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I'll keep this short. "Taking Flight" and "Heart of the Enlightened" are the best books I've ever read.
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Brown ultimately fails to support his charge of treason against St. John Philby. The charge, implicit in the book's title, is never really followed through in the text. St. John, as described by Brown, was an active critic of British policy in Arabia, a gadfly, and ultimately an embittered nuisance. This is not the same as being a traitor, however.
The chapters on Kim contain no new blockbusters, though Brown draws his character deftly. Ultimately more interesting than Kim Philby the man, though, is Kim Philby the phenomenon.
Kim Philby continues to exert a fascination which extends far beyond his actual historical impact. His betrayal, and that of Burgess, MacLean, et al, seem to stand as emblematic of the decay of the English upper classes in the Post WWI period. While Brown does an admirable job painting his portrait of the man, he doesn't dwell on the question of why we still care about this brilliant, vain, aristocratic traitor.
The bottom line, however, is that this is a great read, well done
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Anthony Tedeschi takes you into a corporate sphere he obviously knows well, with some side excursions into other worlds: high fashion, art, music, and literature. It's a fascinating book by a skilled writer who has been around the international block a few times and registered everything he saw and heard with a keen eye and ear.
Great characters, great dialog, great fun.
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The linkages between the two-- the music and the social climate-- are supported by a careful analysis of the music, and more often of the lyrics of some well-known composers. Performance styles are given some attention also. However, Neal is selective about examining only those artists whose work supports his theories. Other artists whose work does not fit the schema are generally ignored. In this sense, the book is not exhaustive. That is fine, actually, as the volume is elegantly structured into six digestible chapters. This maintains the momentum of the writing and allows the reader to remain engaged, to avoid being bogged down in minutia.
Neal does a nice job of examining the African-American societies that have emerged during the 20th century. He looks at how different groups of blacks have related with each other, and how the music serves to both mollify and communicate the tensions and connections between the groups. The roles of work, finances, and community are given emphasis in his theories. As such, he focuses mostly on the middle-class, the working-class, and the under-class blacks. Other groups, such as gays or the wealthy (often the artists themselves), receive less attention.
The author does at times surrender to a hair-splitting approach with the concepts. Sometimes his writing becomes entangled, with long, long sentences that are structured so that the reader becomes lost. This occurs primarily in the later chapters. The index given to the book is fairly incomplete, making cross-referencing difficult. To his great credit, Neal tends to hew closely to common language. This makes the book as a whole accessible to a variety of readers. Overall, I found this to be a educational and insightful volume, and recommend it to anyone interested in popular music, African-American cultural studies, or contemporary history.
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The book emphasizes that Socrates did not advance his own positions as much as he criticized those of others.
Now that I have read this shorter work on Socrates I feel prepared to move on to longer works on Plato and Aristotle.
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"Willy likes painting and looking at pictures. He knows that every picture tells a story."
Willy is a chimp and appears to have visited many of the world's great art museums, because he knows their contents very well. The book is a series of chimp-based paintings. One or more chimps are in each image, often simply replacing where a human model would have been placed. That creates the first level of humor.
At the second level of humor, each image is also based on a famous painting. For example, the chimp painting of The Kind Women is based on The Gleaners by Millet.
At the third level of humor, the painting is further transformed by changing the sequence a little. For example, The Kind Women has the chimp women actually painting in the foreground with brushes rather than picking up the loose grains.
At the fourth level of humor, the works are renamed and subtitled. For example, The Kind Women (instead of The Gleaners) has a subtitle "I had been getting a bit bored with painting all that grass." This is based on the idea of the women in the painting helping Willy finish the painting.
At the fifth level of humor, each work also has one or more fragments of other paintings juxtaposed onto the composition of the primary transformation. For example, Lots and Lots and Lots of Dots is inevitably based on Seurat's Sunday Afternoon on La Grande Jatte but also contains part of the cobblestone pavement in the center of Caillebotte's Paris, A Rainy Day. So, these are a little like jigsaw puzzles, fitting different works into the same image in unexpected and humorous ways.
At the end of the book are small images of the paintings that the chimp images are drawn from, so that you can match up the works, even if you don't already know them. This is a good excuse to look at some great art.
Here are my favorite images from the book:
The Birthday Suit: "Quick, cover yourself up!" The primary inspiration is The Birth of Venus by Botticelli.
My Best Ever Sand Castle: "I had an odd feeling that the castle was trying to warn me of something." The primary source is The Tower of Babel by Peter Brueghel the Elder.
Lots and Lots and Lots of Dots (see above)
The Kind Women (see above)
Coming to Life: "I was just finishing the painting when I heard a small voice say, 'Give us a hand.'" The primary model for the painting is Creation of Adam by Buonarroti.
The Mysterious Smile: "Can you solve this mystery?" The main reference is to Mona Lisa by da Vinci.
The Fruitful Fishing Trip: "We hadn't caught anything all day and were on our way home when we cast our net for the last time." This painting is based on The Herring Net by Homer.
My only complaint about the book is that fitting in the secondary images did not always elevate the overall impression. In other words, the humor aimed unnecessarily too low at times.
I am in awe of Mr. Browne for conceiving of and well executing this work, though. It is a remarkable accomplishment, and one that I hope will find its way into many homes.
After you finish enjoying this book, you might want to do what my youngest child did. She took actual paintings and created her own studies of them, and we hung her studies next to the originals. Having done this at age 5, she definitely captured the key elements of composition, color, and emotion in a way that made these paintings hers forever. She was proud that we wanted to display her work as well. After doing that, you might want to ask your child if he or she wants to take a crack at creating her or his own chimp paintings. That would be a worthy challenge that would drive the lessons home much deeper. You could use the paintings at the end of the book as the models to draw from.
See the potential all around you, and integrate it into your own life!