Overall, I found this a highly entertaining and fun read, packed full of fascinating insights and research which I found enlightening. One particular section I liked was that on transvestites and transsexuals. Quotes Thomas: "Following a gender-reassignment operation, dull, mousey Keith became the flamboyant Stephanie-Anne." And one of Stephanie's quotes is: "...Career-wise, work-wise, it may be much easier in most professions for a man. But on an emotional level, life is much, much richer for a woman. Women can let down barriers and can get much closer to people. Men have to maintain barriers. As a man, you can't go and cry on a best friend's shoulder when things go wrong. The first thing he'd do is edge away if you touch him." Thomas also says: "Celia Bradford, living temporarily as a man while on assignment for YOU magazine, found that the male world gave its inhabitants greater respect, but exacted a heavy toll in return." She says: "... I felt cut off from other people, distanced from them simply by the assumptions they made about manhood. As a person I had a sense of pitching from further back, needing to be louder and tougher in order to be acknowledged."

He starts the conclusion of another chapter as follows: "A Martian who landed on earth and observed the behavior of the male sex would note that:
1. Male life expectancy is diminished by work.
2. A Man's powers of attraction are largely determined by his
job status, which is, in turn, largely dependent on the
degree to which he is prepared to devote his life to work.
3. Once married, he can expect to lose control of the majority
of his income.

I would say that if a typical man were to read this book, it would likely have a strong life-changing impact on him -- such is the power of this subject which gets shockingly little public attention in relation to what it deserves. I wish I had read this book right when it came out back in 1993. It would have made some things a lot clearer to me. I got the sense that he cares deeply about men's issues, and I hope he will write more books on this topic in the future.

Well done, David!

The Kirkus review above is pretty much right on the money with its description of the book. I'd add that there's a quite interesting chapter on images of masculinity in the media (John Wayne to Clint Eastwood to WWF), in which Thomas even works in some very interesting ideas on the real meaning cross-dressing. The book is that wide-ranging and philosophical at times -- the powerful insights snuck up on me all the way through the book. I really liked Thomas's writing style: very understated, and all the more convincing because of that.

I might also add that even though Thomas is a Brit, the book is balanced fairly evenly between this side of the Atlantic and the other. So other American readers shouldn't fear irrelevancy.

This is a gem of a book. Highly recommended for those interested in the topic.

The best edited version of the is Koch and Peden's edited on in "The Life and Selected Writings of Thomas Jefferson", but the full Notes is very good, but the reader must be prepared for numerous charts and tables. Overall a great book, and buy!

Basically, the book consists of two parts. In the first part, the narrator sits in a chair and watches his hosts plus their other guests waiting for an actor to have dinner. The narrator had bumped into his hosts whom he hadn't seen for many years and they had invited him to join their dinner. A mutual friend of them had just committed suicide so he had felt obliged to join them - much to his regret. The second part describes the actual dinner. However, most of the book consists of what the narrator is thinking about his former friends, about friendships in general and about relationships between people. This nearly endless rant evolves around every possible aspect and like a surgeon Bernhard cuts deep into what everybody takes for granted and lays open treachery, lies, and hypocrisy (If you believe in family values and in a good world, this book might disturb you quite a bit!). As I mentioned before, old friends of Bernhard's sued him when the book was published because it was too obvious he was actually referring to them - and he was showing them in a way nobody would possibly want to be shown. This is not to say that Bernhard is necessarily a misanthrop. Quite surprisingly, when the narrator leaves the dinner table abruptly, he runs back home "through Vienna the city I loved like no other city" - quite a surprise after his Vienna-bashing. To me, Thomas Bernhard always was a deeply disturbed person who hated the world because it wasn't as nice as he wanted to believe it was.

A writer--and Midwestern family man--loses his sister to a satanic cult which has taken over her financial assets and finally her life, and now has designs on his life. As the protagonist goes on a journey to get to the bottom of his sister's tragedy, members of the cult close in on his wife and children. In this novel, Evil lives next door. Yet this book does not exploit violence and gore. As the protagonist confronts the full face of evil, a mythic struggle of light against darkness ensues. Ultimately the tale is one of redemption.

If you want speculative fiction that addresses deep human archetypes and that is written in an intelligent, literary style, read this book.

This book is quite insightful, especially for a Southeast Asian media professional like myself. I recommend this book to everyone, even to those who work in the upper regions of the power sturcture of the media conglomerates critiqued in the collection.

For starters, it is a wonderful overview of how the media economy is shifting all over the world. The US market is saturated, as the book said, and the rest of the world is ripe for picking, especially my country, the Philippines.

This book is a tool to launch our own media analysis of what's happenning in our own countries. And from an analysis, we launch a critique, and from a critique, we launch steps to face the situation.

This book, published by New Media, is invaluable. I first read about it in an issue of Utne Reader. I took down the title and hunted it down in Amazon. I found it, bought it, and consumed it. I loved it because it gave me useful insights to work with.

This is a book I will dog-ear in my attempts to understand what to do in my field, and how to start my own media conglomerate from scratch. I already have my ideas, which I hope aren't just soundbites in my head.

Also recommended: Alexander Hamilton and the Constitution by Clinton Rossiter.

One of the reviewers on the back cover copy says that "Mayer allows Jefferson to speak for himself. This alone would recommend the work." Indeed. This is one of the strengths of the book with its extensive referencing to the words of one of our founding fathers. It also does the same justice to the philosophers and statesmen who influenced Jefferson throughout his life.

One of the most interesting aspects of the book is the scholarly analysis of what it meant (to Jefferson) to be a Whig. I was also compelled by the discussion of the whig concept of a government is more republican (small r) if it is founded in jealousy, and not in confidence.

Mayer is not reluctant to point to many of Jefferson's overly optimistic or downright naive assumptions on the practical implications of running a government.

One area I wished Mayer spent more time exploring was Jefferson's thoughts on bicameralism and separation of powers; and more specifically on the original contention that the Senate served as a break on run away emotions protecting minority interests (to avoid tyranny of the majority that Madison was so fearful of, but not Jefferson).

All told, this book is of value for those who admire Jefferson, who are critical of his standing, and for those who quote his examples without really knowing what they are doing.

Rudolf has been working for ten years on a biography of Mendelssohn, yet has failed to write even the first line of his work. "I had been planning it for ten years and had repeatedly failed to bring it to fruition, but now had resolved to begin writing it on the twenty-seventh of January at precisely four o'clock in the morning, after the departure of my sister." It is an intention to begin writing that recurs again and again throughout Rudolf's narrative, an intention to begin writing at a specific time in a specific location after the completion of specific preparatory tasks. And in each instance, Rudolf fails to begin, a sign of procrastination bred by obsession or of extreme writer's block or of extreme mental imbalance.

When Rudolf's sister leaves the house, he still cannot begin to write. Despite her departure, her aura remains: "Although she had gone, I still felt the presence of my sister in every part of the house. It would be impossible to imagine a person more hostile to anything intellectual than my sister. The very thought of her robs me of my capacity for any intellectual activity, and she has always stifled at birth any intellectual projects I have had . . . There's no defense against a person like my sister, who is at once so strong and so anti-intellectual; she comes and annihilates whatever has taken shape in one's mind as a result of exerting, indeed of over-exerting one's memory for months on end, whatever it is, even the most trifling sketch on the most trifling subject."

This theme, Rudolf's hatred for his older, worldly sister, runs throughout his narrative, the sister becoming one among many reasons (or excuses) for Rudolf's intellectual paralysis, his inability to write, even his inability to function in day-to-day life.

But it is not merely his sister that Rudolf despises. He also despises Vienna, the city where he once lived (and where his sister continues to live). "Vienna has become a proletarian city through and through, for which no decent person can have anything but scorn and contempt."

A complete recluse, his mental world bordering on solipsistic isolation, Rudolf no longer has any interest in social life of any kind. "To think that I once not only loved parties," he reflects, "but actually gave them and was capable of enjoying them!" Now he sees no reason or need for the company of others, for the people Rudolf spent years trying to "put right" but who only regarded him as a "fool" for his efforts. As Rudolf thinks, in a long, discursive interior response to his sister's claim that his desolate, morgue-like house, "is crying out for society":

"There comes a time when we actually think about these people, and then suddenly we hate them, and so we get rid of them, or they get rid of us; because we see them so clearly all at once, we have to withdraw from their company or they from ours. For years I believed that I couldn't be alone, that I needed all these people, but in fact I don't: I've got on perfectly well without them."

Rudolf is isolated in his own mind, a man who cannot accept the imperfections of others and of the world, but also cannot accept his own imperfections. And it is perhaps this, more than anything else, which explains his inability to get along in the world, his inability even to write the first sentence of his Mendelssohn biography. "Once, twenty-five years ago, I managed to complete something on Webern in Vienna, but as soon as I completed it I burned it, because it hadn't turned out properly." As Rudolf says, near the end of his short, but exhausting, narrative:

"I've actually been observing myself for years, if not for decades; my life now consists of self-observation and self-contemplation, which naturally leads to self-condemnation, self-rejection and self-mockery. For years I have lived in this state of self-condemnation, self-abnegation and self-mockery, in which ultimately I always have to take refuge in order to save myself."

"Concrete" leaves the reader exhausted from Rudolf's excessive and relentless narrative, giving truth to the remarkable power of Bernhard's literary imagination and narrative voice. It is a stunning literary achievement, perhaps the best work of one of Austria's greatest twentieth century authors.

The conundrum one encounters when approaching DOWN TO A SOUNDLESS SEA is approaching it on its own terms without using John Steinbeck as a reference and comparison point. Steinbeck could have avoided at least a portion of the dilemma by writing in a specialized genre, such as science fiction or horror and thus rendered intergenerational comparisons moot. He instead meets the problem head on; the short fiction collected in DOWN TO A SOUNDLESS SEA are Steinbeck's literary transcriptions of tales he grew up hearing from his father and from others who dropped by his household. Steinbeck wisely avoids disclosing to his readers who some of these "others" were, but anyone with even a rudimentary knowledge of John Steinbeck's friends and contemporaries can easily guess. The settings for these stories --- Big Sur and the California coast --- were also frequently used by Steinbeck the Father. Thomas Steinbeck, however, has found his own voice, and his own words. He passes, and surpasses the "John Smith" test: if DOWN TO A SOUNDLESS SEA was written by John Smith, it would be worth picking up, and reading.

DOWN TO A SOUNDLESS SEA consists of seven stories; if there is a common thread it is one of men following dreams and remaining true to their internal vision, though not always wisely, not always successfully. Thus, in "The Wool Gatherer," a young John Steinbeck, retained by a rancher as a wrangler for summer work, finds his attention from the job distracted by his sighting of a giant bear, supposedly extinct. His efforts to find the bear, again, result in his wages being docked and his summer effectively wasted. Yet, there is a nobility found in the story that rings true for its time. The ending to this little tale resounds quietly but is writ large, so that it is not so much an entertainment but more a tacit lesson, not sugarcoated but nonetheless easy to swallow.

"Blind Luck," one of the two longer stories in the book, encapsulates the life of Chapel Lodge, whose childhood was so devoid of love and caring that he at one point believed his name to be "Hey you! Boy!" Possessing an innate, canny intelligence, Lodge comes to believe that his luck --- if it is to be had and utilized --- is to be found not on land, but on the sea.

"The Night Guide" is, perhaps, a tale of the supernatural, but more so it is the story of a quiet, but indestructible bond between mother and child, a fable and a history. It does not seem like much, at first, but it echoes with the reader even as the other stories herein are read and digested. The same is true of "An Unbecoming Grace," a deceptively simple little tale involving a traveling physician who plays inadvertently a most important role in the lives of three people, and in the happiness of two of them.

In "The Dark Watcher," meanwhile, an unassuming, untenured college professor sets out to make his academic mark and succeeds in a way that he did not anticipate. "The Blighted Cargo," one of the shortest tales in the book, is also the weakness, though, it is a fine enough entertainment, being a story of an ill-fated venture in the slave trade where the individual involved is, as is said in some parts, caught in his own juices.

The undisputed gem of DOWN TO A SOUNDLESS SEA is, however, "Sing Fat and the Imperial Duchess of Woo," the final story in the book. Almost one hundred pages long, this tale of romance and traditional Chinese engagement between a young widow and a student apothecary is practically worth the price of admission in and of itself. A quick reading of Steinbeck might leave the reader with the feeling that he takes two long to get the point of his stories and then dispenses with it far too quickly. Such an impression misses the point; every building, no matter how beautiful or utilitarian, is no stronger than the foundation upon which it rests. So too, with Steinbeck's short stories, and particularly with this last one, in which we come to know young Sing Fat, and to a lesser extent his erstwhile bride and the Imperial Duchess. It is unfortunate that stories like this or so rarely written in these politically correct, supposedly liberated days; it makes the beauty of this one resonate all the more strongly.

Steinbeck is reportedly working on his first novel. It will be interesting to see what he is able to do when given the room, and the inclination, to stretch his stories out to cover a larger canvas. He will certainly, on the basis of DOWN TO A SOUNDLESS SEA, have an audience ready, and waiting, to greet him on his own terms. Highly recommended.

--- Reviewed by Joe Hartlaub

I wish T. Steinbeck had several voulmes like this, looking forward to his 1st novel-

Don

1. Need more charts and graphics to explain the concepts, ie: when explaining the DU PONT System, i think the pyramid structure can be illustrated so as to state a whole concept, not only fragments

2. Too many examples

3. This book is too detailed in both relevant and irrelevant matters

Still, I think it is a good book.

Any suggestions would be appreciated.

The concepts are explained very clearly(even kindly) and sample tests with complete solutions are very useful. The book also has solutions for selected end-of-the chapter problems and I enjoy mini cases which help me apply the concepts to the practice in detail.

I had tried other finance books before and most of them were not clear in explaining concepts and a bit difficult for me(my major was chemistry). I think that this book is probably the easiest and the best book to begin with for starters in finance.