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Dewey was a capable enough performer that in 1924 he was booked for a solo performance in the cultural heart of America. In the audience was the noted music critic Deems Taylor. Taylor commented upon what he perceived as Dewey's contrived emotional stage effects, but this flaw was dwarfed by a more essential one: suffering from laryngitis, Dewey's voice totally shut down halfway through the program. A thoroughly mortified Dewey was forced to take stock of his career, and as a second choice he decided to pursue a law degree. Columbia University of the 1920's enjoyed a plethora of great legal minds, and even the frustrated singer came to develop a passion for law and the potential theatrics of the courtroom.
Dewey's rapid ascent through the law profession was abetted by two factors: his labors on behalf of New York City's struggling Republican party, and the patronage of George Z. Medalie, who would become Dewey's legal and political rabbi. Medalie, a major character in this treatment, enjoyed a thriving private law practice, but he was drafted for one of the city's frequent, and usually unsuccessful, forays against organized crime, which literally held New York in a stranglehold in the 1920's and 1930's. Medalie, who had once consulted for Dewey's firm, brought this "prodigy" into his investigations of the seamy criminal underbelly of New York including, as it turned out, the disappearance of Judge Crater.
Not even Medalie could have imagined what kind of courtroom tiger he had unleashed. It was to Dewey's advantage that few intrepid souls wanted to tackle the dangers of addressing organized crime, particularly when corruption pervaded the police department and the courts. Dewey became New York City's district attorney in 1935, prosecuting famous gangsters, politicians, and public figures with a take no prisoners approach. Smith describes several of the most famous investigations in considerable detail, but it is Dewey's style that is most intriguing: a workaholic perfectionist whose "when in Rome" style and prosecutorial armtwisting were not for the prudish. Dewey's face became one of the most recognizable in America-through newspapers, newsreels, and a series of Hollywood B-movies in which Dewey lookalike actors reenacted the more famous of his investigations.
After the substantive defeats of Hoover in 1932 and Landon in 1936 many Republican voters in the 1940 primaries turned to the fresh aggressive look of Dewey. By May 1 Dewey stood at the head of the pack, but May 1940 proved to be his undoing. Smith observes that it was not a Republican challenger who derailed Dewey's victory train, but Hitler himself. After the disaster of Dunkirk, Dewey became "the first American casualty of the Second World War," as one wag put it at the time. As the war came visibly closer to American life, Dewey's youth and limited international experience became glaring obstacles to his White House hopes. Defeated for the nomination by Wendell Wilkie, Dewey captured the New York state house in 1942. A genuinely compassionate man, Dewey's lengthy tenure as governor was marked by fiscal conservatism and social reform. His vision was remarkable: he predicted the postwar housing shortage and developed a state surplus for postwar needs. He saw the fiscal possibilities of a better highway system and sowed the seeds for what would become the interstate highway system by his advocacy of the New York State Thruway, which now bears his name.
Had Dewey's ambition been quenched in Albany, he would probably be remembered as one of the most effective state leaders of the century. Regrettably for his posterity, it is his unsuccessful runs for the presidency in 1944 and particularly 1948, when he "snatched defeat from the jaws of victory," that most Americans associate with Dewey. Smith does not psychoanalyze the 1948 event, as many historians do, nor does he demonize Truman, whom he credits with conducting a masterful if brutal campaign. Smith concedes that Dewey's 1948 campaign was too ethereal, but in the final analysis Dewey was a victim of himself. Like Nixon, he was not a natural gladhander, and his perfectionism in crafting his speeches not only resulted in a wooden product but devoured time better spent in personal appearances.
Smith describes Dewey's personal life as that of, well, a rich suburban Republican. Early in his career Dewey made the acquaintance of journalist Lowell Thomas, who gradually drew him into the social circle of Quaker Hill, an exclusive mountain community near Pawling, New York, north of the city. Dewey remained a presence in Republican circles until his sudden death by heart attack in 1971. He labored to keep his party moderate, campaigning vigorously for Eisenhower and against the Taft wing. Smith brings to light several interesting anecdotes of Dewey's later years. In 1970 a coterie of leading congressional Republicans, deeply concerned about the style and direction of the Nixon White House [read Haldeman and Ehrlichman], nominated their former party leader to speak privately with the president. Dewey apparently agreed to approach Nixon, but his sudden death intervened. Smith also records that the widowed Dewey courted Kitty Carlisle Hart [then a panelist on the popular TV program "To Tell The Truth"] and asked her to marry him. [The question was still under negotiation at the time of his death.] On the last day of his life, in Miami, he played golf with Carl Yastrzemski. His final regrets, it appears, had less to do with presidential campaigns and more to do with his belief that he had worked too hard and played too little.
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The first thing I did when I saw this book was turn to significant dates in my life (birthdays, anniversaries, deaths) and read the poem for that day. It was more revealing than a horoscope, and much more engaging! I learned from this book that my wedding anniversary falls on the same day that Cleopatra committed suicide, commemorated in the text with an excerpt from Shakespeare.
This anthology is not a cheesy collection of "feel-good" poems. Some of these poems will inspire you, others will depress you, some might confuse you. There is a wide range of styles and authors in this book. There are poets that are familiar, and poets I've never heard of. Overall, the collection of poetry in this book makes me want to read much more than just the "poem of the day."
This book offers a great way to bring poetry into your daily life, and for those who are already poetry fanatics, this book presents poems in a new and intriguing light. It also provides a whole range of gift opportunities--who wouldn't like to read a poem composed on their birthday? This anthology wonderfully displays the variety, beauty and meaning of English and American poetry.
The book intoruduces the concept of 6 vectors within which future paths can be examined. These are the inter-state system; world production; world labour force; human welfare; cohesion of states; and the structures of knowledge.
The book displays the weaknesses inherent in the world system thesis. These include overstating the degree of integration of the economies of the world and thus not taking into account the emergence of "non-states" run either by armed bandits or by organised crime.
The book does not deal adequately with the current state of the state. Given the debate around MNCs and their increasing expansion into areas which were the domain of the state this is an issue needing serious appraisal.
The depiction of this era as being a post US hegemonic era is also an area which will be contested by many writers, not least of all the Fukuyama's of the world.
Wallerstein concludes that the future depends onm how the following factors develop: * the extent to which there is loyalty to citizenship;
* the level of security through police order; the extent to which military orders are maintained; * level of welfare especially in relation to health and food distribution; * stability of religious institutions.
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As a bonus, the book bridges the gap between traditional Stanislavski method and physically-based acting, by showing how Grotowski's work is in continuation of the Method, not in oppostion to it. Any serious student of theater will want to have this book on their shelf
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