John Giorno is one of the finest spoken word poets in New York City. He is also quite adept at getting the word down on paper, too. You Got to Burn to Shine is a great collection of poems. It even includes an introduction by William S Burroughs. Giorno writes poetry from the gut. It is free verse that swings with intensity. if you like a snifter of realism in your poetry then this book is for you. Giorno writes with a hard nosed frankness that is both poignant and refreshing without being overbearing. Poems like Stretching it Wider and (Last Night) I Gambled With My Anger and Lost are classic free verse. I read this collection with great delight.

I found this book to be powerful and truthful. The context and the langauge were delicate machines portaying the life of the author. It should not be read by anyone with a closed mind.

As a new creative writing instructor I was very pleased to locate this book! It allowed my students to begin with the bits and pieces for good stories and combine them into great works. Gone are the days of students constantly saying " I don't know where to begin". This book gives them the necessary information to begin their writing and then allows them to experiment with different settings, characters and actions until they are satisfied with the end result!

As a new instructor of creative writing I was very pleased to locate this book! My students were paralyzed with fear when given their first writing assignment. "Where do I start?" and "How do I establish believability?" were frequent questions. This book allowed my students to start at one specified place and work on the specific parts of their stories and then move on. It is absolutely the best textbook I have located to date!

After having enjoyed other books by Carl Hiaasen, I had certain expectations about this book. I was not disappointed, but Powder Burn is not in the same league as Tourist Season, Doubble Whammy, Skin Tight, Striptease and Stormy Weather. But it was interesting to note the similarities between this book and the later ones mentioned above. It is the cuban cop, journalists playing a part, the plot taking place in Florida (Miami) and the focus of a theme that, I belive, the authors feel is a threat to the Florida region. This time it is drug war and dopers, in the other novels it is the disadvantages of tourism, the destroying of nature, the search for beauty by operations and corruptions among politicians. One major difference is that the main character in this book, an architect named Chris Meadows, is not the tough hero type, but rather a more human hero driven by fear. So if you are a fan of Carl Hiaasen, you should read Powder Burn. On the other hand if you are not a fan, you might find the book a bit ordinary.

A shadowy figure with immense power and money decides to take over the cocaine trade in Miami. It requires, of course, killing his rivals. Chris Meadows, a young, Miami architect, is only dimly aware of the drug trade until an old girlfriend and her child are accidentally killed before his eyes by hitmen. Worse, he can identify the killers, so he becomes their target. When a police detective seems more interested in using Chris for bait to catch the killers than in protecting him, Chris decides that he is on his own. His terrified twists and turns to evade the killers take him through the deadly world of Miami's drug scene. Hiaasen and Montalbano, writers for the Miami Herald, put an authentic edge on a Miami that tourists don't see. This is not the Hiaasen who writes biting humor about Florida's developers and politicians. This is the Hiaasen who gives us a thriller steeped in Miami. The story will keep you reading.

This book could have been titled: "Review of a Bootleg."

I would have enjoyed this book a LOT more if I had had the bootleg "Rock and Roll Cowboy" to listen to while reading it. Williams is a great writer, but he spent far too much time discussing this bootleg that the average joe can not get. Thus I ultimately found the book to be incredibly frustrating and ended up TRADING IT FOR THE BOOTLEG! There's some kind of justice in that.

Williams has written an ambitious book which attempts to review Young's music from his earliest commercial releases in 1966 through 1994. As the other reviews indicate a large portion of the book is devoted to a song by song review of the Italian bootleg 4 CD retrospective "Rock and Roll Cowboy". Unlike those reviewers I had owned "Cowboy" for years before reading "Love To Burn" so my criticism of the book is a little different. Put simply, this book should be titled "What Neil Young's music means to Paul Williams." While Williams has some interesting thoughts about some songs that's all they are -- his thoughts. Second, Williams sometimes succumbs to the dread rock reviewer's affliction of writing pretentiously and sometimes sounds like a sophomore English Lit major who just had his first class in music theory. For hardcore Neil Young fans it is in an enjoyable read because it is interesting to compare and contrast one's thoughts with Williams' but the book offers little insight into the thoughts of Neil himself. Of course, no available book has done that because Neil is not forthcoming and does not allow the authors opportunity to pick his brain. Which is a shame because Young is the most important figure in rock history (a bold assertion I know but one that could be amply illustrated by the RIGHT book), and his personal life is a remarkable story as well. We need but lack the magnum opus which chronicles how a kid from Canada came to L.A. formed a seminal and hugely influential band moved on to superstardom as a solo artist and with CSNY, then deliberately abandoned mainstream acceptance with a series of the darkest, rawest albums ever released by a pop musician (Time Fades Away, On the Beach and Tonight's the Night), only to end the 70's with a series of successful albums that contained not a hint of compromise to commercial formulas. Then after reaching the top a second time, Young again (to borrow a phrase from Dylan) threw it all away-- with a series of albums so determinedly eccentric as to alienate all but his most devoted fans. Then at an age when his contemporaries were all either dead, retired or all but irrelevant he soared again for a third time with a stunning series of albums including Freedom, Ragged Glory, Weld and Sleeps With Angels ( and more after the book was published). Williams meticuoulsy chronicles the music but misses them man who produced the largest, most daring and most compelling body of work in rock history. Unfortunately we Rusties have to make due with books such as this rather than the definitive biography (or dare we pray, autobiography) because of the Neil's reluctance if not refusal to divulge his essence to others. But in the end it is maybe just that reluctance, or maybe ambivalence is a better word that makes Neil what he is. The man clearly wants acceptance and success--- but only on his terms. He does what moves him at the moment and hopes it is popular but won't change a note or a word to make his music more accessible or commercial. And, in the end he has succeeded. I can listen to the music and discuss it with my friends so william's book gives relatively little to the hardcore Young fan (and who else is going to read a book like this?) other than an enjoyable night's read while blasting Rock and Roll Cowboy or other Neil on the stereo----- but you can do a lot worse than that with your time.

I didn't realize this book was focused on the Rock and Roll Cowboy bootleg. I didn't have the bootleg when I bought the book but I still was able to enjoy it. I found Williams reactions to the songs interesting and it made me want to get the bootleg even more. When I finally did get it I reread the book and enjoyed it even more.