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Moyers indeed takes a variety of poets to interview, from recognized greats such as W.S. Merwin, Rita Dove, Donald Hall, Adrienne Rich, Ocatavio Paz to name a few to lesser known (at least to me) poets such as, Garrett Kaoru Hongo, Dekou Sundiata, and Mary Tall Mountain. Some of the interviews are fascinating as one would expect them to be. But the majority of them drag on. Instead of making the language come alive, the power of the poetry is diluted when it is talked about. Give credit to Moyers for attempting the project and to opening up his purview beyond the academically accepted greats and beyond strictly English-writing poets. For that Moyers is to be commended, but the end effect leaves the reader wanting for more.
I have gotten so much more from any on the "Best American Poetry" series or a little known poetry compilation called "The Generation of 2000," for the sheer love of poetry and learning about poets, than Moyers' book. As for non-English poets, buy the bilingual editions (Paz's collected poems, Neruda's selected poems, etc) even though you don't speak or understand the original language. It's a must to see and hear how the poetry was intended to sound and also be able to read it in a language you understand.
I've listened to poetry tapes in the past but, for me, this fantastic series is a rarity -- it captures the interaction and intimacy of live poetry readings. It's art-in-a-box. Highly recommended to all artists and spiritual seekers..... Another bonus? My husband, who always cast a wary eye toward poetry, is now attending poetry readings after listening to these tapes and finally experiencing for himself the profound power of this medium.
Thank you, Mr. Moyers! And please, please, please come out with another series like this.
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Thus, this book is very unbalanced as the liberal element is so prone to do: ignore the traditional, conservative opinion as well. You find it in all their works. While the conservative side most always reacts and interacts with the liberals, you rarely see it in the reverse. Thus, the poor unknowing layperson sees this as the total picture. Or hopefully not.
"Oh, Lord, open thou our eyes."
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Again, I've gone through nearly 30 books about 9/11. After you get past the austere black cover, this paperback falls with a thud.
Simply put, this book tries too HARD to be profound. You see images you've seen before, such as the sequence of shots of one of the jets slamming into the south tower of the WTC. Nothing new.
Two things bug me: Layout and content.
In the layout, you get the feeling the editors are trying to SLEGEHAMMER the reader with the obvious. I hate this. For example, in some essays, certain words and phrases are laid out into single lines, as if they are poetry. Then there is the awful decision to use fonts of varying sizes to EMPHASIZE certain passages. This is a pretentious device that, I'm sorry, calls TOO MUCH ATTENTION to itself. It is completely unnecessary and smacks of a patronizing tone intended to magnify the depth and gravity of what occurred on 9/11. We all know about that dark day. We DON'T need it pushed into our faces under the umbrella of "literary art."
Meanwhile, about the Chomsky essay: It's short but it's awful. It's laid out, again, in a way that feels like "padding." His message reads like an "I told you so" lesson. Here's what he does: He points to America's "sins" of the past and then turns them around in a way that makes you want to believe that it's NOW THE UNITED STATES' TURN TO SUFFER. This is horrible. His opinions are the stuff of fiery pamphlets handed out on street corners. (BECAUSE WHO WOULD PAY FOR THIS?)
OK, what's good about this book? Well, some of the transcripts of phone calls and a handful essays from victims and witnesses are well done. Why? Because they ARE NOT pretentious. But when others try to be "inspirational," they end up stating the obvious. I can't help but feel most writers were given an outlet to "vent" their own emotions, which have more relevance to the writer than to the reader.
If you want more for less, pick up the December 2001 issue of American Heritage Magazine. There you get five-star opinions about 9/11 from individuals of world repute. It has a "permanence" this book lacks and it doesn't feel rushed together.
In sum, it's fine to read what people like Joan Rivers, Deepak Chopra, Richard Dreyfuss and others "feel" about 9/11. But is it worth PAYING for? You can't judge quality by "good intentions." This is a rush-to-market volume featuring opinions from most who have (or who will have) little if any impact on our lives. Why not opinions from Giuliani, Bush, Blair, Sharon and Arafat, even those recorded by the news media in the AFTERMATH of 9/11? Why not more views from individuals who can effect CHANGE? This book could have been GREAT.
Trust me, this is NOT the definitive book of "think pieces" about 9/11/01.
If you disagree, fine. It's your money. But my advice is to borrow before you buy. There are other books worth buying. This one isn't.
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Oh sure, we all know the awful conclusion, but what is so riveting is how author Bill Lane walks you through all the details of the fateful flight, and adds in logical, well-explained theories about what may have happened -- down to how the red and green lights from the control panel of JFK's craft may have been reflecting off the inside of the windows, further reducing visibility that foggy night. Reading each detail, I got goosebumps, and felt like I was right there with JFK and the Bessettes, getting more and more tense as more and more things went wrong on their trip to Cape Cod.
I haven't been a big fan of things flight-oriented. But this book is written in a way that makes you realize that deep down somewhere on some hidden level, you have all these questions about flying that you didn't even know where there. Oh yes -- it had me saying to myself -- I guess I have wondered what demographic it is that ends up crashing their own planes most, and oh yes, I have wondered what physical phenomenon it is that makes pilots become so disoriented when flying at night. This book puts you in touch with that curiosity, then cheerfully answers the questions for you.
Complete Idiot's Guide to Flying and Gliding is written in a tone that's very familiar and explanatory. Thankfully, it never talks over your head leaving you confused -- but it doesn't condescend, either. It really hits the spot for people who are curious about the ins and outs of flight -- from actual aerodynamics, to the psychology of pilots -- but have been too afraid to ask about it all.
What keeps planes in the air? Do acrobatic pilots ever pass out from all that pressure when they turn upside down? What's "get-there-itis"? What's "nose art"? What does it feel like when a small plane hits the water at a 5,000-per-minute descent?
You have to pick up the book and find out!
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The book suffers from Bay Area-itis, the belief held by some residents of the San Francisco Bay Area that they are at the center of the universe, the prophets of all that is new and about to become significant in American culture. The author lives and works in the Bay Area and constantly extrapolates lessons from the local university to "everywhere." Not surprisingly, the book is published by a Bay Area company. (As a professor at Indiana University, Bloomington, I can assure her that most of her points about admissions' policy do not apply here, nor at other public universities in this area, or at most schools in many other areas of the country.)
The book is also badly organized and the author often does not follow some interesting leads, instead she lapses into highly opinionated diatribes. Ironically, I should have been more interested in her comments about Berkeley--I hold two degrees from the school and spent almost ten years of my life there--but her discussion is often so convoluted that I became bored and skipped pages.
The book contains a few good nuggets--e.g., a nice summary of the history of women's education in the U.S.--but, on the whole, it delivers none of its promise: to inform the reader about the important subject of college admissions.
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