Africa was a favorite pursuit of many society women from Europe and the United States.

Following the publication of this book, the Rosenbruch Wildlife Heritage Museum will mount a traveling exhibition exploring the theme of women and firearms. Firearms, clothing, and accessories will be accompanied by paintings, photographs, drawings, and prints, as well as numerous other artifacts, to depict and document a captivating subject never before examined in such depth.

Silk and Steel joins the author?s series on the history of firearms, which commenced in 1979 with The Colt Heritage and continued through such later titles as Colt: An American Legend, Winchester: An American Legend, The Peacemakers, Steel Canvas, Ruger & His Guns, Buffalo Bill?s Wild West (with Greg Martin), and The World of Beretta.

Silk and Steel includes more than three hundred color plates, with spectacular new collages by Peter Beard. The bibliography lists myriad works of reference, some centuries old, and is accompanied by a detailed index.

About the Author
R. L. Wilson has authored more than forty books and more than three hundred articles in a career that has spanned four decades. His dedication to the world of arms and armor began with a boyhood in Minnesota, followed by internships at the Corcoran Gallery of Art, the Armouries, H.M. Tower of London, and the Wadsworth Atheneum, where he was appointed curator of firearms at the age of twenty-three.

He resides in San Francisco, but consultancies with private collectors and institutions, including the Autry Museum of Western Heritage, Cody Firearms Museum, the Royal Armouries Museum (Leeds), Tiffany & Co., the National Firearms Museum, and the Metropolitan Museum of Art, keep him traveling continually.

—About the Photographers—

Retrospectives of Peter Beard’s photography and art have been held in Milan, Paris, Berlin, New York, and Los Angeles. His work has appeared in Vogue, Life, Esquire, Vanity Fair, and numerous other journals. He is the author of The End of the Game, Eyelids of Morning, Longing for Darkness, Portraits, and Zara’s Tales from Africa. This is his sixth book with R. L. Wilson.

G. Allan Brown is a frequent contributor to publications on firearms and antiques. His work was showcased in Colt: An American Legend, Winchester: An American Legend, The Peacemakers, Steel Canvas, Ruger & His Guns, The World of Beretta, and both volumes of The Colt Engraving Book.

Most helpful customer reviews

18 of 19 people found the following review helpful.
Guns, Women, History - great read and photos
By A Customer
As I listened for over 1 hour on the G. Gordon Liddy show and read reviewed in the NY Post, this is THE book on the history of arms and women. The photos are astounding (some by Peter Beard), the captions very interesting (not repeats of the text!) and, over all, one can really understand women's fascination in the use of firearms, from defence, to shooting, especially sport shooting and an Olympic Champion (as well as a good piece on Annie Oakley).
A great gift book.

0 of 0 people found the following review helpful.
A wonderful gift for some lucky lady.
By Marcia M.
This is an awesome book and I would highly recommend it as a gift for some very lucky lady on some special occasion. Can't put it down, and there's a lot of content there. Wonderful photos of gun engraving and historical photos.

0 of 0 people found the following review helpful.
Guns and women from the beginning to present day
By Edward F. Arnold
A coffee-table book with tons of information on women and guns through the ages, with superb illustrations of high decorated firearms owned by royalty, or including females as part of the design.

See all 8 customer reviews...

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^ Ebook Amuse-Bouche: Little Bites Of Delight Before the Meal Begins, by Rick Tramonto, Mary Goodbody

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Amuse-bouche (pronounced ah-myuz boosh) are today what hors d'oeuvres were to America in the 1950s: a relatively unknown feature of French culinary tradition that, once introduced, immediately became standard fare. Chefs at many fine restaurants offer guests an amuse-bouche, a bite-sized treat that excites the tongue and delights the eye, before the meal is served. Nobody does it better than the celebrated executive chef/partner of Chicago’s Tru, Rick Tramonto. Amuse-bouche are a fa-vorite of diners at Tru, many of whom come expressly to enjoy the “grand amuse"--an assortment of four different taste sensations.

Amuse-Bouche offers an array of recipes, from elegant and sophisticated to casual and surprising—but always exquisite—that will inspire home cooks to share these culinary jewels with their guests. From Black Mission Figs with Mascarpone Foam and Prosciutto di Parma to Curried Three-Bean Salad, from Soft Polenta with Forest Mushrooms to Blue Cheese Foam with Port Wine Reduction, Tramonto’s creations will embolden the novice and the experienced cook alike to experiment with unfamiliar ingredients and techniques.

Organized by type of amuse and season of the year, the book also includes a directory of sources for specialty products. With more than a hundred recipes and with fifty-two full-page color photographs by James Beard Award--winning photographer Tim Turner, Amuse-Bouche enchants the eyes as much as an amuse pleases the palate.

• Sales Rank: #306399 in Books
• Brand: Tramonto, Rick/ Goodbody, Mary/ Turner, Tim
• Published on: 2002-10-22
• Released on: 2002-10-22
• Original language: English
• Number of items: 1
• Dimensions: 10.30" h x .94" w x 8.30" l, 2.41 pounds
• Binding: Hardcover
• 288 pages

Amazon.com Review
Many of the best restaurants tantalize diners' palates with charming, intensely flavored tastes that tickle the tongue and delight the eye. A tiny serving to whet the palate, an amuse-bouche (literally, "mouth amusement") sets diners up for what is to come. Rick Tramonto, executive chef of Chicago's widely acclaimed Tru restaurant, is well known for his passion for and commitment to these bite-size treats. In Amuse-Bouche: Little Bites That Delight Before the Meal Begins, he shares the art of creating these miniature delights. While most people won't find many occasions to serve amuse-bouche at home, the recipes are easily adapted to become passed hors d'oeuvres, first courses, or even main courses. From Chilled Fava Bean Soup with Seared Scallops, to Blue Cheese Foam with Port Wine Reduction, to Charred Lamb with Truffled Vinaigrette and Oven-Dried Tomatoes, this book offers something for every taste. Surprisingly, most of the dishes are exceedingly simple to prepare, often consisting of just four or five ingredients. As might be expected, the success of the recipes is dependent not so much on involved cooking techniques or complicated combinations of flavors but rather on the selection of a few high-quality ingredients. Creamy Corn Grits with Butternut Squash and Sweet Corn, for instance, starts with ever-so-humble beginnings to ultimately showcase the bright flavor of corn and the hearty sweetness of butternut squash. With more than a hundred clever and inspiring recipes, Amuse-Bouche will surely not fail to amuse. --Robin Donovan

From Publishers Weekly
Breaking new ground in a previously untackled area of cuisine, the executive chef of TRU restaurant in Chicago and coauthor with Gale Gand of Just a Bite, Tramonto (who also coauthored Butter, Flour, Sugar, Eggs), has paired up with Goodbody to explore the world of Amuse-Bouche, "Little bites of food to amuse the mouth, invigorate the palate, whet the appetite." To this end, the author has produced recipes designed to create a mouthful of delight, whether a spoonful of salad, an espresso cup of soup or a scoop of savory sorbet. Giving the book greater scope, Tramonto suggests that the dishes, such as the simple, flavorful Warm Onion Tart with Thyme, can be used as hors d'oeuvre, "so elusive is the line between." Many of the portions can be expanded or multiplied to form starters or a light main course. Other recipes given a new look are bean salad, which with the addition of curry oil becomes Curried Three Bean Salad, and Potato Salad, which is spiced with cayenne pepper. The recipes require a variety of skill levels and time, although there are always several suitable for all occasions and aptitudes.
Copyright 2002 Reed Business Information, Inc.

From Library Journal
An amuse-bouche is a special little tidbit served as a treat at the beginning of the meal in many upscale restaurants, and Tramonto, chef of Chicago's acclaimed Tru, is a master of the form. Instead of just one, he presents four amuses, or sometimes even more, to each guest. He finds these little bites a perfect way to experiment with flavors and ingredients-and to have fun doing so (he describes the food at Tru as "fine dining with a sense of humor"). But sophisticated as his amuses are, they translate surprisingly well to the home kitchen. Because they are prepared on such a small scale and often include only a few ingredients, the better to highlight individual flavors, preparation of many of them, such as Watermelon Cube with Aged Balsamic, is not the lengthy process typical of most chefs' recipes. Not that there aren't more complicated recipes, too, such as Seared Cumin-Crusted Squab with Horseradish Gastrique, but the recipe instructions are clearly written and accessible. Tramonto also points out that these little bites are a great way for home cooks to serve an ingredient that would otherwise be prohibitively expensive (as in Warm Mini Foie Gras Club Sandwiches) or to taste an unfamiliar, "exotic" ingredient. For most collections.
Copyright 2002 Reed Business Information, Inc.

Most helpful customer reviews

136 of 145 people found the following review helpful.
Great book for professionals and serious foodies.
By B. Marold
`amuse-bouche' by Chicago Tru restaurant owner / chef Rick Tramonto is all about a newly trendy corner of French cuisine which arrive before the appetizer, are generally offered for free by the restaurant, and are `Little bites of food to amuse the mouth, invigorate the palate, whet the appetite...' as stated by author.

The value of this book is based largely on the fact that, to my knowledge, there is no other book on the subject available in English which even addresses this subject, let alone does it as well as Sr. Tramonto. The primary value of `amuse-bouche' to the average amateur cook / entertainer is that it gives one the chance to present a small amount of relatively expensive ingredients such as caviar, truffles, foie gras, or sushi grade tuna in a dramatic setting. The dish has the added virtue of challenging the host's ingenuity in presenting these `little bites'.

The disadvantages are that for a single bite of food, these dishes can be a lot of work. As Tramonto prepares them, there is a relatively large amount of pureeing, straining, blanching, grinding, mixing, and reducing going on to distill the ingredients into a powerful taste which has but one chance to make an impression. Compare to this the utterly simple composition of many antipasti, often based on nothing more than a joining of bread or cured ham or olives or fruit or cheese with one another, possibly with the addition of olive oil, a tapenade, or a pesto. The problem lies in the fact that the flavors and the presentation of the amuse-bouche must be exceptionally strong and unusual. The great tripod of antipasto flavors of salty plus oily plus bitter just doesn't cut it, if only because they are so familiar to experienced eaters already.

For the professional chef, this book is probably one of the most interesting and useful they can get if they are interested in boosting the cachet of their restaurant. The book presents nine different types of dishes. These are:

Soup. This is a type of bite where you get lots of bang for the effort you put into the preparation. On the one hand, almost all these soups are creamed, requiring lots of pureeing and straining, especially of ingredients that were not necessarily created to go easily through a strainer, such as the fibrous parts of asparagus. On the other hand, you get lots of economies of scale. With a single run through, you can make enough for eight or sixteen with the same effort as it takes to make one.

Vegetables. These give more work per serving, as you have the job of creating both a sauce and a finely cut or grilled vegetable to lay on top of the sauce. Many are based on terrines which are easy for a trained chef, but which may be a bit much for the amateur.

Pasta and Grain. The heavy lifting here comes from skills needed to pipe sauces into hollow pasta shapes. There almost seems like a special effort is being made to turn a frittata, a very easy dish, into something difficult, which, due to its small size, creates very few servings from a style of dish which is famous for creating easy tapas and antipastos.

Fish and Seafood. This is probably a category where the strong tastes of the fresh ingredients will do most of the work for you. For most people, a single bite of raw tuna, nicely dressed for the evening, is about all they will want. But, even these get their share of aspics, flavored oils, and sauces, which are a breeze to whip up when you have a battalion of sous chefs.

Meat and Poultry: The realm of forcemeats, mousses, foie gras, and cured hams. Many dishes familiar to fans of hors d'ourves everywhere.

Forks and Spoons. More of a method of presentation than a class of ingredients. These recipes involve combining purees or soups with a spoon and long stringy things with a fork, or integrating the utensil into the presentation as the obvious means to eat the food.

Juice. This may be the simplest variety, as all you really need is a good juicer, the primary fruit or vegetable, and the appropriate spices.

Foam. This is the land of the famous Spanish chef Ferran Adria of Barcelona. Having never actually used a foamer, I have no idea how hard it is. I saw Masaharu Morimoto use one on `Iron Chef America', but then he has probably done it a thousand times over, so he will make it look easy. I can tell from the recipes that in order to foam, you must first puree. No free lunch here!

Sorbet. More specialized machines, as in order to create a decent sorbet, you need some kind of ice cream machine. Take my word for it, sticking sugary fruit juice in the freezer doesn't do it!

The last chapter contains basic pantry recipes for intermediate ingredients such as stocks and flavored oils or tuiles and crackers to build presentations.

I generally put little value on photographs in a cookbook, but in this case, they are essential. Half the value of spending all this time on a single bite is to load it up with all the bang you can muster, including dramatic presentations. These do not have to be expensive. I was particularly impressed by the one done using little paper cups commonly available at fast food outlets for condiments. I was also especially fond of the miniatures made to look like something else. Thomas Keller has based much of his reputation on such clever presentations. It is easy to miss, as it is done with light pastel lettering, but each dish is labeled by the best season for it's principal ingredients.

I think this book is a must for chefs and foodies. This is not a subject you get on the Food Network, except as dishes on `Iron Chef'.

Highly recommended for all `haute cuisine' lovers.

0 of 0 people found the following review helpful.
Not completely accessible to a home cook but I love it anyway
By M. J. Smith
I am glad for those who can call these recipes "doable" for the home cook with a professional level equipped kitchen. Even with a trip into the city, there are some ingredients that I can have only because I grow them myself such as some of the specified microgreens or lemon verbena, lovage, Hawaiian pink ginger, pineapple mint ...Yes, I am sure there is somewhere which carries them but the milage racked up to obtain the ingredients. Fortunately, I have a garden that is designed specifically to address some of these issues. The second issue is that many of the simpler recipes have simply moved the complexity of the recipe to sub-recipes and "basic recipes" in the back. The latter is filled with stock, aspic and oil recipes. At least, he isn't expecting me to make my own soba noodles ... which is doable.

Nonetheless, I absolutely love this cookbook and expect to use several recipes as standard "go to's". Why? First, because many are very seasonal, a trait I value. Because some are so simple but inspired, e.g. Watermelon Cube with Aged Balsamic Vinegar which uses watermelon juice, salt, watermelon and aged balsamic vinegar. The recipe could easily be adapted to use Aged Black Rice Vinegar for an Asian flare. Because some truly highlight the pleasures of underutilized ingredients such as kohlrabi, rutabaga, and Jerusalem artichokes. Because of the precision with which textures, flavors and visual elements are combined e.g. Sashimi of Fluke with Radish Salad and Chives which uses red, black and icicle radishes. Because ingredients I have gotten fixed on a single use for are used with familiar flavors but in a startling (to me) way e.g. Warm Truffled Oxtail Tartlets.

And, yes, some of the recipes can be scaled up to entree level e.g. Rick's Shooter of Duck Wonton with Duck Consomme or Soft Polenta with Forest Mushrooms with minor modifications to avoid overloading your palate. So despite the specificity of the recipes, the book also provides inspiration for your own riffs.

23 of 23 people found the following review helpful.
Eye candy with excellent recipes
By Amalfi Coast Girl
To put this review into perspective for you, it is written by a serious student of cooking that has been actively studying food on their own for 25 years. I have been focusing on Italian food for the last 10 years. My favorite cookbook is "The Professional Chef" by the Culinary Institute of America.

If you are a serious home cook you will love this book.

The photography in this book is nice and the food styling is beautiful. If you love to entertain and/or you want the meals you serve your family and friends to be gorgeous you will get so many ideas reading this book.

The directions for the recipes are very thorough and well written. I believe that a serious beginner could follow these recipes without a problem.

I have tried many of the recipes in this book all to rave reviews. I particularly enjoyed the chapter on foams. The "cream whippers" are expensive, but they are extremely fun to use.

This book does not need to be used just for small bites. It is as simple as just making fewer portions from the same recipe.

This book is highly recommended for anyone that is serious about cooking.

See all 49 customer reviews...

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## Download Ebook Cracking the PCAT 2012-2013, by Princeton Review

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If you need to know it, it's in this book. The Princeton Review's Cracking the PCAT gives you everything you need to master all seven sections of the Pharmacy College Admissions Test, including:

• Access to 2 full-length practice tests
• Thorough review of all PCAT topics, including general biology, microbiology, human anatomy and physiology, general and inorganic chemistry, basic math, algebra, probability and statistics, calculus, vocabulary, and analogies
• Extensive review of the toughest Chemistry, Biology, and Quantitative subjects
• Strategies for Verbal, Math, and Writing sections
• Drills and detailed explanations to show you exactly what to expect on the PCAT

• Sales Rank: #349252 in Books
• Brand: Brand: Random House Inc
• Published on: 2011-12-20
• Released on: 2011-12-20
• Original language: English
• Number of items: 1
• Dimensions: 10.80" h x 1.70" w x 8.40" l, 2.73 pounds
• Binding: Paperback
• 800 pages

Features

• Used Book in Good Condition

About the Author
The Princeton Review is the fastest growing test-preparation company in the country, with over 60 franchise offices in the nation. Each year, we help more than 2 million students prepare for college, grad school, professional licensing exams, and successful careers.

Most helpful customer reviews

41 of 42 people found the following review helpful.
Used mostly as a reference and for practice tests.
By Hang T. Tran
I really like the test taking tips they give you for each section. The PCATs is a mixture of knowledge and test taking abilities and this book covers those two standards. Applying the tips the book provided, takes some practice. I had a lot of trouble trying to apply the tips for the reading comprehension section. I ultimately went back to my style of reading the whole passage within 2-3 mins before answering questions, rather than skimming through looking for what the main idea for each paragraph as the book advised. Unless you have a strong reading background, which may take years to develop, the reading section is going to be a uphill battle for most using the tips provided. I have to say the book goes into too much detail, especially quantitative section. The practice tests provided were much harder than the actual PCATs themselves, scoring around 60-65% overall on them. However the format of the online practice tests they give, more or so identical to the format of the actual exam, which was a plus as it helps you practice those test taking tips they give you.

Compared to Kaplan, they both provide similar tips and information. I barely opened my Kaplan book so take my comparison for what its worth. For $10 less I take this over Kaplan, although Kaplan appears to be more slightly compact.

My study materials were (in order of usage):
Dr. Collins
Pearson Practice Tests
Princeton Review PCATS
REA Flashcards
Barron's SAT Vocabulary Flashcards
Kaplan PCATS

My PCAT scores:(Section/Scaled Score/Percentile Ranking)

Verbal Ability/412/68
Biology/446/97
Reading Comprehension/393/37
Quantitative Ability/416/77
Chemistry/463/99
Composite/426/92

13 of 14 people found the following review helpful.
My experience with the book
By Carol
Admittedly, I had my doubts with this purchase. It was a lot cheaper than Kaplan and Kaplan always seems so popular but in the end, I decided to go with it.

For $10, this seriously is a great deal. The book is almost 800 pages long and thoroughly covers all the subjects I needed to review for the PCAT. There are pros and cons of this book. The best thing is that it is extremely thorough (owing to its bulky hundreds of pages). The tips on the PCAT were helpful, and the tips for the reading comprehension were the MOST HELPFUL.

I would usually read the entire passage and then attempt the questions, but for the PCAT, there's simply not enough time for that. This book gave a really great strategy for tackling those long (and really boring) passages.

On to actual content: better than Kaplan! I took a look at the Kaplan version and it is missing all of organic chem. But, in Princeton, there's a bunch of spelling mistakes and jumbled up answer keys for the practices, but overall it's good enough for prepping.

However, there's some outdated information such as the entire section on plants in General Biology. This year, they added nutrition and disease to the PCAT, but the book doesn't mention it at all. I suggest going back to some high school notes and reviewing all that information.

Math section in Princeton is also a little excessive. All the integration techniques given are pretty useless...

Overall, the Princeton review does a great job in covering everything scrupulously. The online content is very useful in terms of the downloadable "quick reviews" and vocab list. But the 2 online practice tests were super difficult. I scored consistently 50-60% on them. So, I thought the actual PCAT would be just as devastating. It is not.

I took the PCAT for the very first time this morning and have used the Princeton Review book for all of this month to cram as much ochem as possible. It's definitely paid off. I scored a composite 99% today and am extremely happy with how this book has prepped me. So, if you're deciding on getting a thorough (and decently priced) PCAT review book, this is a good one to start with :)

10 of 10 people found the following review helpful.
Very helpful for Certain Sections
By honestreview
For the price, this book is awesome. I used this book as the only source of main studying for review and I got higher than 90th percentile in the 2012 test. The book does have some unnecessary material such as the plants part in the Biology section, and the math review is a little hard to understand when it comes to the calculus section. Overall this is an awesome book for reviewing Biology, Anatomy and Physiology, and Chemistry. It's tips in other sections that you cannot really prepare for, such as verbal ability, are helpful too. It is also helpful with remembering basic math that can trip you up on the PCAT. The book comes with two practice tests that I didn't find too helpful, so I would recommend buying the practice tests separate from Pearson themselves.

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“It is possible to invent a single machine which can be used to compute any computable sequence,” twenty-four-year-old Alan Turing announced in 1936. In Turing’s Cathedral, George Dyson focuses on a small group of men and women, led by John von Neumann at the Institute for Advanced Study in Princeton, New Jersey, who built one of the first computers to realize Alan Turing’s vision of a Universal Machine. Their work would break the distinction between numbers that mean things and numbers that do things—and our universe would never be the same.
 
Using five kilobytes of memory (the amount allocated to displaying the cursor on a computer desktop of today), they achieved unprecedented success in both weather prediction and nuclear weapons design, while tackling, in their spare time, problems ranging from the evolution of viruses to the evolution of stars.
 
Dyson’s account, both historic and prophetic, sheds important new light on how the digital universe exploded in the aftermath of World War II. The proliferation of both codes and machines was paralleled by two historic developments: the decoding of self-replicating sequences in biology and the invention of the hydrogen bomb. It’s no coincidence that the most destructive and the most constructive of human inventions appeared at exactly the same time.
 
How did code take over the world? In retracing how Alan Turing’s one-dimensional model became John von Neumann’s two-dimensional implementation, Turing’s Cathedral offers a series of provocative suggestions as to where the digital universe, now fully three-dimensional, may be heading next.

• Sales Rank: #479613 in Books
• Published on: 2012-03-06
• Released on: 2012-03-06
• Format: Deckle Edge
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 1.52" w x 6.63" l, 1.80 pounds
• Binding: Hardcover
• 432 pages

Review
“An expansive narrative . . . The book brims with unexpected detail. Maybe the bomb (or the specter of the machines) affected everyone. Gödel believed his food was poisoned and starved himself to death. Turing, persecuted for his homosexuality, actually did die of poisoning, perhaps by biting a cyanide-laced apple. Less well known is the tragic end of Klári von Neumann, a depressive Jewish socialite who became one of the world’s first machine-language programmers and enacted the grandest suicide of the lot, downing cocktails before walking into the Pacific surf in a black dress with fur cuffs. Dyson’s well made sentences are worthy of these operatic contradictions . . . A groundbreaking history of the Princeton computer.”
—William Poundstone, The New York Times Book Review

“Dyson combines his prodigious skills as a historian and writer with his privileged position within the [Institute for Advanced Study’s] history to present a vivid account of the digital computer project . . .  A powerful story of the ethical dimension of scientific research, a story whose lessons apply as much today in an era of expanded military R&D as they did in the ENIAC and MANIAC era . . . Dyson closes the book with three absolutely, hair-on-neck-standing-up inspiring chapters on the present and future, a bracing reminder of the distance we have come on some of the paths envisioned by von Neumann, Turing, et al.”
—Cory Doctorow, Boing Boing
 
“A fascinating combination of the technical and human stories behind the computing breakthroughs of the 1940s and ’50s . . . It demonstrates that the power of human thought often precedes determination and creativity in the birth of world-changing technology . . . An important work.”
—Richard DiDio, Philadelphia Inquirer
 
“Dyson’s book is not only learned, but brilliantly and surprisingly idiosyncratic and strange.”
—Josh Rothman, Braniac blog, Boston Globe
 
“Beyond the importance of this book as a contribution to the history of science, as a generalist I was struck by Dyson’s eye and ear for the delightfully entertaining detail . . . Turing’s Cathedral is suffused . . . with moments of insight, quirk and hilarity rendering it more than just a great book about science. It’s a great book, period.”
—Douglas Bell, The Globe and Mail
 
“The greatest strength of Turing’s Cathedral lies in its luscious wealth of anecdotal details about von Neumann and his band of scientific geniuses at IAS.  Dyson himself is the son of Freeman Dyson, one of America’s greatest twentieth-century physicists and an IAS member from 1948 onward, and so Turing’s Cathedral is, in part, Dyson’s attempt to make both moral and intellectual sense of his father’s glittering and yet severely compromised scientific generation.”
—Andrew Keen, B&N Review

“A mesmerizing tale brilliantly told . . . . The use of wonderful quotes and pithy sketches of the brilliant cast of characters further enriches the text . . . . Meticulously researched and packed with not just technological details, but sociopolitical and cultural details as well—the definitive history of the computer.”
—Kirkus (starred review)
 
“The most powerful technology of the last century was not the atomic bomb, but software—and both were invented by the same folks. Even as they were inventing it, the original geniuses imagined almost everything software has become since. At long last, George Dyson delivers the untold story of software’s creation. It is an amazing tale brilliantly deciphered.”
—Kevin Kelly, cofounder of WIRED magazine, author of What Technology Wants
 
“It is a joy to read George Dyson’s revelation of the very human story of the invention of the electronic computer, which he tells with wit, authority, and insight. Read Turing’s Cathedral as both the origin story of our digital universe and as a perceptive glimpse into its future.”
—W. Daniel Hillis, inventor of The Connection Machine, author of The Pattern on the Stone

About the Author

George Dyson is a historian of technology whose interests include the development (and redevelopment) of the Aleut kayak (Baidarka), the evolution of digital computing and telecommunications (Darwin Among the Machines), and the exploration of space (Project Orion).

Excerpt. © Reprinted by permission. All rights reserved.

Preface
 
POINT SOURCE SOLUTION
 
I am thinking about something much more important than bombs. I am thinking about computers.
—John von Neumann, 1946
 
 
There are two kinds of creation myths: those where life arises out of the mud, and those where life falls from the sky. In this creation myth, computers arose from the mud, and code fell from the sky.
 
In late 1945, at the Institute for Advanced Study in Princeton, New Jersey, Hungarian American mathematician John von Neumann gathered a small group of engineers to begin designing, building, and programming an electronic digital computer, with five kilobytes of storage, whose attention could be switched in 24 microseconds from one memory location to the next. The entire digital universe can be traced directly to this 32-by-32-by-40-bit nucleus: less memory than is allocated to displaying a single icon on a computer screen today.
 
Von Neumann’s project was the physical realization of Alan Turing’s Universal Machine, a theoretical construct invented in 1936. It was not the first computer. It was not even the second or third computer. It was, however, among the first computers to make full use of a high-speed random-access storage matrix, and became the machine whose coding was most widely replicated and whose logical architecture was most widely reproduced. The stored-program computer, as conceived by Alan Turing and delivered by John von Neumann, broke the distinction between numbers that mean things and numbers that do things. Our universe would never be the same.
 
Working outside the bounds of industry, breaking the rules of academia, and relying largely on the U.S. government for support, a dozen engineers in their twenties and thirties designed and built von Neumann’s computer for less than $1 million in under five years. “He was in the right place at the right time with the right connections with the right idea,” remembers Willis Ware, fourth to be hired to join the engineering team, “setting aside the hassle that will probably never be resolved as to whose ideas they really were.”
 
As World War II drew to a close, the scientists who had built the atomic bomb at Los Alamos wondered, “What’s next?” Some, including Richard Feynman, vowed never to have anything to do with nuclear weapons or military secrecy again. Others, including Edward Teller and John von Neumann, were eager to develop more advanced nuclear weapons, especially the “Super,” or hydrogen bomb. Just before dawn on the morning of July 16, 1945, the New Mexico desert was illuminated by an explosion “brighter than a thousand suns.” Eight and a half years later, an explosion one thousand times more powerful illuminated the skies over Bikini Atoll. The race to build the hydrogen bomb was accelerated by von Neumann’s desire to build a computer, and the push to build von Neumann’s computer was accelerated by the race to build a hydrogen bomb.
 
Computers were essential to the initiation of nuclear explosions, and to understanding what happens next. In “Point Source Solution,” a 1947 Los Alamos report on the shock waves produced by nuclear explosions, von Neumann explained that “for very violent explosions . . . it may be justified to treat the original, central, high pressure area as a point.” This approximated the physical reality of a nuclear explosion closely enough to enable some of the first useful predictions of weapons effects.
 
Numerical simulation of chain reactions within computers initiated a chain reaction among computers, with machines and codes proliferating as explosively as the phenomena they were designed to help us understand. It is no coincidence that the most destructive and the most constructive of human inventions appeared at exactly the same time. Only the collective intelligence of computers could save us from the destructive powers of the weapons they had allowed us to invent.
 
Turing’s model of universal computation was one-dimensional: a string of symbols encoded on a tape. Von Neumann’s implementation of Turing’s model was two-dimensional: the address matrix underlying all computers in use today. The landscape is now three-dimensional, yet the entire Internet can still be viewed as a common tape shared by a multitude of Turing’s Universal Machines.
 
Where does time fit in? Time in the digital universe and time in our universe are governed by entirely different clocks. In our universe, time is a continuum. In a digital universe, time (T) is a countable number of discrete, sequential steps. A digital universe is bounded at the beginning, when T = 0, and at the end, if T comes to a stop. Even in a perfectly deterministic universe, there is no consistent method to predict the ending in advance. To an observer in our universe, the digital universe appears to be speeding up. To an observer in the digital universe, our universe appears to be slowing down.
 
Universal codes and universal machines, introduced by Alan Turing in his “On Computable Numbers, with an Application to the Entscheidungsproblem” of 1936, have prospered to such an extent that Turing’s underlying interest in the “decision problem” is easily overlooked. In answering the Entscheidungsproblem, Turing proved that there is no systematic way to tell, by looking at a code, what that code will do. That’s what makes the digital universe so interesting, and that’s what brings us here.
 
It is impossible to predict where the digital universe is going, but it is possible to understand how it began. The origin of the first fully electronic random-access storage matrix, and the propagation of the codes that it engendered, is as close to a point source as any approximation can get.

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137 of 149 people found the following review helpful.
How it came from bit
By Ash Jogalekar
The physicist John Wheeler who was famous for his neologisms once remarked that the essence of the universe could be boiled down to the phrase "it from bit", signifying the creation of matter from information. This description encompasses the digital universe which now so completely pervades our existence. Many moments in history could lay claim as the creators of this universe, but as George Dyson marvelously documents in "Turing's Cathedral", the period between 1945 and 1957 at the Institute for Advanced Study (IAS) in Princeton is as good a candidate as any.

Dyson's book focuses on the pioneering development of computing during the decade after World War II and essentially centers on one man- John von Neumann. Von Neumann is one of the very few people in history to whom the label "genius" can authentically be applied. The sheer diversity of fields to which he made important contributions beggars belief- Wikipedia lists at least twenty ranging from quantum mechanics to game theory to biology. Von Neumann's mind ranged across a staggeringly wide expanse of thought, from the purest of mathematics to the most applied nuclear weapons physics. The book recounts the path breaking efforts of him and his team to build a novel computer at the IAS in the late 1940s. Today when we are immersed in a sea of computer-generated information it is easy to take the essential idea of a computer for granted. That idea was not the transistor or the integrated circuit or even the programming language but the groundbreaking notion that you could have a machine where both data AND the instructions for manipulating that data could be stored in the same place by being encoded in a common binary language. That was von Neumann's great insight which built upon the idea of Alan Turing's basic abstract idea of a computing machine. The resulting concept of a stored program is at the foundation of every single computer in the world. The IAS computer practically validated this concept and breathed life into our modern digital universe. By present standards its computing power was vanishingly small, but the technological future it unleashed has been limitless.

Dyson's book excels mainly in three ways. Firstly, it presents a lively history of the IAS, the brilliant minds who worked there and the culture of pure thought that often looked down on von Neumann's practical computational tinkering. Secondly, it discusses the provenance of von Neumann's ideas which partly arose from his need to perform complex calculations of the events occurring in a thermonuclear explosion. These top-secret calculations were quietly run at night on the IAS computer and in turn were used to tweak the computer's workings; as Dyson pithily puts it, "computers built bombs, and bombs built computers". Von Neumann also significantly contributed to the ENIAC computer project at the University of Pennsylvania. Thirdly, Dyson brings us evocative profiles of a variety of colorful and brilliant characters clustered around von Neumann who contributed to the intersection of computing with a constellation of key scientific fields that are now at the cutting edge.

There was the fascinating Stan Ulam who came up with a novel method for calculating complex processes - the Monte Carlo technique - that is used in everything from economic analysis to biology. Ulam who was one of the inventors of thermonuclear weapons originally used the technique to calculate the multiplication of neutrons in a hydrogen bomb. Then there was Jule Charney who set up some of the first weather pattern calculations, early forerunners of modern climate models. Charney was trying to implement von Neumann's grand dream of controlling the weather, but neither he nor von Neumann could anticipate chaos and the fundamental sensitivity of weather to tiny fluctuations. Dyson's book also pays due homage to an under-appreciated character, Nils Barricelli, who used the IAS computer to embark on a remarkable set of early experiments that sought to duplicate evolution and artificial life. In the process Barricelli discovered fascinating properties of code, including replication and parasitism that mirrored some of the great discoveries taking place in molecular biology at the time. As Dyson tells us, there were clear parallels between biology and computing; both depended on sequences of code, although biology thrived on error-prone duplication (leading to variation) while computing actively sought to avoid it. Working on computing and thinking about biology, von Neumann anticipated the genesis of self-reproducing machines which have fueled the imagination of both science fiction fans and leading researchers in nanotechnology.

Finally, Dyson introduces us to the remarkable engineers who were at the heart of the computing projects. Foremost among them was Julian Bigelow, a versatile man who could both understand code and fix a car. Bigelow's indispensable role in building the IAS computer brings up an important point; while von Neumann may have represented the very pinnacle of abstract thought, his computer wouldn't have gotten off the ground had Bigelow and his group of bright engineers not gotten their hands dirty. Great credit also goes to the two lead engineers on the ENIAC project, J. Presper Eckert and John Mauchly, who were rather unfairly relegated to the shadows and sidetracked by history. Dyson rightly places as much emphasis on discussing the nitty-gritty of the engineering hurdles behind the IAS computer as he does on its lofty mathematical underpinnings. He makes it clear that the ascendancy of a revolutionary technology requires both novel theoretical ideas as well as fine craftsmanship. Unfortunately in this case, the craftsmanship was ultimately trampled by the institute's mathematicians and humanists, which only added to its reputation as a refuge for ivory tower intellectuals who considered themselves above pedestrian concerns like engineering. At the end of the computing project the institute passed a resolution which forbade any kind of experimentation from ever taking place; perhaps keeping in line with his son's future interest in the topic, Freeman Dyson (who once worked on a nuclear spaceship and genuinely appreciates engineering details) was one of the few dissenting voices. But this was not before the IAS project spawned a variety of similar machines which partly underlie today's computing technology.

All these accounts are supplemented with gripping stories about weather prediction, the US thermonuclear program, evolutionary biology, and the emigration of European intellectuals like Kurt Godel and von Neumann to the United States. The book does have its flaws though. For one thing it focuses too heavily on von Neumann and the IAS. Dyson says relatively very little about Turing himself, about pioneering computing efforts at Manchester and Cambridge (the first stored-program computer in fact was the Manchester "Baby" machine) and about the equally seminal development of information theory by Claude Shannon. James Gleick's "The Information" and Andrew Hodges's "Alan Turing: The Enigma" might be useful complements to Dyson's volume. In addition, Dyson often meanders into one too many digressions that break the flow of the narrative; for instance, do we really need to know so much about Kurt Godel's difficulties in obtaining a visa? And do we need to get bogged down in minutiae such as the starting dates and salaries for every member of the project and the list of items on the cafeteria menu? Details like these might put casual readers off.

Notwithstanding these gripes, the book is beautifully written and exhaustively researched with copious quotes from the main characters. It's certainly the most detailed account of the IAS computer project that I have seen. If you want to know about the basic underpinnings of our digital universe, this is a great place to start even with its omissions. All the implications, pitfalls and possibilities of multiple scientific revolutions can be connected in one way or another to that little machine running quietly in a basement in Princeton.

385 of 434 people found the following review helpful.
Misleading
By Jeremy E. May
The focus of George Dyson's well-written, fascinating but essentially misleading book,'Turing's Cathedral', is curiously not on celebrated mathematician, code-breaker and computer theorist Alan Turing but on his equally gifted and innovative contemporary John von Neumann. Von Neumann, whose extraordinarily varied scientific activities included inter alia significant contributions to game theory, thermodynamics and nuclear physics, is especially associated with the early development of the electronic digital computer (i.e. the 'EDC'), an interest apparently sparked by reading Turing's seminal 1936 paper 'On Computational Numbers' which attempted to systematize and express in mathematical terminology the principles underlying a purely mechanical process of computation. Implicit in this article, but at a very theoretical level, was a recognition of the relevance of stored program processing (whereby a machine's instructions and data reside in the same memory), a concept emanating from the work of mid-Victorian computer pioneer Charles Babbage but which demanded a much later electronic environment for effective realization.

What Mr Dyson insufficiently emphasizes is that, despite a widespread and ever-growing influence on the mathematical community, Turing's paper was largely ignored by contemporary electronic engineers and had negligible overall impact on the early development of the EDC. Additionally, he omits to adequately point out that von Neumann's foray into the new science of electronic computers involved a virtual total dependence on the prior work, input and ongoing support of his engineering colleagues. Invited in August 1944 to join the Moore School, University of Pennsylvania, team responsible for ENIAC, the world's first general purpose computer being built for the US Army, von Neumann was quickly brought up to speed courtesy of the machine's lead engineers, J. Presper Eckert and John Mauchly. As early as the fall of 1943, Eckert and Mauchly had become seriously frustrated by the severe processing limitations imposed by ENIAC's design and were giving serious consideration to implementing major modifications, in particular the adoption of Eckert's own mercury delay line technology to boost the machine's miniscule memory capacity and enable a primitive stored-program capability. These proposals were subsequently vetoed by the School's authorities on the quite understandable grounds that they would seriously delay ENIAC's delivery date; instead it was decided to simultaneously begin research on a more advanced machine (i.e. EDVAC) to incorporate the latest developments. As a new member of the group, von Neumann speedily grasped the essentials of the new science and contributed valuable theoretical feedback, but an almost total lack of hands-on electronic expertise on his part prevented any serious contribution to the nuts and bolts of the project. Relations with Eckert and Mauchly rapidly deteriorated when an elegantly written, but very high-level, document of his entitled 'First Draft of a Report on the EDVAC' was circulated among the scientific community. Not only had this document not been previewed, let alone pre-approved, by Eckert and Mauchly, but it bore no acknowledgment whatsoever of their overwhelming responsibility for much of the content. By default, and in view too of his already very considerable international reputation, the content was therefore attributed exclusively to von Neumann, an impression he made no attempt thereafter to correct, the term 'Von Neumann Architecture' being subsequently bestowed on the stored program setup described in the document.

The public distribution of von Neumann's 'Draft' denied Eckert and Mauchly the opportunity to patent their technology. Worse still, despite academic precedents to the contrary, they were refused permission by the Moore School to proceed with EDVAC's development on a commercial basis. In spite of his own links to big business (he represented IBM as a consultant), von Neumann likewise opposed their efforts to do so. All this resulted in a major rift, von Neumann thereafter being shunned by Eckert and Mauchly and forced to rely on lesser mortals to help implement various stored-program projects, notably the IAS computer at Princeton. The following year (1946) Eckert and Mauchly left the School to focus on developing machines for the business market. Before doing so, they jointly delivered a series of state of the art lectures on ENIAC and EDVAC to an invited audience at the School. Among the attendees was British electronics engineer Maurice Wilkes, a fellow academic of Turing's from Cambridge University, but with relatively little interest in the latter's ongoing activity (by this time Turing, a great visionary, had also turned his attention to designing stored-program computers). Blown away by Eckert and Mauchly's presentation, Wilkes returned to England to forge ahead with a new machine called EDSAC, which was completed in May 1949 and represented the first truly viable example of a stored program computer (an experimental prototype christened 'Baby' had already been developed at Manchester University the year before). Back in the US, Eckert and Mauchly continued their efforts, but persistent problems with funding and also Eckert's own staunch refusal to compromise on quality delayed progress, their partnership finally culminating in the development of the UNIVAC 1, the world's first overtly business-oriented computer, delivered initially to the Census Bureau in March 1951.

Mr Dyson is quite right of course (and he does this well) to trace the beginnings of the modern computer to the stored program concept, but his obsessive focus on von Neumann's role obscures the impact of Eckert and Mauchly's vastly more significant contribution to its development. The triumph of the EDC depended almost wholly on the efforts and expertise of utterly dedicated and outstanding electronics specialists like them, not on mathematicians, logicians and generalists like von Neumann or even Turing. Never one to deny credit where it was due, Wilkes (who later spearheaded advances in software, became the doyen of Britain's electronic community and ended his long and distinguished career as professor emeritus of computer science at Cambridge) unceasingly acknowledged his major debt to Eckert and Mauchly. Hopefully, Mr Dyson, a writer of considerable talent, might one day decide to tell in full their story and set the record straight.

138 of 160 people found the following review helpful.
Digital History that Reads Like Code
By Book Shark
Turing's Cathedral: The Origins of the Digital Universe by George Dyson

"Turing's Cathedral" is the uninspiring and rather dry book about the origins of the digital universe. With a title like, "Turing's Cathedral" I was expecting a riveting account about the heroic acts of Alan Turing the father of modern computer science and whose work was instrumental in breaking the wartime Enigma codes. Instead, I get a solid albeit "research-feeling" book about John von Neumann's project to construct Turing's vision of a Universal Machine. The book covers the "explosion" of the digital universe and those applications that propelled them in the aftermath of World War II. Historian of technology, George Dyson does a commendable job of research and provide some interesting stories involving the birth and development of the digital age and the great minds behind it. This 432-page book is composed of the following eighteen chapters: 1.1953, 2. Olden Farm, 3. Veblen's Circle, 4. Neumann Janos, 5. MANIAC, 6. Fuld 219, 7. 6J6, 8. V-40, 9. Cyclogenesis, 10. Monte Carlo, 11. Ulam's Demons, 12. Barricelli's Universe, 13. Turing's Cathedral, 14. Engineer's Dreams, 15. Theory of Self-Reproducing Automota, 16. Mach 9, 17. The Tale of the Big Computer, and 18. The Thirty-ninth Step.

Positives:
1. A well researched book. The author faces a daunting task of research but pulls it together.
2. The fascinating topic of the birth of the digital universe.
3. A who's who of science and engineering icons of what will eventually become computer science. A list of principal characters was very welcomed.
4. For those computer lovers who want to learn the history behind the pioneers behind digital computing this book is for you.
5. Some facts will "blow" you away, "In March 1953 there were 53 kilobytes of high-speed random-access memory on planet Earth".
6. Some goals are counterintuitive. "The new computer was assigned two problems: how to destroy life as we know it, and how to create life of unknown forms".
7. There are some interesting philosophical considerations.
8. As an engineer, I enjoy the engineering challenges involved with some of their projects.
9. Amazing how the Nazi threat gave America access to some of the greatest minds. The author does a good job of describing these stories.
10. The fascinating life of the main character of this book, John von Neumann.
11. So much history interspersed throughout this book.
12. The ENIAC..." a very personal computer". A large portion of this book is dedicated to the original computer concepts, challenges, parts, testing, etc...
13. The fundamental importance of Turing's paper of 1936. It's the inspiration behind the history of the digital universe.
14. Some amusing tidbits here and there, including Einstein's diet.
15. The influence of Godel. How he set the stage for the digital revolution.
16. Blown away with Leibniz. In 1679, yes that is correct 1679 he already imagined a digital computer with binary numbers...
17. So many great stories of how these great minds attacked engineering challenges. Computer scientists will get plenty of chuckles with some of these stories involving the types of parts used in the genesis of computing. Vacuum tubes as an example.
18. There are many engineering principles devised early on that remain intact today. Many examples, Bigelow provides plenty of axioms.
19. I enjoyed the stories involving how computers improved the art of forecasting the weather.
20. "Filter out the noise". A recurring theme and engineering practice that makes its presence felt in this book.
21. Computers and nuclear weapons.
22. The Monte Carlo method a new, key domain in mathematical physics and its invaluable contribution to the digital age.
23. The fascinating story of the summer of 1943 at Los Alamos.
24. The Teller-Ulam invention.
25. How the digital universe and the hydrogen bomb were brought into existence simultaneously.
26. Barricelli and an interesting perspective on biological evolution.
27. The amazing life of Alan Mathison Turing and his heroic contributions.
28. A fascinating look at the philosophy of artificial intelligence and its future.
29. The collision between digital universe and two existing stores of information: genetic codes and information stored in brains.
30. The basis for the power of computers.
31. The five distinct sets of problems running on the MANIAC by mid-1953. All in JUST 5 kilobytes.
32. A look at global digital expansion and where we are today.
33. The unique perspective of Hannes Alfven. Cosmology.
34. The future of computer science.
35. Great quotes, "What if the price of machines that think is people who don't?"
36. The author does a great job of providing a "where are they now" narration of all the main characters of the book.
37. Links worked great.
38. Some great illustrations in the appendix of the book. It's always great to put a face on people involved in this story.

Negatives:
1. It wasn't an enjoyable read. Plain and simple this book was tedious to read. The author lacked panache.
2. The title is misleading. This title is a metaphor regarding Google's headquarters in California. The author who was given a glimpse inside the aforementioned organization sensed Turing's vision of a gathering of all available answers and possible equations mapped out in this awe-inspiring facility. My disappointment is that this book despite being inspired by Alan Turing's vision, in fact, has only one chapter dedicated to him. The main driver behind this book was really, John von Neumann.
3. A timeline chart would have added value. With so many stories going back and forth it would help the reader ground their focus within the context of the time that it occurred.
4. Some of the stories really took the scenic route to get to the point.
5. The photos should have been included within the context of the book instead of a separate section of its own.
6. The book was probably a hundred pages too long.

In summary, I didn't enjoy reading this book. The topic was of interest to me but between the misleading title and the very dry prose, the book became tedious and not intellectually satisfying. The book felt more like a research paper than a book intended for the general audience. For the record, I am engineer and a lot of the topics covered in this book are near and dear my heart but the author was never able to connect with me. This book is well researched and includes some fascinating stories about some of the icons of science and the engineering involved with the digital origins but I felt like I was reading code instead of a story. This book will have a limited audience; if you are an engineer, scientist or in the computer field this book may be of interest but be forewarned it is a monotonous and an uninspiring read.

Recommendations: "Steve Jobs" by Walter Isaacson, "The Quantum Universe: (And Why Anything That Can Happen, Does)" by Brian Cox, "Physics of the Future: How Science Will Shape Human Destiny and Our Daily Lives by the Year 2100" Michio Kaku, "Warnings: The True Story of How Science Tamed the Weather" by Mike Smith, "Spycraft: The Secret History of the CIA's Spytechs, from Communism to Al-Qaeda" by Robert Wallace and H. Keith Melton.

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