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Monday, January 31, 2011

"Unless it Moves the Human Heart" and "Super Rich"


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Washington Post Book Reviews
For You
Monday January 31, 2011
    UNLESS IT MOVES THE HUMAN HEART: The Craft and Art of Writing
    Roger Rosenblatt
    Ecco
    ISBN 978-0061965616
    155 pages
    $13.99

    Reviewed by Yvonne Zipp
    Making your living with words has become a precarious profession. The second-biggest bookstore chain in the United States can't pay its bills. Jobs for journalists are drying up faster than grape juice in a Sham-Wow. So students are fleeing creative-writing courses, right?
    Nope. The number of creative-writing programs has increased by 800 percent since 1975, writes Roger Rosenblatt, author of "Unless It Moves the Human Heart." (The title is florid; the rest of the book is not.) "So here we go again -- another writing class. ... All over America, students ranging in age from their early twenties to their eighties hunker down at seminar tables ... avid to join a profession that practically guarantees them rejection, poverty, and failure."
    For those eager to embark on their own journey of downward mobility, "Unless It Moves the Human Heart" is right up there with Natalie Goldberg's "Writing Down the Bones," although less Zen, and Anne Lamott's "Bird by Bird," although less confessional.
    It takes the form of a memoir that recreates classes in which Rosenblatt and his students tried to answer the question, Why write?
    Rosenblatt sees something heroic and defiant in his students, from 22-year-old Jasmine, who believes that John Donne is overrated, to 59-year-old George, a limousine driver "cursed with an enormous vocabulary." And while acknowledging "the childish romanticism" of the writer, he still believes in the craft's inherent nobility. "I have never known a great writer who did not believe in decency and right action," he writes, "however earnestly he or his characters strayed from it."
    If it takes an act of faith to want to be a writer, how much more must it require to teach, as Rosenblatt has done for 40 years. The Stony Brook University professor has won an Emmy, a Peabody and two Polk Awards, and his books include both fiction and nonfiction bestsellers. So he's more than qualified to teach "Writing Everything," the course described here.
    The book is filled with humor and practical advice -- not all of it from Rosenblatt. One of his students gave me a new insight:
    "So in effect you begin a short story by saying, 'We've come to this.'" Rosenblatt quotes poet Tom Lux, who calls poetry "mixed feelings expressed clearly."
    Rosenblatt believes in thinking big and writing small. "I believe in spare writing. Precise and restrained writing. I like short sentences. Fragmented sentences, sometimes." His students joke that his course more properly could be called Writing Everything Like Him. As readers of his poignant memoir "Making Toast" (2010) can attest, one could do worse.
    As he says in the beginning, Rosenblatt can't make his students professional writers. But he can teach them -- and anyone reading this book -- to write better.

    Copyright 2011 Washington Post Writers Group

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    SUPER RICH: A Guide to Having it All
    Russell Simmons with Chris Morrow
    Gotham
    ISBN 978-1592405879
    197 pages
    $22.50

    Reviewed by Dan Charnas
    The transformation of hip-hop mogul Russell Simmons from the recreational drug-using, model-chasing manager of seminal 1980s rap artists Run-DMC, LL Cool J and Will Smith into a serene 21st-century prophet of veganism and meditation may be surreal, but it's also quite real. Even in his dark days of excess, Simmons had a lot of light around him. As 1990s entrepreneurs like Suge Knight made the rap business virtually synonymous with invective and violence, Simmons stood above them as a relative paragon of virtue, achieving unmatched success with humor and hustle rather than brutality. As he matured and embraced his holistic lifestyle, Simmons became "Uncle Rush," purveyor of hip-hop brands but also philanthropist and father-figure.
    Simmons takes his mentoring role seriously. In 2007, he wrote his first self-help book, a go-get-'em career primer called "Do You." Now, he issues his follow-up, "Super Rich," a slim, succinct and sagacious volume about the true meaning of wealth (spoiler alert: It ain't about the money).
    While Americans easily welcome advice from wealthy men, could anything be more obnoxious than a rich guy telling the aspiring masses, as Simmons does, that "there's no difference between being broke and being a millionaire"? But Simmons knows this and spends the first passages of "Super Rich" front-loading his explanation: There's nothing shameful in enjoying the worldly fruits of your labor, he argues. But it's the labor, and not its fruits, that brings happiness.
    This isn't some spiritual sleight-of-hand or mystical mumbo-jumbo. Simmons may be a multi-millionaire, but his real love hasnever been the dough; it has always been his work, which in his life has always seemed more like the yogic concept of "leela," or divine play. In "Super Rich," the philosophy is sound -- articulated in simple prose with assistance from journalist Chris Morrow, but filled with anecdotes, humor and raw language that are unmistakably Simmons'.
    Simmons reworks the "Bhagavad Gita" as if Arjuna and Lord Krishna were two guys from his neighborhood in Hollis, Queens. These moments might read like blasphemy, but they sit atop a foundation of real knowledge and practice. Simmons does more than talk: He teaches, providing meditation tools for the reader to put his concepts into action.
    Hip-hop and spirituality might seem to have little in common. But like yogic philosophy, hip-hop is all about the power of vibration, the power of the word. In "Super Rich," Simmons emerges as the first influential voice to make that connection for a new generation.
    Charnas, author of "The Big Payback: The History of the Business of Hip-Hop," is a certified Kundalini Yoga instructor.

    Copyright 2011 Washington Post Writers Group

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    Sunday, January 30, 2011

    "Say Goodbye to the Cuckoo," "Bird Cloud," more


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    Washington Post Book Reviews
    For You
    Sunday January 30, 2011
      THREE BOOKS ABOUT NATURE
      NA
      NA
      ISBN NA
      NA pages
      $NA

      Reviewed by Aaron Leitko
      In the natural world, size matters. Elephants, tigers, the Grand Canyon -- if you want to get the prime Discovery Channel screen time, you've got to be one of the big boys. But hey, the little guys can be pretty enchanting, too. Consider the garden snail, with its shimmering mucus trail and thousands of tiny teeth. Listen closely and hear the mockingbird sing its sweet "chup-cheep-cheep." Climb a tree or turn over some rocks. Here are three books on the myriad tiny wonders that nature holds for those who are patient enough to behold them.
      1. During a European vacation when she was 34 years old, Elisabeth Tova Bailey picked up a mysterious, debilitating disease that left her bedridden for several years. To help the author whittle away the hours, a friend dropped off a pet snail. You may wonder, why not a few "Mad Men" DVDs instead? But the mollusk proved the perfect gift. In "The Sound of a Wild Snail Eating" (Algonquin, $18.95), Bailey explains how she became fascinated with the creature, studying its habits, taking comfort in its routines and poring over gastropod literature for snail-related arcana. Eventually, the snail became something of an inspiration. "I had watched it adapt to changed circumstances and persevere," Bailey writes. "The snail had been a true mentor; its tiny existence had sustained me."
      2. At the beginning of "Say Goodbye to the Cuckoo" (Ivan R. Dee, $26.95), Michael McCarthy sounds an alarm: The birds of the world are in trouble. Each year, fewer and fewer winged creatures return from their cold-weather retreats in the Southern hemisphere. Rampant deforestation probably has something to do with it. But McCarthy, the environmental editor of the Independent, quickly sets panic aside to do some good, old-fashioned bird-watching. He travels to Gibraltar and the District and throughout Britain in pursuit of swallows, nightingales and warblers. The book is not so much a warning of impending ecological doom as a paean to the joys of birding -- a plea to pay attention to winged creatures before it's too late. "Forests perhaps we can regrow; tigers perhaps we can save in captivity; but how will we mend the loss of the spring-bringers?" McCarthy asks. "They are going, now."
      3. There's a lot of competition for a child's leisure time. Outgunned by movies, TV and WiFi-ready electronics, the simple act of going wild in the backyard could pass out of fashion. Such is the fear of Stephen Moss, author of "The Bumper Book of Nature" (Harmony, $29.99). This big, durable and elegantly illustrated tome provides easy-to-follow instructions for simple outdoor play. Moss, a television producer for the BBC, lays out the natural history of tree-climbing, stone-skipping and butterfly-chasing. The prose is friendly but erudite, just right for contemplative parents and their young Henry David Thoreaus to read together before strolling outside. The stakes are higher than you might think. "In the past couple of decades, we have raised generations of children who are scared to walk in the park on their own," warns the author. "If we're not careful, when these children grow up, they will have no interest in, or passion for, the natural world -- and if you don't care about something, what incentive is there to protect it?"
      Aaron Leitko is an editor of The Washington Post's Reliable Source column. He can be reached at leitkoa(at symbol)washpost.com.

      Copyright 2011 Washington Post Writers Group

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      BIRD CLOUD: A Memoir
      Annie Proulx
      Scribner
      ISBN 978-0743288804
      234 pages
      $26

      Reviewed by Marie Arana
      Few contemporary Americans have written about place with as much precision and passion as Annie Proulx. She has summoned the wind-whipped harbors of Newfoundland in "The Shipping News," the squalid slums of New Orleans in "Accordion Crimes," and the harsh beauty of the American West in many a short story and novel about Wyoming. She has received the Pulitzer Prize, the National Book Award and just about every other honor the American literary establishment can bestow. Two of her works, including "Brokeback Mountain," have been made into Hollywood films. Surely she has earned the right -- in this, her 75th year -- to knock around her house awhile.
      Proulx's highly idiosyncratic memoir, "Bird Cloud," is a rattling trunk of miscellanies. It starts as family history but jumps quickly to free-associations about dwelling places: Proulx's houses in particular; Wyoming habitats in general; Native American wigwams; sheep ranchers' acreage; and, while we're at it, the nesting habits of birds. It's a herky-jerky journey -- some of it fascinating, much of it dizzyingly random -- as eccentric and chaotic as a lost and found bin.
      Not that there's anything wrong with that. Indeed, anyone familiar with Wyoming (full disclosure: my grandfather's house outside Rawlins can't be more than a few miles from Proulx's) will revel in her close observations of the terrain and her quirky tour of its regional history. As she describes her hard-won demesne between cliff and river, the land comes bristling to life.
      Proulx bought her first Wyoming house in Centennial in 1995, but soon discovered it was all wrong for her. Although she liked the town's funky main drag and its ratio of five bars to fewer than 100 people, the house itself became a frustration. The kitchen was cussedly small, the windows bizarrely situated, the driveway a forbidding barrier of ice. She longed to buy an attractive property and build a house that was more in line with her desires. She found that property one windy day, when she was driving west from Laramie and "the sky was filled with stretched-out laminar wave clouds." She was considering 640 acres of land just west of Saratoga, between Elk Mountain and the North Platte River. "I saw to the west, in the direction of the distant property, one cloud in the shape of an immense bird, the head and beak, the breast looming over the Rockies. I took it as a sign that I would get the property and thought Bird Cloud should be the new name."
      And so it was. But Bird Cloud became a work of tough love: a war between writer and subject, between culture and nature -- between human comforts and a relentlessly windswept plain. The house, designed by big-hat Colorado architect Harry Teague, promised everything on paper, but once the physical structure began to emerge, it was far more complicated than the "wooden poem" Proulx had imagined. As in any construction, there were unexpected obstacles: Laying the concrete foundation was delayed because the workers had to address a gaping hole in the Rawlins penitentiary; the kitchen floor, slated to be a handsome terracotta, took on the repellent color of raw liver; the window frames snapped during the night with such sudden, loud violence that Proulx feared someone was trying to break in. And always -- always - there was the snow: so high, there was no budging it.
      The building of Bird Cloud, in short, was an arduous undertaking, and Proulx chronicles it in detail. When the house was finally completed three years later, it had every amenity she could possibly want: solar panels, a Japanese soak tub, a window that faced her favorite tree, a vegetable garden, a kitchen floor the color of the sea. The view alone was reward enough. There were spring days when "the air was stitched with hundreds and hundreds of swallows." There were summers when golden eagles soared so high they dissolved into the cavernous blue. There were winter sunsets when the "hero sun came out for a quarter hour, then fell as though wounded." But by December, when the mercury fell to 15 degrees below zero, snow squealed underfoot, and the Wyoming roads grew impassable, Proulx's idyll became a prison. "I had to face the fact that no matter how much I loved the place it was not, and never could be, the final home of which I had dreamed."
      Nevertheless, as in so many of Proulx's works, a reader will learn much along the way. There are painstaking descriptions -- complete with sketches -- of pinecones and arrowheads. With her, we learn how to read "the snow-angel wing prints" of an attacking eagle. We find that even very large cows can leap like hares if they need to. We're plied with eye-opening historical facts: about bonehead railroad companies, about Native American agriculture, about the Wyoming wool trade, about the meanness of American pioneers.
      This can be as circuitous as a trail through Elk Mountain. But for all the roaming a reader will do here, for all the tricks that will be pulled from this random bin, there is no mistaking the final message: The real Wyoming has always been a hard land for hard people. Too hard even, as it turns out, for the indomitable Annie Proulx.
      Bird Cloud, a quick search on the Internet will tell you, has been put up for sale. For $3.7 million, you, too, can sit in this singular creation, gaze out at the magnificent sunsets, watch eagles wheel against the bright blue empyrean, pit yourself against the bellowing 74-mile-an-hour winds, the arctic snows, the unforgiving landscape. You'd do well to consult Proulx's homeowner's manual before you do. It's a rare real-estate testimonial.
      Marie Arana, a writer at large for The Washington Post, is the author of "American Chica." She can be reached at aranam(at symbol)washpost.com.

      Copyright 2011 Washington Post Writers Group

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      James Joyce


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      James Joyce
      James Joyce

      (Feb. 2, 1882 - Jan. 13, 1941)
      James Augustine Aloysuis Joyce spent most of his life outside of Ireland, but wrote almost exclusively about Irish culture and lifestyle. After abandoning his family and hearing about the death of his mother, he scraped out a living writing book reviews before leaving Ireland with his girlfriend, Nora Barnacle. Joyce began his writing career with a series of short stories; one idea, left unwritten, later became his best known novel, "Ulysses." He wrote his final novel, "Finnegan's Wake," during his declining years, and died shortly after awakening from a coma induced by surgery.


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      Saturday, January 29, 2011

      "Perilous Fight" and "A Strange Stirring"


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      Washington Post Book Reviews
      For You
      Saturday January 29, 2011
        PERILOUS FIGHT: America's Intrepid War with Britain on the High Seas, 1812-1815
        Stephen Budiansky
        Knopf
        ISBN 978-0307270696
        422 pages
        $35

        Reviewed by Evan Thomas
        Reading Stephen Budiansky's rousing story of the naval War of 1812, it is hard not to hum a few bars of the old Aretha Franklin standby. Respect is what the Americans wanted from their former colonial masters, and respect is what they got.
        Great Britain in the early 19th century ruled the waves. Her navy was 100 times the size of America's, and the British were arrogant, to say the least, about asserting their superiority from sea to shore. Routinely stopping American ships to "press" sailors into the Royal Navy, ever-hungry for manpower to fight the Napoleonic Wars, the British ignored American protests.
        Budiansky, who writes with sure and vivid command, describes three British warships "carrying on their usual routine of lobbing cannonballs across the bows of merchantmen passing into New York" on the evening of April 25, 1806. One of the cannonballs decapitated the helmsman of a sloop, provoking angry mobs in New York, and some Americans began to talk of war. The rumblings grew to a roar in 1807, when a British warship, the Leopard, casually fired into an American frigate, the Chesapeake, off the Virginia coast, killing four men and seriously wounding seven others.
        The fledgling American navy had a strict culture of honor in its officer corps. "One in twelve American navy officers who died on active duty before 1815 were killed in duels, eighteen in all," Budiansky writes; "easily twice that number had fought a duel, and every officer lived with the knowledge that his reputation for courage was always liable to be tested on the field of honor." After the ignominious surrender of the Chesapeake to the Leopard, American officers fought nine duels over who should be blamed for the humiliation.
        By 1812, America was engaged in a hopelessly lopsided naval war with Great Britain. Though outgunned, the Americans were blessed with several well-built heavy frigates and some indomitable fighting captains. One of them, a short, pudgy man named Isaac Hull, was unusual in that he avoided duels and rarely ordered his men flogged. But in August 1812 off the Grand Banks, his ship, the Constitution, astounded the world by taking a British frigate, the Guerriere, in a brutal close-range gun battle.
        When, after dark, the Americans boarded the wrecked British warship, they found a "slaughterhouse," Budiansky writes. "The men who were still sober were throwing the dead overboard, but many of the petty officers and crewmen had broken into the spirit locker and were screaming drunk."
        That autumn, two more British ships fell in single-ship actions to the upstart Americans. After the Java succumbed to the Constitution off Brazil, the Naval Chronicle, a widely read official newspaper in London, cried, "Another frigate has fallen into the hands of the enemy! -- The subject is too painful for us to dwell on." The British complained that the Americans ("a navy so small we scarcely know where to find it") were playing a dastardly trick by pitting their heavy frigates against slightly less well-armed British ones. It was ungentlemanly to take such advantage.
        To avenge British honor, Capt. Philip Broke of His Majesty's Frigate Shannon challenged the Chesapeake (rebuilt from her 1807 wounds) to a ship-to-ship duel off Boston harbor in June 1813. "Choose your terms," Broke wrote the Chesapeake's captain, James Lawrence, "but let us meet." Lawrence took up the gauntlet. The battle, which lasted all of 15 minutes, was a bloodbath.
        Budiansky describes Capt. Broke "waving the heavy Scottish broadsword he favored in battle," clambering aboard the Chesapeake, dodging a pistol shot from the chaplain and hacking off his arm in return, while shouting for his men to follow him forward.
        Afterward, in England, "the exultation was hyperbolic bordering on the manic," Budiansky writes. But the Admiralty sent a "secret & confidential" directive to all British captains forbidding any further ship-to-ship combat with those pesky, heavy American frigates.
        In 1814, the British burned Washington. The terms of the eventual peace treaty gave the Americans at best a draw. But the British never again attempted to press an American seaman or hinder American trade on the high seas. American sovereignty was now unquestioned.
        Dueling went on, however. In 1820, one of America's most glamorous captains, Stephen Decatur, was mortally wounded by another captain aggrieved over a long-ago perceived insult. John Quincy Adams wrote sadly that Decatur possessed "a sense of honor too disdainful of life." Such sentiment seems quaint, almost archaic now; but a sense of honor was useful to a rising nation in 1812.
        Evan Thomas, the author of "The War Lovers" and "John Paul Jones," is writing a biography of President Eisenhower.

        Copyright 2011 Washington Post Writers Group

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        A STRANGE STIRRING: The Feminine Mystique and American Women at the Dawn of the 1960s
        Stephanie Coontz
        Basic
        ISBN 978-0465002009
        222 pages
        $25.95

        Reviewed by Elaine Showalter
        When our daughter was born in 1965, my husband sat by the hospital bed dutifully reading Betty Friedan's "The Feminine Mystique" (1963). In her first paragraph, Friedan famously describes "a strange stirring, a sense of dissatisfaction, a yearning" in the minds of middle-class American housewives. "The Feminine Mystique" was the right book at the right time; it jolted women readers, including myself, into an awareness of their need "to grow and fulfill their potentialities as human beings," along with men.
        While Friedan didn't anticipate all the strategies of the women's liberation movement -- she would help invent them a few years later -- and didn't try to address all of women's problems, her message of self-development was very inspiring to me when I was in my 20s.
        Although she is only a few years younger than I am, the eminent social historian Stephanie Coontz, whose books include "Marriage: a History" (2005), had not read "The Feminine Mystique" and grew up with the belief that Friedan was a great feminist pioneer for her mother's generation, not her own. When her editor suggested that she write about Friedan, Coontz was startled to discover that she found the book "repetitive and overblown," "boring and dated." She didn't like Friedan's egotism and simplifications of women's history in the 20th century either. No wonder, as she admits, "I wasn't sure of my ultimate focus."
        This is not a very stirring declaration, and initially it seems that Coontz comes to bury Friedan rather than praise her.
        The first half of "A Strange Stirring," incorporating statistics, interviews and details about American women in the mid-20th century, reads like a dutiful book report, rather than a labor of love. Coontz decided to focus on the women who read "The Feminine Mystique" when it came out, the wives and daughters of the World War II veterans immortalized as the "greatest generation," perhaps the "Gallup generation," because every aspect of their lives seemed to have been measured and ranked by the Gallup Polls. She studied the emotional and intimate letters to Friedan in the archive at the Schlesinger Library at Harvard and interviewed nearly 200 people who had read Friedan's book soon after its publication and vividly recalled it. She also immersed herself in the major women's magazines of the time, getting a sense of the expectations and advice directed to women readers.
        Discovering the actual lives of Friedan's first readers gave her insight into the impact of the book, and, she says, "gradually my appreciation ... grew." Coontz's narrative catches fire when she tells the story of Anne Parsons, who wrote an eight-page letter to Friedan in 1963. The daughter of the famous Harvard sociologist Talcott Parsons, who had asserted the importance of traditional gender roles in the family, Anne resisted this parental and social message and became an anthropologist. Yet she felt marginalized by colleagues who regarded her as "aggressive, competitive, rejecting of femininity." In despair, later that year she committed herself to a mental institution, and in 1964 she committed suicide. Coontz is also impressed by Constance Ahrons, one of her academic heroines, who reveals in her interview that "The Feminine Mystique" had rescued her from the limbo of depression and boredom and encouraged her to pursue a Ph.D. Coontz understands the plight of these talented academic women, but sees them as figures of the distant past.
        Coontz's penultimate chapter, "Demystifying The Feminine Mystique," protests that Friedan did not single-handedly awaken American women, that the women's liberation movement had many origins and "certainly would have taken off without Friedan's book."
        She argues that Friedan built on the work of many unacknowledged precursors, including Mirra Komarovsky, Eve Merriam and Simone de Beauvoir. But Coontz concludes with a qualified defense: "It in no way disparages Friedan's accomplishments to point out that The Feminine Mystique was not ahead of its time," she writes. "Books don't became best-sellers because they are ahead of their time. They become best-sellers because they tap into concerns that people are already mulling over, pull together ideas and data that have not yet spread beyond specialists and experts, and bring these all together in a way that is easy to understand and explain to others." Coontz concedes that "The Feminine Mystique" was "powerful and moving" for its time, but she does not see it as relevant to the emerging young generation of the 1960s, to which both she and I belong. Her faint praise, I suspect, shows how rapidly and deeply Friedan's ideas have indeed changed the world our generation came to inhabit.
        Elaine Showalter is professor emerita of English at Princeton University.

        Copyright 2011 Washington Post Writers Group

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