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Career Experiences of a New York City Fireman
5 STAR READ!
A Reader's reviewA not-to-miss book. This is not a child's book, but tells it as it was. When your heart is not pumping as you read, it may be breaking--a very human true tale.
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Economic depression, war and working-class leadershipThis volume includes more than 100 articles and letters. They cover topics ranging from the economic depression and the rising inter-imperialist tensions leading to World War II, to the Stalinist frame-up trials in the Soviet Union, the Spanish Civil War, and detailed leadership questions posed in workers movements in different countries at the time. These volumes are lively, pointed and have extensive notes and chronologies to aid the reader today.
I'd also recommend some other titles written by Trotsky at this time, including The History of the Russian Revolution, The Fight Against Fascism in Germany, Trade Unions in the Epoch of Imperialist Decay, and The Transitional Program for Socialist Revolution, all available from the same publisher, Pathfinder Press.
Crucial Lessons for Fighting FascismThe workers movement of that time was misled by parties - social democratic and fake communist -- which preferred imperialist "democracy" over workers revolution. This allowed fascism to triumph and, together with "democratic" imperialism, brought us the second world war which slaughtered tens of millions and included the U.S. - supposedly the most "democratic" imperialists - initiating the threat of human extinction with the nuclear bombing of Japan.
Trotsky explains how Lenin's program could have resulted in workers victories over capitalism all over Europe, as well as the overthrow of the murderous Stalin regime and the regeneration of the Soviet Union on a course of world revolution and workers democracy.
Studying Trotsky's writings today is timely as imperialism is again on the march toward fascism and war.
Everything from Frida Kahlo to fighting fascism
Lessons for Fighting FascismTrotsky, whose collaborators were grouped in the International Left Opposition, declared an end to any effort to reform the world-wide Communist Parties. Instead, he called for a new world party to fight for socialist revolution in the capitalist countries and political revolution within the Soviet Union.
Lessons in the fight against capitalism, fascism, depression
lessons from the last Depression for the new one
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I love a good skirmish
Strong A.I. Versus PessimismWhat Kuzweil means by computers someday becoming 'spiritual' is that they may become conscious, and 'strong A.I.' is the view that "any computational process sufficiently capable of altering or organizing itself can produce consciousness." The first part of this book is an introduction to all of the above views by Kurzweil, followed by criticisms by four authors, followed in turn by Kurzweil as he refutes these criticisms.
Personally, I found most of the views expounded by the critics here to be either non-sensical, or 'beside the point'. One critic says that the life support functions of the brain cannot be separated from it's information processing function. Of course it can be, even the effects of hormones can be programmed into a downloaded brain, as well as other chemicals used by brains. Another critic states that possibly evolution is in error, and yet another criticism is that our machines will not be able to contact a divine entity and would thus be inferior.... give me a break, well...perhaps this is all true and maybe pigs will one day fly over the moon unassisted. I could go on and on, but this is the job of Ray Kurzweil and he defends himself admirably in the final chapters of this volume. Kurzweil does mention in this book that brain scanning machines are improving their resolution with each new generation, and eventually will reach a point where they should be able to image individual neurons and synapses in large areas, and allow the brain 'software' to be transferred to a suitable non-biological computing medium, my only criticism of Kurzweil here is that I think he should discuss this technology more, and where it is headed, his next book would be a great place for this.
One final point, it seems to me that when a new idea appears to be difficult and complicated to achieve, the pessimist says: "This is difficult and complicated, and may not work", whereas the optimist says: "This is difficult and complicated, but may work". Only time will tell for sure.
Excellent introduction to an ongoing debateThe controversy behind Kurzweil stems from his recent book "The Age of Spirtual Machines", which is a detailed accounting of his predictions and beliefs regarding artificial intelligence. Many individuals objected to his visions and predictions, and he answers a few of them in this book. In particular, he attempts to counter the arguments against him by the philosopher John Searle, the molecular biologist Michael Denton, the philosopher William A. Dembski, and zoologist Thomas Ray. With only a few minor exceptions, Kurzweil is successful in his refutation of their assertions.
But even if Kurzweil completely refutes the arguments of these individuals, and possibly many more against him, the countering of arguments will not by itself solve the problems in artificial intelligence research. The fact remains that much work still needs to be done before we are priveleged to see the rise of intelligent machines. Kurzweil is well-aware of this, for he acknowledges this many times in this book. He points to reverse engineering of the human brain as one of the most promising strategies to bring in the robotic presence. The success or failure of this strategy will take the mind-body problem out of purely academic circles and bring it to the forefront of practical research in artificial intelligence. The 21st century will thus see the rise of the "industrial philosopher", who works in the laboratory beside the programmers, cognitive scientists, robot engineers, and neurologists.
Each reader of this book will of course have their own opinions on Kurzweil's degree of success in countering the arguments of Searle, Denton, Dembski, and Ray. But one thing is very clear: Kurzweil is no arm-chair philosopher engaging in purely academic debates on the mind-body problem. He is right in the thick of the research and development of artificial intelligence, and if the future turns out as he predicts, he will certainly be one of the individuals contributing to it. He and many others currently working in artificial intelligence are responsible for major advances in this field in just the last few years. Their ingenuity and discipline is admirable in a field that has experienced a roller coaster ride of confidence and disappointment in the preceding decades. All of these individuals have proved themselves to be superb thinking machines.
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The Greatest Series on the civil war
Fantastic Historical Read
Cannot be put down!
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A fine nature read from two master storytellers
Jean Craighead George is brilliant!
Great Novel
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The Christian Walk
Well worth the effortGetting through the book takes some work, less because of the story and more because of the depth of the allegory. Also, the dialogues between characters regarding salvation and righteousness often require a careful read. However, the story is exceptionally creative and thought-provoking, and the lessons that can be gleaned from it are timeless and worth the effort that needs to be expended. I recommend reading this one at least twice.
THE REAL AND MORAL WORLDS EVERTEDI urge you tolook at a remarkable book by the English Puritain John Bunyan(1628-1688), "The Pilgrim's Progress", which is one of the great evangelical Christian classics, though clearly that is not why it interests me and should interest you (although I AM interested in the puzzle that is the religious sense, which even the irreligious feel, and this book can give remarkable insight into that as well).
Rather its fascination lies in the pilgrimage it depicts, or in the fact that human traits, vices, virtues, &c are PERSONIFIED as particular individuals who are their living and speaking epitome, and who are encountered along the way in revealing situations.
Bunyan's hero is appropriately named Christian. Someone once wrote that "Christian's journey is timeless as he travels from the City of Destruction to the Celestial City, meeting such characters as Pliable, Talkative, Giant Despair, Evangelist, Worldly-Wiseman, Faithful, Ignorance and Hopeful."
At first this personification is merely amusing, even a bit annoying (as caricatures or truly stereotypical people can be); but after a while I found myself enthralled because I realized that the effect of this odd literary device was to give unmatched insight into the nature of such traits. The force of the whole thing comes from the fact that one journeys about in - literally INSIDE of - what is both a comprehensive and finite moral and psychological landscape (a "psycho-topography"), very much as though one were INSIDE the human mind and your "Society of the Mind" was embodied in the set of actors. This is more or less the opposite or an inversion of the 'real world' of real people, who merely SHARE those attributes or of whom the attributes are merely PIECES; in "Pilgrim's Progress", by contrast, the attributes are confined in their occurrence to the actors who are their entire, unique, pure, and active embodiment, and humanness, to be recognized at all, has to be rederived or mentally reconstructed from the essential types.
The effect, for me, was something like experiencing a multidimensional scaling map that depicts the space of the set of human personality types, by being injected directly - mentally and bodily - into it by means of virtual reality technology.
So Bunyan's book has something of the interest to a psychologist, neuroscientist, or philosopher that Edwin Abbot's "Flatland" has to a mathematician.
I don't mean to overpraise "Pilgrim's Progress", of course; it was written for theological rather than scientific purposes, and has conspicuous limitations for that reason. But its interest to a student of the mind who looks at it at from the right point of view can be profound.
- Patrick Gunkel
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Whither Arnold's "Sweetness and Light?"Milvain identifies as vulgar the most lucrative market for the product of the man of letter's labor. The vulgarians, or "quarter educated," drive the market (479), and since they have been determined to desire nothing more than chatty ephemera, they have successfully opened an insuperable gulf between material success in writing and artistic success. Reardon's psychologically penetrating novels just aren't in demand. Therefore, there emerges quite an interesting conceptual shift within the nascent hegemony of the quarter-educated as established by their purchasing power: what was once considered healthy artistic integrity has transmuted into a peculiar kind of petit bourgeois hubris, if, in the new paradigm, the writer is more an artisan than an artist. Therefore, Reardon's artistically-compromised and padded three-volume novel, written with no other end in mind than to pander to the vulgar reader, nonetheless achieves only modest success because, the fact that it is indistinguishable from countless other similar works glutting the market aside, his novel is infected from his irrepressible integrity, and thus his novel becomes a strange sort of counterfeit, a psychological narrative masquerading as a popular novel. Reardon thus becomes a sort of Coriolanus among writers.
Milvain, on the other hand, is a sort of Henry Ford among writers; he reveals his particular genius when offering advice to his sister Maud about how to write religious works for juveniles: "I tell you, writing is a business. Get together half-a-dozen fair specimens of the Sunday school prize; study them; discover the essential points of such a composition; hit upon new attractions; then go to work methodically, so many pages a day" (13). In other words, Jasper has managed to streamline and to mechanize the writing process. He studies previous works, abstracts formulae from them, isolates the elements of these formulae, and then deploys and rearranges these elements to give his own writing a patina of originality. By treating writing as an exercise in manipulating formulae, Jasper exchanges "authenticity" (whatever that word means anymore) for the convenience and efficiency of not having to grapple with his own potentially mutable and recalcitrant genius. Jasper did not invent writing, just as Ford did not invent the automobile. But like Ford did with automobile manufacture, Milvain discovers those aspects of writing that lend themselves to mechanical reproduction. Thus he is able to capitalize on his time and effort, and effectively becomes the very machine Reardon believes himself to be but never actually becomes because of his lingering notions of artistic integrity (352).
Also of interest is the fact that Albert Yule is a sort of synthesis of Milvain and Reardon. Like Milvain, Yule attempts to streamline his own literary production by delegating some of the labor to his daughter Marian. However, like Reardon, Yule clings to the superannuated notion of the necessary individuality of writing: "[h]is failings, obvious enough, were the results of a strong and somewhat pedantic individuality ceaselessly at conflict with unpropitious circumstances" (38). In other words, Yule fails to recognize the obsolescence of the lone, learned genius within the realm of literary production. A market of vulgarians who demand occasional literary confections simply does not expect Works of individual genius. Moreover, even if they were in demand, works of individual genius are too ponderously inefficient to keep pace with the rate at which they are consumed. Therefore, Yule straddles the either/or proposition personified by Reardon and Milvain: One may preserve his artistic integrity and write "for the ages"--hence Yule, Biffen, and Reardon's fetishization of Shakespeare, Coleridge and authors of classical antiquity--and starve in the process, or one may write "for the moment" and actually turn a respectable profit.
The shadow of Charles Darwin indeed looms large over the events and characters of New Grub Street. The growth market brought about by the advent of the "quarter-educated" vulgar class, and their discretionary income coupled with their callow aesthetic sensibilities and truncated attention spans, represents a nascent economic, if not ecological niche, for certain social creatures to occupy. However, it's not simply a matter of being able to adapt one's skills to the tastes of these consumers. One must also be a prodigious enough writer to keep pace with an equally prodigious rate of consumption. Individuals like Milvain and Whelpdale are adequately adapted to this niche in that they satisfy the demands of this niche in terms of both content and output. Reardon panders to the vulgar taste only grudgingly and after long resistance and thereby cannot meet the production demands of this niche. Biffen absolutely refuses to pander at all. Alfred Yule does attempt to pander, but his mode of literary production is too inefficient to meet production demands, and he is also largely ignorant of vulgar literary taste. While more in touch with the vulgar reader than her father, Marian Yule is as inefficient in her literary production as her father. Therefore, each of the characters named above are equally maladaptive, albeit for various reasons, and thus their extinction by the novel's end strikes the reader as somehow inevitable. Whereas Milvain and Reardon's widow Amy are left to come together as the triumphant niche occupants and thus reproduce themselves in their offspring, should they decide to produce any.
The Hateful Spirit of Literary RancourThe anti-heroes of "New Grub Street" are presented to us as the novel begins - Jasper Milvain is a young, if somewhat impoverished, but highly ambitious man, eager to be a figure of influence in literary society at whatever cost. His friend, Edwin Reardon, on the other hand, was brought up on the classics, and toils away in obscurity, determined to gain fame and reputation through meaningful, psychological, and strictly literary fiction. Family matters beset the two - Jasper has two younger sisters to look out for, and Edwin has a beautiful and intelligent wife, who has become expectant of Edwin's potential fame. Throw into the mix Miss Marian Yule, daughter of a declining author of criticism, whose own reputation was never fully realized, and who has indentured his daughter to literary servitude, and we have a pretty list of discontented and anxious people struggling in the cut-throat literary marketplace of London.
Money is of supreme importance in "New Grub Street," and it would be pointless to write a review without making note of it. As always, the literary life is one which is not remunerative for the mass of people who engage upon it, and this causes no end of strife in the novel. As Milvain points out, the paradox of making money in the literary world is that one must have a well-known reputation in order to make money from one's labours. At the same time, one must have money in order to move in circles where one's reputation may be made. This is the center of the novel's difficulties - should one or must one sacrifice principles of strictly literary fame and pander to a vulgar audience in order to simply survive? The question is one in which Reardon finds the greatest challenges to his marriage, his self-esteem, and even his very existence. For Jasper Milvain and his sisters, as well as for Alfred and Marian Yule, there is no question that the needs of subsistence outweigh most other considerations.
"New Grub Street" profoundly questions the relevance of classic literature and high culture to the great mass of people, and by proxy, to the nation itself. For England, which propagated its sense of international importance throughout the nineteenth century by encouraging the study of English literature in its colonial holdings, the matter becomes one of great significance. The careers of Miss Dora Milvain and Mr. Whelpdale, easily the novel's two most charming, endearing, and sympathetic characters, attempt to illustrate the ways in which modern literature may be profitable to both the individual who writes it and the audiences towards which they aim. They may be considered the moral centers of the novel, and redeem Gissing's work from being entirely fatalistic.
"New Grub Street" is a novel that will haunt me for quite some time. As a "man of letters" myself, I can only hope that the novel will serve as an object lesson, and one to which I may turn in hope and despair. The novel is well written, its characters and situations drawn in a very realistic and often sympathetic way. Like the ill-fated "ignobly decent" novel of Mr. Biffen's, "Mr. Bailey, Grocer," "New Grub Street" may seem less like a novel, and more like a series of rambling biographical sketches, but they are indelible and lasting sketches of literary lives as they were in the original Grub Street, still yet in Gissing's time, and as they continue to-day. Very highly recommended.
Grimly Realistic Novel of Literary Life in 1880s London"New Grub Street" is the contrapuntal narrative of two literary figures, Edwin Reardon, a struggling novelist who aspires to write great literature without regard to its popular appeal, and Jasper Milvain, a self-centered, materialistic striver whose only concern is with achieving financial success and social position by publishing what the mass public wants to read. As Milvain relates early in the novel, succinctly adumbrating the theme that winds through the entirety of "New Grub Street":
"Understand the difference between a man like Reardon and a man like me. He is the old type of unpractical artist; I am the literary man of 1882. He won't make concessions, or rather, he can't make them; he can't supply the market. I-well, you may say that at present I do nothing; but that's a great mistake, I am learning my business. Literature nowadays is a trade. Putting aside men of genius, who may succeed by mere cosmic force, your successful man of letters is your skillful tradesman. He thinks first and foremost of the markets. . . . Reardon can't do that kind of thing, he's behind his age; he sells a manuscript as if he lives in Sam Johnson's Grub Street. But our Grub Street of today is quite a different place: it is supplied with telegraphic communication, it knows what literary fare is in demand in every part of the world, its inhabitants are men of business, however seedy."
Gissing brilliantly explores this theme through the lives of his characters, each drawn with stunning depth and verisimilitude. There is, of course, Reardon, whose failure as a novelist and neurasthenic decline destroys his marriage and his life. There is also Reardon's wife, Amy, a woman whose love for Reardon withers with the exsanguination of her husband's creative abilities. While the manipulative and seemingly unfeeling Milvain pursues his crass aspirations, he also encourages his two sisters, Dora and Maud, to seek commercial success as writers of children's books. And intertwining all of their lives are the myriad connections each of the characters has with the Yule family, in particular with the nearly impoverished Alfred Yule, a serious writer and literary critic, and his daughter and literary amanuensis, Marian.
It is Marian--struggling to reconcile the literary demands and expectations of her father with the desire to lead her own life, struggling to escape the claustrophobic world of the literary life--who ultimately, pessimistically challenges the verities of that life while sitting in its physical embodiment, the prison-like British Museum library:
"It was gloomy, and one could scarcely see to read; a taste of fog grew perceptible in the warm, headachy air. . . . She kept asking herself what was the use and purpose of such a life as she was condemned to lead. When already there was more good literature in the world than any individual could cope with in his lifetime, here she was exhausting herself in the manufacture of printed stuff which no one even pretended to be any more than a commodity for the day's market. What unspeakable folly! . . . She herself would throw away her pen with joy but for the need of earning money. . . . This huge library, growing into unwieldiness, threatening to become a trackless desert of print-how intolerably it weighed upon the spirit."
It is Marian, too, who ultimately becomes the romantic victim of Milvain's aspirations, the powerful language of Gissing's anti-romantic subplot twisting into almost gothic excess as he extends the metaphor of London's fog to Marian's sleepless depression:
"The thick black fog penetrated every corner of the house. It could be smelt and tasted. Such an atmosphere produces low spirited languor even in the vigorous and hopeful; to those wasted by suffering it is the very reek of the bottomless pit, poisoning the soul. Her face colorless as the pillow, Marian lay neither sleeping nor awake in blank extremity of woe; tears now and then ran down her cheeks, and at times her body was shaken with a throe such as might result from anguish of the torture chamber."
"New Grub Street" is deservedly regarded not only as Gissing's finest novel, but also as one of the finest novels of late nineteenth century English literature. Grimly realistic in its depiction of what it was like to be a struggling writer in late nineteenth century London, it is also remarkable for its historical accuracy and its literary craftsmanship. If you like the realism of writers like Harding and Zola, then "New Grub Street" is a book you must read!
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Straight from the horses mouth(s)..That said, I enjoyed the book a lot. The book is laid out in a way that makes you feel that you're sitting around a table with The Fab Four, just shooting the breeze. Their stories are fascinating, especially the way their memories don't...quite....gel. John, unfortunately, comes off as something of an egomaniac, and a rather pompous one at that. It seems that everything of any worth (in his opinion) was his idea. I'm still a fan of his music, I'm just a little less a fan of the man.
My only real beef with the book is the lack of a narrative voice- The Beatles mention John's car accident, Mary Quant, etc., but there is no narrator to let the unenlightened in on what happened, who that person was, etc. Otherwise, Beatles fans will spend many a happy hour reading this book.
Fantastic!Anthology covers every (well, probably almost every) aspect of the Beatles' life and musical career. It starts as four seperate stories as every band member describes his childhood, then melds into the story of the band. All the interviews from the wonderful Anthology TV series are in the book, but so are many more. There are far more details - especially about the music itself, which was neglected in the series. While in the series some albums were hardly mentioned, in the book the Beatles refer to almost every song, telling a thing or two about its background. Also, more touchy subjects which were avoided in the series appear here - such as, the (phony) death of Paul McCartney, the (real) death of Stuart Sutcliffe, the unfortunate Hell's Angels incident and the terrible case of Charles Manson and his connection to the White Album. The photographs and documents shown in the book are facsinating as well.
And no, it's NOT too long. The only problem with the book is its weight, which makes it quite uncomfortable to read. Anthology is a superb book, which reminded me why I used to love the Beatles so much and got me to hear all their albums again - twice.
The Whole Story From the Mouths of the Beatles Themselves
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Classic Sociology Text
Synthesis of intimately personal and powerfully publicDurkheim's study in sociology contributes much more than this detail to the social sciences, but for my purposes of analyzing the sociology of media, this is the most critical point.
Fascinating&Intelligent...From a man, who loved his subject