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The Journey to the West

Anthony C. Yu

The Journey to the West Anthony C. Yu List Price: $45.00
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Customer Reviews:
Total reviews: 33 Average rating: 4.0 of 5

this book rocks 5 out of 5 stars.
0 of 0 people found this review helpful.

IF you like mythic kung fu movies, you will be thrilled with this book. Its 1000 times more baddazzz than any related movie or cartoon you could hope to see.

I would compare it to the Oz books mixed with the Orlando epics.

Editorial Review:

Journey to the West is a classic Chinese mythological novel. It was written during the Ming Dynasty based on traditional folktales. Consisting of 100 chapters, this fantasy relates the adventures of a Tang Dynasty (618-907) priest Sanzang and his three disciples, Monkey, Pig and Friar Sand, as they travel west in search of Buddhist Sutra. The first seven chapters recount the birth of the Monkey King and his rebellion against Heaven. Then in chapters eight to twelve, we learn how Sanzang was born and why he is searching for the scriptures, as well as his preparations for the journey. The rest of the story describes how they vanquish demons and monsters, tramp over the Fiery Mountain, cross the Milky Way, and after overcoming many dangers, finally arrive at their destination - the Thunder Monastery in the Western Heaven - and find the Sutra.

Attached are a number of illustrations drawn during the Qing Dynasty (1644-1911).

Wealth of Nations

Adam Smith

Wealth of Nations Adam Smith Amazon Price: $8.55
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Total reviews: 65 Average rating: 4.0 of 5

Monumental Importance 4 out of 5 stars.
6 of 7 people found this review helpful.

The Wealth of Nations is one of the most important books ever written. In some respects the Wealth of Nations was a tract for the times. Smith penned a crippling critique of the mercantilist `Policy of Europe'. Smith, along with David Hume and David Ricardo, refuted the mercantilist case for protectionism. Much of what we read in this book is still taught in modern economics classes. Modern day protectionists still have no answer to the principles of absolute and comparative advantage, and for the basic logic of Hume's specie flow mechanism.

Smith was more than an ordinary economist. He was a visionary who saw some of the potential for progress through Globalization. Perhaps the most important concept of this book is the dynamics between division of labor, labor productivity, and the extent of markets. Smith conceived of Globalization as a process that would raise productivity as local markets expanded to national and then international scope. His example of division of labor in a pin factory is simple, but illustrative.

The most widely known part of this book is that part of the `invisible hand of markets'. Invisible hand reasoning still pervades modern economic theory, though there are some variations in how economists interpret this concept. Smith does differ from Modern economists on certain issues. Smith thought of competition as a process and of monopoly as a government grant of privilege. In these areas Smith was ahead of many modern economists. Smith also explained market prices in terms of labor content. Here is Smith's great error. Labor value theory set economics on the wrong course. Labor value theory served as the basis for Marxism. This, of course, indicates the great influence of The Wealth of Nations on world history. Without labor value theory the Marxist idea of exploitation falls apart. Smith therefore played a posthumous role in twentieth century history, especially from 1918 to 1991. Of course, we cannot blame Smith for the misuse of his ideas. Smith would have surely opposed Marxism, had he been alive to do so.

What we have in this book is a tremendous effort at discovering the proper limits between private and public institutions. Better still, Smith thought about society and institutions in evolutionary terms. This is another reason why the Wealth of Nations is preferable to modern economics texts. Smith understood the dynamics of capitalism better than many modern economists- who focus on static math models. Smith also influenced Charles Darwin with his ideas of social evolution. There is much evidence indicating that Darwin got the idea for the evolution of species by reading The Wealth of Nations. Smith therefore had great influence on the biological sciences.

Modern economists reject Smith labor value theory (ever since Menger refuted it in 1870). However, there is no denying the influence of The Wealth of Nations. All members of the educated public should read at least part of this book. The question then in which edition should you buy? The Liberty Classics edition is unabridged. The Modern Library Classics edition has margin notes that could be helpful. Given the affordability of these editions, you might consider have both on your bookshelf (I do). I would avoid the Great Mind Series altogether. The Wealth of Nations should be read because it is both a book of great historical importance and a good source for understanding modern Globalization. The labor value theory part precludes a five star rating, but anything less than four stars would be absurd.

Editorial Review:

While it has been pointed to time and again by governments and pundits promoting laissez-faire economics, the Wealth of Nations actually shows that Adam Smith viewed capitalism with a deep suspicion, and tempered his celebration of a self-regulating market with a darker vision of the dehumanizing potential of a profit-oriented society. Smith did not write an economics textbook, but rather a panoramic narrative about the struggle for individual liberty and general prosperity in history.

This edition includes generous selections from all five books of the Wealth of Nations. It also provides full notes and a commentary that places Smith's work within a rich interdisciplinary context.

Maps and Legends

Michael Chabon

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Total reviews: 14 Average rating: 4.5 of 5

The key to the landscape of imagination 5 out of 5 stars.
1 of 1 people found this review helpful.

This is the first book that collects novelist Michael Chabon's essays originally written for a variety of publications and audiences across a decade or longer. It is a product of the Dave Eggers/McSweeney's publishing venture and like some of the other McSweeney products, proceeds go to benefit the 826 National project that funds tutoring, writing and reading programs for kids. How and why it came into being aside, it is strongly conceived and progresses lucidly through what emerges as a profound reflection on one writer's influences and inspirations. It's as if Chabon had set out to write a book like Stephen King's "On Writing," Eudora Welty's "One Writer's Beginnings," or even Sartre's "The Words."

The titular essay, "Maps and Legends," harks back to Chabon's childhood in the then newly minted city of Columbia, Maryland, before his parents divorced. He introduces the theme of landscape in the imagination, and the role of maps and legends--"legends" meaning "keys" to the maps but also presaging what he reveals about his early reading passions. "Maps and Legends" is the second essay in the chronological order; the first is Chabon's complaint that literary fiction has come down to plotless, moment-of-truth fiction while science fiction, mysteries, thrillers, fantasy, ghost stories, comics and other forms are automatically denigrated as "genre" and waved off the bus. Accordingly, all of the essays taken altogether make a serious case for the art of entertainment and the empowerment of imagination. They also offer up a look at how Chabon came to write his own stories, especially under the influence of legends ranging from the Norse gods to golems.

A word of praise is due the cover artist. The hardcover dust jacket is shortened, textless, and has a hole in the middle of the front. The jacket itself is all illustration filled with the creatures that haunt myths and legends. Chabon's name is embossed on the area not covered by the jacket, rising over this imaginary landscape, and the title appears through the hole. Take a look at the "acknowledgments" page, too, for an original non-verbal rendering.

Editorial Review:

Michael Chabon's sparkling first book of nonfiction is a love song in 16 parts — a series of linked essays in praise of reading and writing, with subjects running from ghost stories to comic books, Sherlock Holmes to Cormac McCarthy. Throughout, Chabon energetically argues for a return to the thrilling, chilling origins of storytelling, rejecting the false walls around "serious" literature in favor of a wide-ranging affection. His own fiction, meanwhile, is explored from the perspective of personal history: post-collegiate desperation sparks his debut, The Mysteries of Pittsburgh; procrastination and doubt reveal the way toward Wonder Boys; a love of comics and a basement golem combine to create the Pulitzer Prize-winning The Amazing Adventures of Kavalier & Clay; and an enigmatic Yiddish phrasebook unfurls into The Yiddish Policeman's Union.

The Norman Maclean Reader

Norman Maclean

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Editorial Review:

In his eighty-seven years, Norman Maclean (1902–90) played many parts: fisherman, logger, firefighter, scholar, teacher. But it was a role he took up late in life, that of writer, that won him enduring fame and critical acclaim—as well as the devotion of readers worldwide. Though the 1976 collection A River Runs Through It and Other Stories was the only book Maclean published in his lifetime, it was an unexpected success, and the moving family tragedy of the title novella—based largely on Maclean’s memories of early twentieth-century Montana—has proved to be one of the most enduring American stories ever written. The posthumous publication in 1992 of Young Men and Fire, Maclean’s deeply personal investigative account of a deadly forest fire, only added to his reputation, reacquainting readers with the power of his sparse, evocative prose.
With The Norman Maclean Reader, the University of Chicago Press is proud to add a fitting third volume to Maclean’s celebrated oeuvre. Bringing together previously unpublished materials with incidental writings and selections from his two masterpieces, the Reader will serve as the perfect introduction for readers new to Maclean, while offering longtime fans new insight into his life and career. Much of the pleasure of The Norman Maclean Reader is the rounded picture it gives of Maclean the man. A series of witty, perceptive personal essays present Maclean from a variety of angles: in “This Quarter I Am Taking McKeon,” the master teacher distills the lessons of decades in the classroom; in “The Pure and the Good: On Baseball and Backpacking,” Maclean the scholar turns his attention to poetic rhythm and the importance of craft; in “Retrievers Good and Bad,” we see Maclean the memoirist first beginning to draw on his wealth of family stories. A generous selection of letters, as well as excerpts from a 1986 interview, serve to flesh out the Reader’s portrait of Maclean, showing us a writer fully aware of the nuances of his craft, and a man as at home in the recondite atmosphere of the University of Chicago as in the quiet hills of his beloved Montana. The letters find Maclean corresponding about fishing with Nick Lyons, the first significant reviewer of A River Runs Through It; about literature and teaching with Marie Borroff, a former student who had become a professor of literature at Yale; about the Mann Gulch fire with Lois Jansson, the widow of one of Maclean’s sources; and about General Custer with historian Robert Utley. Maclean’s writings on Custer comprise the most extensive unpublished material in the Reader. Fascinated by Custer’s tragic end and posthumous fame, Maclean dedicated years in the late 1950s to studying the general, and though he was never able to shape his chapters on the topic into a complete book, to read them now is revelatory: as he explores the man and myth of Custer, we see Maclean groping toward the rigorous yet personal hybrid form of historical storytelling that he would employ to such effect in Young Men and Fire. Multifarious and moving, the works collected in The Norman Maclean Reader serve as both a summation and a celebration, giving readers a chance once again to hear one of American literature’s most distinctive voices.

Yellow Leaves: A Miscellany

Frederick Buechner

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Total reviews: 6 Average rating: 3.5 of 5

Before There Was Rob Bell, Anne Lamott and Brian McLaren, There Was - and Still Is - Frederick Buechner 5 out of 5 stars.
24 of 25 people found this review helpful.

Frederick Buechner was - and remains - a pioneer in spiritual memoir.

A promising literary light whose works have attracted the attention of even New York's inner circle, Buechner dared to move further and further along his spiritual journey. He admits that his ordination as a Presbyterian minister was a terrible career move for a serious writer. He did it anyway. And, he's not easily categorized as a "Christian writer," either. His memoirs with titles like "Telling Secrets" through "The Longing for Home" are almost impossible to classify with our oh-so-easy labels of "evangelical" or "emergent," "progressive" or "conservative." He wrote them, anyway, and they found a loyal audience of thousands. Over time, his books have formed one the great spiritual reflections on life in turn-of-the-millennium America.

A clear theme emerges in these more than 30 volumes of memoir, fiction and nonfiction - a clear character to the relationship Buechner has been building with us. His overarching theology of writing goes something like this: Fundamentally, he argues in one book after another, we tell our stories because we have a deep yearning to participate in a far greater story. Whatever terrible secrets we think we are concealing, we soon discover that they weave themselves into a far, far larger narrative. And, in telling those stories, ultimately, we find ourselves in a community not only with other storytellers, but with the ultimate Storyteller.

That's why you should buy and read "Yellow Leaves." If you flip through it in a bookstore, you might mistake this slim volume for a late-in-life after thought. You would be mistaken. Within these 133 pages are some of the "yellow leaves" left toward the end of the season - vividly hanging from the limbs in Buechner's garden. In his mid-80s now, his reflections aren't the brawling spiritual wrestling match of "Godric" or the grand literary feat of "Bebb" or even the moving dramas of "Telling Secrets" or "Longing for Home."

These are last leaves. And what leaves they are! In this volume, Buechner gives us the spiritual gem of his catalytic evening with Maya Angelou; then he waves a wand and takes us with him back into Charles Dickens' "A Christmas Carol;" then another wave and we're attending a 1943 family picnic where he nervously gets to his feet as a boy and dares to read a poem and speak "simple truth." And, of course, the greatest spiritual gem in the book - the one-page Introduction of a memoirist now in his mid-80s, invoking Shakespeare's own "yellow leaves."

After all these years, Buechner fans, you can't miss this one. And newcomers? Here's a sparkling, multi-faceted showcase of this master's eye, ear - and heart.

The Art of Fiction: Notes on Craft for Young Writers

John Gardner

The Art of Fiction: Notes on Craft for Young Writers John Gardner Amazon Price: $11.16
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Total reviews: 53 Average rating: 4.0 of 5

Target Audience: Literary Writers, But Genre Can Gain Too 4 out of 5 stars.
1 of 1 people found this review helpful.

John Gardner let's you know in his preface that he is writing this book for the serious writer (who he defines as the literary writer), so my fellow sci fi and fantasy writers (genre), we are not his target audience. However, that does not mean we can not learn from him.

I do not recommend this to the writer who is beginning their journey. By beginning, I mean who has never written a novel-length manuscript (unpublished of course) or at least a novella. I think Gardner presents too much detail and too much content, and at this point in your journey you will probably be overwhelmed. I simply refer to the other reviewer comments who provide suitable alternatives for an introductory to fiction writing.

I have rated this book as highly as I did because if you can wade through the loquacious prose, the elongated tangential didactics,--which by page 50 gets to be annoying--the obvious pedagogical diction and the references to Faulkner, Melville, Gaas, and plenty other writers whom I've not read (out of cognizant choice--though they are clearly renown for a reason) there is so much to learn from his book. (This paragraph was meant as an example--and I'm being generous).

Take heart, he does reference more "popular" fiction: Spider Man, early comic books, and Sam Delaney (although briefly), so it's not a complete rebuff of fiction that sells.

Why I rec'd this book:
1) Because after writing a few manuscripts, I was able to see through Gardner's examples some of the mistakes that I make in my writing--this enough is worth the price of the book in my opinion.

2) Also, because I have reinterpreted his "serious" writer to mean someone who is dedicated to improving their writing skills. Simply put. If you are serious, then you are willing--albeit begrudgingly--to come out of your comfort zone and learn even from those who have a tendency to look down their nose at you (at least it's not in your face).

Examples of what I've learned:

1) Tales vs. Yarn vs. Realistic (and what voices are more commonly linked to each type of fictional story).
2) The importance of rhythm.
3) That a character's internal obstacles must be as compelling as his external ones (might seem like a no-brainer, but I guess not for me).
4) The vocab list that you get from reading his writing.

Lastly, while yes you can get most of the above from some of the other books on writing, you won't get the seriousness (dare I say abrasive truths) of what it means to be a writer and then what it takes to write well. This is not meant to be "inspiring" (so you won't be uplifted and told repeatedly throughout that "yes, you can write that novel"); it is meant to be eye-opening.

Editorial Review:

"John Gardner was famous for his generosity to young writers, and (this book) is his . . . gift to them. The Art of Fiction will fascinate anyone interested in how fiction gets put together. For the young writer, it will become a necessary handbook, a stern judge, an encouraging friend."--The New York Times Book Review.

Eat, Memory: Great Writers at the Table: A Collection of Essays from the New York Times

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Total reviews: 1 Average rating: 4.0 of 5

Editorial Review:

Memorable moments with food—collected by "one of the best of the young food writers" (Jeffrey Steingarten, Vogue food critic).

New York Times Magazine food editor Amanda Hesser has showcased the food-inspired recollections of some of America's leading writers—playwrights, screenwriters, novelists, poets, journalists—in the magazine. Eat, Memory collects the twenty-six best stories and recipes to accompany them.

Ann Patchett confronts her stubbornness in a heated argument she once had with her then-boyfriend, now husband, over dinner at the famed Paris restaurant Taillevent. Tom Perrotta explains how his long list of food aversions almost landed him in an East German prison. Gabrielle Hamilton finds that hiring a blind cook leads her into ethical terrain she wasn't prepared to navigate. And poet Billy Collins muses over his relationship with a fish he once ate.

Also included are stories by Chang-rae Lee, Patricia Marx, John Burnham Schwartz, George Saunders, Colson Whitehead, Kiran Desai, Pico Iyer, and Heidi Julavits, among others.

50 Essays: A Portable Anthology

Samuel Cohen

50 Essays: A Portable Anthology Samuel Cohen By: Bedford/St. Martin's
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Total reviews: 7 Average rating: 4.0 of 5

Good essays, but too liberal for a text book. 2 out of 5 stars.
1 of 1 people found this review helpful.

This book is commonly used as an english writing class text. It is very liberally biased and does not offer any balance. I would not recommend its use as a text with out using something that provides more contrast.

Editorial Review:

50 Essays: A Portable Anthology directly addresses students' and instructors' concerns that composition readers are too expensive and too large. With a net price of $19.50, less than half the size and price of comparable readers, 50 Essays meets the needs of a wide variety of classrooms. The carefully chosen table of contents presents enough familiarity to reassure instructors, enough novelty to keep things interesting, and enough variety to accommodate many different teaching needs. The editorial apparatus has been designed to support that variety of needs without being intrusive. In its second edition, 50 Essays continues to offer selections that instructors love to teach, with even more flexibility and more support for academic writing.

We Tell Ourselves Stories in Order to Live: Collected Nonfiction (Everyman's Library)

Joan Didion

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Total reviews: 12 Average rating: 4.5 of 5

Editorial Review:

(Book Jacket Status: Jacketed)

Joan Didion’s incomparable and distinctive essays and journalism are admired for their acute, incisive observations and their spare, elegant style. Now the seven books of nonfiction that appeared between 1968 and 2003 have been brought together into one thrilling collection.

Slouching Towards Bethlehem captures the counterculture of the sixties, its mood and lifestyle, as symbolized by California, Joan Baez, Haight-Ashbury. The White Album covers the revolutionary politics and the “contemporary wasteland” of the late sixties and early seventies, in pieces on the Manson family, the Black Panthers, and Hollywood. Salvador is a riveting look at the social and political landscape of civil war. Miami exposes the secret role this largely Latin city played in the Cold War, from the Bay of Pigs through Watergate. In After Henry Didion reports on the Reagans, Patty Hearst, and the Central Park jogger case. The eight essays in Political Fictions–on censorship in the media, Gingrich, Clinton, Starr, and “compassionate conservatism,” among others–show us how we got to the political scene of today. And in Where I Was From Didion shows that California was never the land of the golden dream.

The Best American Essays of the Century (The Best American Series)

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Total reviews: 13 Average rating: 4.0 of 5

Not bad, but not the best of the century 3 out of 5 stars.
8 of 25 people found this review helpful.

Some good essays here, but a number of boring ones as well, if they had 100 years of essays to choose from, I'm suprised this was the best they could come up with.

Editorial Review:

This singular collection is nothing less than a political, spiritual, and intensely personal record of America"s tumultuous modern age, as experienced by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.
From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr."s "Letter from Birmingham Jail," these essays fit, in the words of Joyce Carol Oates, "into a kind of mobile mosaic suggest[ing] where we"ve come from, and who we are, and where we are going."
Among those whose work is included are Mark Twain, John Muir,
T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.

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