Mary Darrah's book on Sr. Ignatia is an excellent historical document for all to read whether or not they are in recovery from alcohol or other drugs. This book is an accurate historical account of both the early days of Alcoholics Anonymous as well as the life of a compassionate yet tough woman.

This book is a must read for anyone interested in the truth about AA history. It is interesting, informative and enlightening.

Mitchell K. (Author of HOW IT WORKED, The Story of Clarence H. Snyder and the Early Days of Alcoholics Anonymous in Cleveland, Ohio)

In the early days of Alcoholics Anonymous, the recovery rate was about seventy five per cent. Today, the recovery rate is less than one per cent. In the early days of AA, 1935 to 1945, the founders of AA (Bill Wilson, Dr. Bob Smith and Sister Ignatia) operated under the concept that alcoholism was the indication of a spiritual illness. You first took away the alcohol, let the patient go through the withdrawal, and then they trained the alcoholic to be a spiritual person, both by learning to pray, (any religion would do) and then to pass your victory on to other suffering alcoholics. As AA grew, it began to be accepted in government run hospitals. And anything to do with the government has to have nothing to do with religion. So they began to treat alcoholics with psychiatry and downplayed the religious angle, hence the much lower recovery rate. Groups that use religion to treat alcoholics, like Teen Challenge, have an 80% recovery rate. When Sister Ignatia was helping to steer the recovery boat, along with Bill Wilson, Dr. Bob and the assent to Grace, recovery from alcoholism was possible for the first time on this planet. The other influence working against AA's religious methods was the birth, in the late 50's, of political correctness which fears surrender to religion (of ALL kinds) Reading this book about Sr. Ignatia has strenghthened my spirituality in AA. I just celebrated fourteen years sober.

If you're new to Sayles' movies or a long time fan, this book is a must. Gavin Smith asks probing and significant questions and Sayles provides insights about himself that are refreshingly matter of fact. The book is organized chronologically and examines each of Sayles' films. I have only seen Eight Men Out and Lone Star as of now but after this book I'm trying to see as many as I can. I've seen Lone Star twice and I'm going to buy the video. I rank it as one of my 10 all-time favorite movies because it is brilliant on so many levels.

This early text might be his masterpiece or, if that's too grand, the key to the rest of the work.

You could probably retitle everything Garder wrote LIES! LIES! LIES! From the novels to the children's books, from the handbooks to the book on Chaucer. It has the properly shrill tone. It suggests what you'll find beneath the cover. A sham, a masquerade.

And it's probably his most postmodern: fragmentary, obsessed with the local, involved in pastiche, in appraisals of Mickey Spillane, in assaulting the icons of high culture (Thackeray and others), full of parody and play. Play. Play in a book by Gardner.

I have to tell you that I've taught his silly book for young writers to college students and they really can't stand it. It has the effect of shutting them up completely. It is about the poorest book on writing I have ever encountered. I'm now considering giving them this instead. They might relate to it more.

It charts the continuing development of a young writer who is urgently looking for something to believe. Desperately looking, really. Young writers might find a mirror in this. It might have the effect of comforting them.

I'm not sure how to recommend this, or to whom I should recommend it. Gardner scholars, certainly. Anyone interested in writing. Especially when that writer is, well, psychically troubled. There's a peculiarly voyeuristic angle (angel?) to this, or a psychoanalytic one, since Gardner is a very knotty, ambivalent subject.

This is a fascinating facsimile edition (with printed transcription) of a journal Gardner kept as a sophomore at Depauw University in Indiana. Well-known as the author of Grendel, The Sunlight Dialogues, Nickel Mountain, and many other books, Gardner was killed in a motorcycle accident in 1982. Even for readers who have never heard of John Gardner, the journal will be a pleasant, interesting read. In a style that is at once self conscious and sophisticated, Gardner talks about school life, his reading preferences, the options open to writers of fiction, his opinion of various writers of the tradition. Early in the journal, he recounts some of the pranks and escapades that he and his dorm-mates staged at a small college in the 1950s, a sunnier time than now to be a sophomore. The humor in Lies! Lies! Lies! is, in fact, sunny and sophomoric: "Roger Getty is a sweet fella who never did anything more malicious than blow up a dietition's (sic) automobile (in 1951). Said Harold A. Peterson to Roger Getty in the hearing of John Robert (Goose) Berry, 'This place is too quiet.' Said Roger Getty, 'Uh-huh.' Said Pete, "Somebody should short-sheet some beds, or take screws out of doorknobs, or something.'" Already, along with the youthful tone, one notes the budding novelist's instinctively right sense of dialogue.

Lies! Lies! Lies! does not confine itself to college humor, fraternity capers, and day-to-day personal events; these are in fact in the minority. Throughout the journal Gardner experiments, sometimes explicitly ("Just for fun I think I'll burlesque the passage I just quoted."), with literary forms, conventions, language, techniques. While I doubt that anyone reading the journal in 1952 would have predicted the birth of The Sunlight Dialogues twenty years later, one would certainly have observed rumblings and stirrings that moved Gardner in the direction of that major and amazing novel.

Especially in the early pages, where he writes about his college life, Gardner's journal has a characteristically moral cast, a light-hearted but notable tendency to see life in terms of rights and wrongs. His fraternity pranks are "crimes," the perpetrators of which can't be held accountable as long as Gardner can claim he was "just telling a story." Remarks such as "Somebody's naughty, I'd say" are common. Even the title page of his journal is a comically moral display, and what are his (or anyone's) novels but elaborate, extended lies? A shrewd critic might see in the journal's moral tone the foreshadowings of On Moral Fiction, the book that got Gardner into so much trouble with his fellow novelists.

The journal offers interesting, sometimes extended critical commentary on such authors of the tradition as Daniel Defoe, Henry Fielding, Jonathan Swift, and William Makepeace Thackeray, whom Gardner "hates with a beautiful, blood-dripping hate." "Reading Fielding," on the other hand, "is like going to a good play with someone who knows it well. Between the acts we have delicious commentary on the thing." Gardner also takes the time to analyze "a few of [Swift's] brilliant thrusts" and even has something to say about Mickey Spillane!

A good read in its own right, Lies! Lies! Lies! will fascinate and reward anyone with an interest in Gardner's life and work.

I had been looking for this book over the past year since I am a graduate of John Carroll University. Dr. Gavin's historical information about not just the University itself but the Cleveland area and the politics within the Catholic diocese is fascinating. I recommend this to anyone who graduated from John Carroll or who has an interest in Jesuit educational institutaions in the US.

If you love Single Malts, then this book is a value to add to your collection. It gives you a look inside the industry as it has developed over the last 40 years from a personal perspective. That being said, it is not a be all-end all-tell all book of the industry. So do not look at this as a great history of Whisky making these last 40 years. Just as a reflection on one man's journey within the industry.