Nabokov claims to dislike Don Quixote and considers the novel 'crewl' yet spent a significant portion of time analyzing the novel and teaching it. I am reminded of Tolstoy's dismissal of Shakespeare and his dissection of King Lear. Orwell correctly pointed out that, among these giants, bothering to grapple with another's legend so completely is a nod to greatness, one doesn't bother to kill a knat w/ a sledgehammer.

What Nabokov does to that venerable Don Q. is to rip it apart, disembowel it, resect the viscera, muscle and bones, and demonstrate how it has all been fitted together, how its various part work and (more importantly) how and why some parts don't work at all.

I admit to having had a life-long aversion to Don Q., an aversion that is rooted in early efforts to make me read "children's versions" of the book by guise of educating me. I suspect that such dislike is widely shared by those who have dared attempt the original text, or even its modern translations. Those who love the story are likely to have limited their sampling to the musical version of the book: "Man of La Mancha."

And so it was truly a pleasure to follow Nabokov in his extraordinary feat of dissection. Nobody in nearly 400 years of Spanish critical appraisals of this awful book has ever come close to exposing the work as thoroughly and meticulously as Nabokov does in the six lectures that he gave at Harvard in 1952. Spanish critics of Cervantes are mainly hagiographers, incapable of noting the Emperor's nakedness. They are apt to compare Cervantes to Shakespeare (don't they wish!), a comparion which Nabokov insightfully reduces to this:

"The only matter in which Cervantes and Shakespeare are equals is the matter of influence, of spiritual irrigation -- I have in view the long shadow cast upon receptive posterity of a created image which may continue to live independently from the book itself. Shakespeare's plays, however, will continue to live apart from the shadow they project." By implication, Don Q. would not.

Nabokov even exposes the canard, much repeated in Spain, that Cervantes and Shakespeare died on the same day in 1616. They did not. It is true that each died on April 23 of that year, but they lived in different calendars, with a ten day gap between their true dates of defunction.

Before embarking on his lectures, Nabokov abstracted each of the 126 chapters of the two volumes, citing their essential elements. These abstracts are included in the book. In addition, he surveyed the work noting Don Q's "victories" and "defeats," a monumental task which lays bare each of his encounters and battles (40 all told), each scored as a "victory" or a "defeat." He comments, in amazement, about one critic who had said "Never, by any chance, does Don Quixote win."

Not so. When all the battles are added up the score is precisely 20/20. Don Q. won as many as he lost.

When Nabokov called this "one of the most bitter and barbarous books even penned" it did not gain him friends among the professional academics of the ivory towers; but the observation is true and constitutes one of the many explanatory notes about the book that allows the readers to understand their dislike (if they have a dislike) for this work.

Only six lectures. One of the great anatomical feats by that wizard Nabokov. It is not necessary to know the Qixote in order to enjoy this tour de force; in addition, anyone who writes fiction will love (and benefit from) the type of deep structural analysis to which Nobokov subjects this novel. Nabokov's handywork is a beautiful excercise in education "as it should be," and therefore it is worth the time and effort to read it.

This biography is much more than an interesting story. Tony Cliff wrote it as a strategic political contribution when the left sorely needed guidance.

The only volume of this that you're likely to find is the first one, _Building the Party_. (The second and third ones are out of print, and the fourth one might not even exist.) Still, the first volume, covering Lenin's activity from 1893 to 1914, is more than good enough. This era is often ignored by academic studies of the Russian Revolution, but it is vitally important for the socialists of today.

Cliff, a founding member of the Socialist Workers Party in Britain, wrote this biography in the late '70s during a downturn in class struggle. By analyzing Lenin's dynamic party-building, Cliff and his comrades were able to use the downturn to their advantage, building cadres and affiliated groups in many countries. As a result, Cliff's International Socialist tendency survived, and grew stronger, after the '80s and the fall of the Stalinism, and now exists in over 20 nations.

Tony Cliff died early in 2000, and the leaders of IS groups around the world credit his guidance -- especially this book -- for building such a powerful, influential tendency under difficult circumstances. Today's socialists should read this biography not only to learn about their past, but to prepare for the future.

If you want to know the true story of Lenin and how he build the Bolshevik party, there is no better book than Tony Cliffs biography. Cliff examines closely how Lenin became a marxist and his struggle to build a strong revolutionary party. By reading this book it is clear, that Lenin wasn't a ruthless dictator, but a very intelligent man dedicated to the struggle for the rights of the working class in all countries, and that the politics of Lenin had NOTHING to do with the later terror regime developed during the Stalin period. An excellent book.

I couldn't put the book down it was so interesting and funny. It was a different and refreshing take on life. Being a paralegal I understood the courtroom and other legal situations and found them to be hilarious. A must if you are looking for something different to read.

I have been trying to find something else by Kek ever since I read this in one sitting. Untainted by formula plots which plague other first-time authors, Kek is part Jerzy Kozinski and part Tobias Wolff. Had to call my brother up 4 or 5 times to read passages to him that had me roaring.

Vladimir Basilov's broad history of Central Asian nomadic cultures is a companion volume to a traveling exhibit of nomadic steppe art put together by the Natural History Museum of Los Angeles County and the Academy of Sciences of the USSR in 1990-1991. Basilov's book is not merely a catalog of the exhibit, but rather is designed to provide a background chronology of the cultures encompassed and thus grounding the viewer/reader in an understanding of the artifacts and the peoples who produced them.

Basilov, as editor and principal writer, begins with an introduction that describes the land and conditions that support a nomadic lifestyle in these steppe areas of Central Asia, with an overview of the chronology of Central Asia. The first chapter, written by Larisa R. Pavlinskaya, describes in detail the archaelogical findings on the Scythian and Sakaian cultures of the first millennium BC the next chapter, by Evgenii I. Lubo-Lesnichenko, is devoted to the Huns, linking them the Hsiung-nu who ravaged China's western borders up to the sixth century AD, and drawing on both Chinese and European primary sources to enhance this history. Each chapter builds on the information of the previous chapters, as in the next chapter on the Turkic peoples of the sixth to twelfth centuries, written by Sev'yan I. Vainshtein, who links the culture of Turkic tribes to those of the earlier Scythians and later Mongols, setting-up an understanding of the origins of Mongolian culture which then becomes the focus of the book. In this chapter also can be seen the multifaceted, multi-tribal nature of these cultures which the author shows by focusing both on distinctions between different tribes like the Uigher, Avar, and Oghuz as well as the similarities inherent in all such warrior-nomadic societies.

Basilov, whose personal interests seem to lie in the study of the Mongolian peoples, devotes over one-half of this book to the Mongols that arose as the predominant nomadic culture of Central Asian steppes from the twelfth century onwards. He draws heavily on anthropologic details as well as on Arabic and Chinese primary sources, and divides up his remaining chapters into specific areas of research: Mongol history, housing and household goods, clothing, weaponry, herds, music and religious practices. Each of these chapters is a study not only in the artifacts but in the people who use them and the how and why of that use.

Aside from the incredibly beautiful photos of these artifacts, which alone would makes this a worthwhile book, Basilov's text is clear and to the point providing an easily understood, but not simplistic, view of these nomadic cultures. By telling Mongolian history through the use of artifacts as well as documents, Basilov has given a more socialized than political look at the history of the Mongols entirely without making value judgments on this unique nomadic culture--a pitfall of many histories that take a less cultural approach.

This museum catalog is one of the best of any I have seen. I was fortunate enough to be involved in a living history demonstration when this exhibit came to Los Angeles in about 1991. The catalog covers the best and most significant pieces from the show (which I find rare among museum catalogs). It begins with comprehensive coverage of the history of the tribes of this region. Other chapters in the catalog are devoted to spirituality (both concepts and religious artifacts), clothing, jewelry, housing and other commonly used items. It has become one of my favorite pictoral reference books on Eurasia.

This is a true example of collaboration between Eastern and Western archaeologists. This handsome book is divided by region and contains very useful essays on each culture, demonstrating past achievements and new developments in Russo-Soviet archaeology. There are plentiful illustrations and an exhaustive bibliography. The book is extremely valuable for Western scholars and a great help in teaching.

The scope of the Nomads volume is astonishing - the Eurasian steppes from Eastern Europe through Central Asia and to Mongolia, with a millennial time frame that encompasses components of the Late Bronze and the whole of the Early Iron Ages. The anthology's 10 authors, all of whom are recognized specialists on steppe nomad prehistory, synthesize Soviet research undertaken between 1960 and 1990. Hundreds of line drawings, bibliographies, index.

If you have ever gone to the Nutcracker Ballet and didn't quite understand what was going on this book will be a great help. My daughter and I went when she was five. A few months later she found this book at her school library. She couldn't put it down. She wanted a copy of her own. The next year when we went to see The Nutcracker Ballet again she really understood what was going on and said she enjoyed it alot more than the first time she saw it. It is a must for any little girl.

My daughter and I were repeatedly drawn back to this book because of the extraordinary illustrations. We have read many versions of this story and have found this one to really bring the ballet to life right before your eyes. The pictures are magical! It's a "must have" for any child who loves the Nutcracker.

There aren't too many good literary satirists out there these days, in fact, it is just about a lost art. If you want to read good satire, you have to go back to literally hundreds of years to find people like Jonathan Swift and Voltaire. Okay, there's Thomas Wolf, but he is a rarity--and so is Vladimir Sarkoff, author of "Outrageous Tales". To say that Sarkoff's writing has an edge to it is a real understatement because it ripples with wit and is full of pointed jabs at everything from politicians to hippies. "Paper Wars" the first story in the collection, is the best account I've ever read about the everyday life of a white-collar working stiff. And Sarkoff's comic timing is superb, he doesn't waste one word.

This book is so hilariously funny, I had to stop reading because I was getting stomach cramps. This guy has a wicked sense of humor and if you like off-color stuff you will love this book!!!

Wow. What a book. Jabotinsky expressed perhaps the clearest and most logical formulation of Zionism I have yet to read. He is truly one of the most brilliant men of out times. He speaks with a foresight so keen and accurate it borders on prophecy. A must read for anyone who wishes to grasp the meaning of Revisionist Zionism

Wow. What a book. Jabotinsky expressed perhaps the clearest and most logical formulation of Zionism I have yet to read. He is truly one of the most brilliant men of our times. He speaks with a foresight so keen and accurate it borders on prophecy. A must read for anyone who wishes to grasp the meaning of Revisionist Zionism

World War II is on and Chonkin is imprisoned in this sequal to his extraordinary adventures. Chonkin figures less prominently in this sequal. I think, the major character here is the social system itself. Voinovich does not spare anyone or anything: Joseph Stalin, the Soviet military planning, and the prison system--all are criticized. Bumbling bureaucrats continue to bludner like there was no tomorrow. For example, they capture and execute an honest junior officer as a spy, while the real spy continues to work undisturbed. And the bumbling of this sort is pittance in comparison to what has just gone on--the 1937/38 terror. Most outstanding people have been destroyed on no greater basis than wild accusations and Stalin's paranoia. It turns out that the most potent weapon in the war on the cream of society's crop is a simple pencil! Write an accusation on someone who works hard in his field and has his head in the clouds, not paying attention to politics, and that person is soon arrested and executed. Given this absurd atmosphere of repression and the pressure and fear put on the government by war, Chonkin must languish in prison on suspicion of being a descendant of a noble Russian family which is trying to overthrow the government and open the gates to the Germans!

Voinovich's satire is right on target. This book is funny and educational. If you live in a Western democracy you will, at a minimum, reap one important benefit from reading this--you will appreciate even more what you have in your country today. I assigned a number of Russian writers in my Modern Russian Politics class last year, and this is exactly what the impact was. Read Voinovich--his books are humorous and different.

"Pretender to the trone" is the sequel to "The Extraordinary Adventures of Private Iwan Chonkin", and almost as funny (in a grim way)! Those who enjoyed "Iwan Chonkin" should also read this sequel. In the Russian edition I read, they were joined in one volume.

This is an amazing book!! Thank you, Mr. Dubal. This book is permanently on the table next to my favorite easy chair. Whenever I have a few minutes between this or that, I pick up Remembering Horowitz and dip into a different part. I must have read the entire book at least once and many parts several times already, but I will go back again and again and again.

This book is a MUST BUY for anyone who has ever looked at a piano. I have taught piano for twenty years and played it for 35 years. And this book not only talks about Maestro Horowitz, but, in doing so, discusses the essence of the many facets of piano and music in general. Ultimately, the profound, beautiful, and insightful essays touch on all aspects of life and spirit, just as all great performances do.

Notable are Seymour Bernstein's essay, for personal recollection and an essay on emulation and inspiration; Gary Graffman's memoir that is funny and urbane, in the style of his wonderful I SHOULD BE PRACTICING, his own memoir; and as a defense of Horowitz's showy side, Roger Shields, who finishes by saying,"The study of civilization reveals the mysteries of aspiration, the merging of individual passion with a chaste reverence for tradition and the cyclical unfolding of our achievements. Our time will run its course, and one day another horowitz will be possible." Bravo!

I cannot recommend this book strongly enough. Buy this book and you will not only get a superlative compilation of essays from many cultural perspectives and top-notch writing styles (yes, musicians can write!) but also a deep, loving, discussion of what piano playing means to the soul. It is at is best an exploration of the mystery of what it means to make great, otherworldly music, and what it means to play music in this world. It never pretends to explain this mystery, these artists are too wise for that, but it sheds light for audiences and musicians alike to see more clearly the divine nature of genius.

Bravissimo!!

-Robert Murray Diefendorf, author of Release the Butterfly

This is an amazing book!! Thank you, Mr. Dubal. This book is permanently on the table next to my favorite easy chair. Whenever I have a few minutes between this or that, I pick up Remembering Horowitz and dip into a different part. I must have read the entire book at least once and many parts several times already, but i will go back again and again and again.

This book is a must BUY for anyone who has ever looked at a piano. I ahve taught piano for twenty years and played it for 35 years. It is a huge part of my life. And this book not only talks about Maestro Horowitz, but, in doing so, discusses the essence of the many facets of piano and music in general. Ultimately, the profound, beautiful, and insightful essays touch on all aspects of life and spirit, just as all great performances do.

Notable are Seymour Bernstein's essay, for personal recollection and an essay on emulation and inspiration; Gary Graffman's memoir that is funny and urbane, in the style of his wonderful I SHOULD BE PRACTICING, his own memoir; and as a defense of Horowitz's showy side, Roger Shields, who finishes by saying,"The study of civilization reveals the mysteries of aspiration, the merging of individual passion with a chaste reverence for tradition and the cyclical unfolding of our achievements. Our time will run its course, and one day another horowitz will be possible." Bravo!

I cannot recommend this book strongly enough. Buy this book and you will not only get a superlative compilation of essays from many cultural perspectives and top notch writing styles (yes, musicians can write!) but also a deep, loving, discussion of what piano playing means to the soul. It is at is best an exploration of the mystery of what it means to make great, otherworldy music, and what it means to play music in this world. It never pretends to explain this mystery, these artists are too wise for that, but it sheds light for audiences and musicians alike to see more clearly the divine nature of genius.

Bravissimo!!
-Robert Murray Diefendorf, author of Release the Butterfly