Lionel Thomas Biography of Willibald Alexis

Book Review
Title: Willibald Alexis: A German Writer of the Nineteenth Century
Author: Lionel Hugh Christopher Thomas
Publisher: Basil Blackwell: Oxford
Date: January 1, 1964
ASIN‏: ‎ B0000CMATN

Thomas’ forward sets the tone for this evaluation of Willibald Alexis’ literary accomplishments, and his place in the pantheon of nineteenth-century writers. The limits are succinctly conveyed in the quote, “…whose work seems now assured of a modest place among the minor classics of nineteenth-century literature” (p. v). A “modest” place among the “minors”—this qualified assessment is reinforced throughout the book—with all sincerity, no more, no less.

Notwithstanding the above, Thomas seems truly attracted to this writer and his work. He simply, or carefully, maintains a realistic perspective regarding the subject’s achievements. Alexis’ popularity was never great—neither among the public nor the critics. He received occasional praises for a few of his novels. Perhaps his most lasting achievement was his sixty-volume case history of true court cases (Der neue Pitaval). They were drawn from “legal files and annals of many different countries” (81), requiring exhaustive research over thirty years. This stand-out work really does represent a major contribution to social and legal history (81). The greatly influenced the detective genre of literature and popularized the modern detective story.

Alexis was most fond of the historical novel, and wrote several, though none became very popular. He translated Sir Walter Scott’s historical novels as well as creating his own œuvre in that genre. In other books and articles, also wrote about contemporary life in Berline the city where he spent most of his life.

While critics were not always his friend, he himself was a literary critic, and a well-respected critic for a time.

Alexis had many other talents. For example, he had a law degree, and by all accounts was considered a brilliant attorney. He was multi-lingual, speaking fluent French, Spanish, and English (as well as his native German). He was also a local authority, holding the municipal government post of vice deputy of Berlin.

Alexis’ many varied interests worked to his disadvantage, as he never focused on a single manageable direction. In addition to the above-mentioned interests, he pursued journalism, politics, editing, publishing, reviewing, poetry, drama, translations, general nonfiction, legal history, entrepreneurship, finance, business enterprises, travel writing, among others. Viewing the wide expanse of pursuits, it becomes easy to understand why none were developed too deeply.

In Alexis’ later years, he fell into depression, disillusioned about the taste of the reading public (which never truly appreciated his writings), and regretful that he never quite broke through into popular acceptance in any of his works.

While this story sounds sad, Alexis did in fact have a good life. He had a very good marriage that lasted all his life, he always had at least a small circle of friends and fans of his work, he and his wife traveled, especially one very happy year in Italy, and he was never too poor (though never very rich). His writing earned his living, albeit a modest one.

All of the above observations of the life and work of Willibald Alexis are very succinctly presented by the excellent writing of Alexis’ biographer Lionel Thomas. The book is not easy to find, but if you can get your hands on it, I certainly recommend the biography to anyone interested in history, literature, or German culture of the nineteenth century.

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James Hilton’s Goodbye, Mr. Chips

Book Review
Title: Goodbye, Mr. Chips
Author: James Hilton
Publisher: Bantam Books: New York
Date: February 1963 (orig. June 1934)
ASIN: ‎ B0BVKBH39Y

It’s been said a million times, but yes, the book is charming. Hilton is a great writer, full of subtlety and nuance while keeping the story moving forward at a pace. The book tells the story of a fictional teacher, Mr. Chipping, who taught at Brookfield school from 1870 to 1913; then brought back out of retirement during the Great War, and re-retired in 1918. He stays connected to the school, living across the street the rest of his life (1933).

In short, Chips is a dull teacher until he marries at age 48 in spring 1896. His personality changes dramatically, and he becomes the most loved teacher at the school. His wife tragically dies after only one year of marriage. The story tells anecdotes and episodes over the years that develop Chips’ amiable and sincere character.

In one episode, Chips is teaching a Latin class when the air raid alarm went off. Chips kept teaching, as the boys became slightly nervous. The bombs started falling nearby but Chips kept teaching. Then it was time for a student to translate the day’s quote out loud to the class, the quote being, “Genus hoc erat pugnae quo se Germani exercuerant.” The boy started translating as the bombs fell in the distance: “This was the kind of fight in which the Germans busied themselves.” (“It was something in Cæsar about the way the Germans fought” [91].) The whole class started laughing and laughing and no longer felt nervous.

One sub-theme is the sense of loss that comes from the fact of the past, which we keep losing, little by little. “What a host of little incidents, all deep-buried in the past—problems that had once been urgent, arguments that had once been keen, anecdotes that were funny only because one remembered the fun. Did any emotion really matter when the last trace of it had vanished from human memory; and if that were so, what a crowd of emotions clung to him as to their last home before annihilation!” (43).

One sentence stands out: “He was a legend” (92). It stands out because of Chips’ profound impact on thousands of boys over the years. But it also stands out because there will be no memory left of Chips the man, no memory of his voice or his actual personality (vis-à-vis his fictional world). All that is left is a mythology of the legend, which may be recalled quite inaccurately on the other side of the wall that is time passing.

Other than being a legend, what was Chips like? He liked teaching children, he liked reading classics in the original Greek and Latin, he liked reading history, he liked reading Sherlock Holmes and other detective stories, and he liked reading all of the above by a warm fireplace, with a cup of tea.

Yes, the book is charming. But it also investigates deeper sentiments of love and life, what makes it all worthwhile. I recommend the novel to all who love novels and history.

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Mark Cousins’ Story of Film

Book Review
Title: The Story of Film
Author: Mark Cousins
Publisher: Thunder’s Mouth Press: New York
Date: 2004
ISBN: 9781560256120

Mark Cousins shows both a massive breadth of knowledge and a deep microscopic detail of knowledge: in film history, technique, theory, and practice. That statement doesn’t begin to convey the wealth of knowledge the reader stands to gain by reading this book. The 493 pages fly by in no time as the reader soaks in the fascinating experiments and developments and the many varied schools of thought that have emerged year in and year out since the birth of cinema in 1895.

The date range of each chapter is clearly stated in the title itself — Chapter 1: “Technical Thrill (1895–1903)” and Chapter 2: The Early Power of Story (1903–18),” for example. I found that framing useful for keeping track of the sequences of cinematographic developments and following the threads of “Schema Plus Variation.”

Schema Plus Variation is the central concept that helps us trace the logical progression and evolution of cinema. Some film makers from each generation had the “adapt-fast-to-new-facts” approach to theory and technology; and a “take-what-you-need-and-discard-the-rest” approach. Film makers build on what others have done (i.e., existing schema), and re-align, re-imagine, re-factor, re-construct, and tweak (i.e., plus variation), in order to create their own new style. It may be a new way to aim a camera, a new angle, a way to move the camera, what to include in a shot, length of shots, or in some cases a whole new way to make a movie, start to finish. Even if the new way rejects everything from the previous generation, the rejection itself is a nod to predecessors who provided the jumping off counterpoint (i.e., a complete jump shot from the past).

Early elements of cinema emphasized shots, cuts, close-ups, and camera-moves (up, down, angle, turn). The years 1903 to 1918 saw the rise of storytelling cinema which included ingredients such as continuity cutting, close-ups, parallel editing, expressive lighting, nuanced acting, and reverse angle editing. By 1918 or 1919, add to this the introduction of “eye-line matching” (eye line correct when showing one actor at a time while two actors are interacting). Later Cinema Verité in France (like Direct Cinema in the US) followed long tracking shots for realism. Then the special use of shadows later in film noir. The steady stream of new techniques promoted creativity and discovery and fueled amazing innovations throughout cinema history.

What about Hollywood? The answer is Closed Romantic Realism. This is the most common mode of film making. It is closed because the actors live exclusively in the movie. They do not acknowledge that there is any audience, they don’t look directly into the camera, they don’t talk to the audience. It is romantic, because it escalates emotional impact. It is realism, because it is not science fiction, or another otherworldly genre; it depicts itself as being our regular real world. Closed Romantic Realism is Hollywood’s specialty.

I studied film theory and criticism in college, and saw several of the film-theory staples at the campus theater (free of charge with my film-student ID). They included Breathless, 8 ½, Cabinet of Dr. Caligari, 400 Blows, Jules & Jim, Last Year in Marienbad, Un Chien Andalou, Citizen Kane, Battleship Potemkin, Annie Hall, The Bicycle Thieves, Cinema Paradiso, Phantom Carriage, Seventh Seal, among others. The book discusses all of these, so it was enjoyable to refresh on films I had seen long ago.

Having grown up at a time when classic horror movies were presented on TV on Friday late-nights (e.g., shock theater, etc.); it was also enjoyable to see the section on the horror genre, and its leading men: Lon Chaney, Bela Lugosi, and Boris Karloff.

All the genres and periods of cinema have one thing in common, they all produced some excellent films. From having been a film student, I found that being well made is what makes a film stand out, not its theory, its genre, its technology, or its historical period. What makes this book excellent is that it, too, is well made. This is a well-written, thoroughly researched adventure into the depths of cinematic history. I recommend it for anyone interested in twentieth-century history in general, and especially for all the moviegoers out there.

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Andrey Platonov’s book Chevengur

Book Review
Title: Chevengur
Author: Andrey Platonov
Publisher: New York Review Classics (NYRB Classics)
Date: January 2, 2024 (first full-text publication 1972, first in English 1978, written in 1928)
ISBN: 978-1681377681

Platonov’s epic saga Chevengur is set in a fictional town in the late 1910s/1920s in the Soviet Union. It spans the Russian Civil War (1918–1921) and Vladimir Lenin’s New Economic Policy (NEP) that started in 1921.

The first third of the novel follows the youth, development, and maturation of one of the heroes, Alexander “Sasha” Dvanov . Early in the book, Dvanov’s father commits suicide by drowning in a lake, in order to experience the afterlife. An elder Zakhar Pavlovich becomes Dvanov’s father figure (who resembles the author’s actual father). Pavlovich dominates the storyline in the first third of the novel. He is a master craftsman and mechanic. We see examples of his perfectionism and skill. He loves the technological advancements of humanity, especially as manifested in the engineering of factories and steam locomotives, especially the latter. Meanwhile Dvanov studies in school, then to polytechnic, and reaches adulthood by the end of the first section.

Throughout the book, especially in the earlier parts, the chronology is mixed up with many flashbacks and memories of events that often merge into the present. Overall these meanderings help develop the characters and the otherworldly atmosphere of revolution, civil war, and pervasive confusion.

The last two-thirds of the novel features two main heroes, Alexander “Sasha” Dvanov and Stepan Kopionkin, the latter sometimes interpreted as a Don Quixote figure. I disagree with characterizing Kopionkin as a Don Quixote figure. His actions are far from tilting at windmills. In fact, he proves to be a fierce warrior in the final battle at the end of the book. Throughout much of the book, Dvanov and Kopionkin roam from town to town across the steppes, seeking examples of the new Communism in Russian villages. They have many conversations about politics, the meaning of life, and religion during their travels.

After various adventures, about halfway through the novel, Dvanov and Kopionkin arrive in a small town that serves as an experimental proto-communist village called Chevengur. In Chevengur, the working class poor believe that Communism will bring the Paradise of nature and bring out the best in everyone, a brotherhood of mutual camaraderie throughout the land. They have stopped working as they view work as part of the corruption of the old capitalist system.

Various characters come in and out of prominence during the second half of the book in Chevengur. Dvanov is missing during large parts of it, and Kopionkin becomes the center of the story. The central characters try to figure out whether “Communism was present in Chevengur or not.” Sometimes they were sure it was, and they had meetings to discuss why this was so. At other times they are equally sure that Communism had not arrived in Chevengur, and it was a failed village. The reasoning in both cases was simple minded to the point of absurdity. It is reminiscent of the old cliché that the inmates are running the asylum, à la Edgar Allan Poe’s “The System of Doctor Tarr and Professor Fether.” The village leaders seem oddly nonsensical much of the time.

These quasi de facto leaders of the village did their best to exterminate all people who were labeled as “bourgeoises” in order to help expedite the accomplishment of Communism. They implement various rounds of confiscating property and mass killings to purify the population and exterminate the middle classes who are corrupted by the practice of owning property.

Eventually Dvanov returns to Chevengur and Kopionkin is delighted to see his old comrade. Dvanov helps guide Kopionkin and the others on how to proceed towards the next stages of Communism.

In the end, it is all for nothing. Chevengur is destroyed and most people are killed by a marauding Russian cavalry. The identity of the cavalry is intentionally left unclear: presumably it was either the White Guard or the Red Army. The defending forces are referred to as Bolsheviks—Bolsheviks are Red Army. So the Chevengur inhabitants defending the village were Red Army. But that doesn’t mean the attackers were not also Red Army. In this time of chaotic absurdity, it is perfectly possible that a town’s defenders and attackers identify as Red Army. The author communicates many instances of ambiguity throughout the novel, viz. convulsions of violence and anarchy in these chaotic times, where nothing makes sense. The attackers could’ve been Red or White, and it doesn’t make any difference.

(Spoiler Alert) Almost everyone in the town is killed. Dvanov survives the battle, but in the end, he rides his fallen comrade Kopionkin’s horse back to the land of his birth. Dvanov rides into the lake where his father had killed himself decades ago, slides down off the horse and into the lake to rejoin his father.

The novel is translated from Russian. Nevertheless, the phrases, sentences, and paragraphs are masterfully written, vividly bringing characters to life, making experiences very real for the reader. The author lived in Russia during the time period of the novel. He was a witness to the realities on the ground during the Russian Revolution and Civil War in the late 1910s to early 1920s. Platonov gives us a true insider’s perspective, and a compelling first-hand account, though recast as a fictional narrative. The book serves as another example of the truism that good fiction books convey the past more fully and accurately than history books.

I strongly recommend this book to anyone interested in reading a deep, meaningful, thought-provoking story, and especially for anyone interested in the period in history.

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Thomas Carlyle’s Sartor Resartus

Book Review
Title: Sartor Resartus
Author: Thomas Carlyle
Publisher: Oxford University Press
Date: August 1, 2008 (original book publication 1836)
ISBN: 978-0199540372

Structure of the book: an Editor-Biographer writes about a German Professor-Autobiographer (Herr Teufelsdröckh). The background is that the Professor-Autobiographer left behind scattered fragments of his philosophy of life, thoughts about society, and a partial record of his life. But piecing these together is not an easy or straightforward task. “Of true logical method and sequence there is too little” and the fragments suffer an “almost total want of arrangement.” Much of the revelations are “dressed up” in multiform metaphors of clothing, what to wear, how to wear it, what clothing signals and represents, weightiness of fashions, the hierarchies of outfits, among others.

The Editor-Biographer has his work cut out for him as he sets the stage for the rest of the book: “To bring what order we can out of this chaos shall be part of our endeavor.” As a first step in sorting Professor Teufelsdröckh’s writings, he says the “work naturally falls into two parts: Historical-Descriptive, Philosophical-Speculative” though the two parts overlap and constantly run into each other. The Editor-Biographer does his best to present the Professor’s smorgasbord of philosophical, social, and political observations, asseverations, and averments. The major insights come from direct quotes of the Professor’s writings, quoted for us by the Editor. Many ancillary observations come from the Editor’s own commentary and interpretations, which play off of the Professor’s original adumbrations.

The Editor-Biographer had some personal knowledge of the Professor, such as some recollections about his idyllic childhood, being appreciated for his wit, considered intelligent, liked by his teachers, for example. But the Editor often does not understand what the Professor is trying to say, and some of what he does understand, he finds disturbing, such as a wayward cynicism that settles in during one phase of his life. The Editor presses on, piecing together the fragments, stitching up the insights and biographical detritus with his own sense of orderly pastiche.

The book is not entirely a philosophy-of-life tome, there are side stories and sub-plots. For example, there are some bits about the Professor’s childhood. There is evidence that the Professor has been unlucky in love (interesting side story), wherein he gives up on life and faith and suffers a tragic atrabiliar decline, aka the “Everlasting No.” But life ultimately wins, and the Professor recovers with many refreshing moments of uplift. Life’s sacred journey generates new hope and ultimately affirms the “Everlasting Yea.”

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Jean Findlay’s Life of C. K. Scott Moncrieff

Book Review
Title: Life of C. K. Scott Moncrieff
Author: Jean Findlay
Publisher: Farrar, Straus and Giroux
Date: March 10, 2015
ISBN: 978-0374119270

They say hereditary talents sometimes skip a generation. In this case it skipped three or four generations. The subject of the biography is one of the most talented writers (albeit lesser known) of the twentieth century, CK Scott Moncrieff. He was the undisputed premier literary translator of the period, especially noted for his translations of Proust and Stendhal. The talented author of this biography is his great-great-niece, Jean Findlay.

Findlay tells a well-balanced thorough story of Scott Moncrieff’s short life (1889–1930). She reveals the pain and struggle behind Scott Moncrieff’s astounding achievements. As F. Scott Fitzgerald said, “Scott Moncrieff’s Proust is a masterpiece in itself” (297). Scott Moncrieff’s lifetime overlapped with that of Proust, knew the times and understood the subtleties and depth of Proust better than subsequent translators and critics who would try their hand many years later. In fact, Proust himself reviewed and approved of Scott Moncrieff’s translation, giving it the ultimate recommendation, and definitive authority on the work. Findlay brilliantly fleshes out the subtleties of Scott Moncrieff’s translations. She brings us into the times and the mind of her ancestor in a fascinating case study of rare genius.

From his earliest years, Scott Moncrieff was a natural when it came to languages. For example, to get into Winchester (the best high school in England), he had four days of eight exams (half-day for each exam). He mastered the exams, and especially excelled in the Greek and Latin exams. This was not to graduate from high school, but to get in, at age 13. He had translated Ovid’s Metamorphoses with adult understanding (which he had memorized earlier in his life) (35). He ultimately graduated from university with degrees in Law and Literature with first-class honors.

With his intimate understanding of Proust and his milieu, Scott Moncrieff was able to translate the seven volumes of Proust’s Remembrance of Things Past in eight years. For comparison, in 2002, it took a new team of seven translators seven years of dedicated time to do the same task that Scott Moncrieff had done alone in eight. Further, during that same eight-year period, Scott Moncrieff also translated Stendhal, Pirandello, and kept up his other journalistic work. In one six-year period, he translated fifteen volumes, compiled a genealogy, and wrote thousands of articles and letters. To let those achievements sink in for a moment, one sees a once-in-a-century stratospheric mind that had no peers.

Findlay also brings Scott Moncrieff’s everyday habits to life with compelling detail. Being a member of the family, she had access to thousands of pages of diaries and letters whose contents are made public for the first time in this biography. Scott Moncrieff never had a home as an adult. He moved around between various locations in Great Britain, France, and Italy. He was a solitary worker, but a very sociable friend during his brief breaks from work. He ate his meals out. He breakfasted, lunched, and supped with friends, colleagues, family members, and many famous figures of the times. These stories alone offer a fascinating look at the early twentieth century and the well-known figures of the time.

Scott Moncrieff had a strong sense of family responsibility as well. He supported and paid for the education of nine nephews and nieces after his two brothers’ illness and death. His maturity was no doubt accelerated by his experiences fighting in World War I. Due to Scott Moncrieff’s law degree, he entered the army as an officer. He saw action at the First Battle of Ypres, and others. Findlay provides very detailed events and experiences of Scott Moncrieff in the war. He developed a deep sense of faith (including conversion to Catholicism in 1915) and camaraderie among soldiers, and he kept a strong positive attitude despite the horrors of prolonged trench warfare. He was injured several times–he received a permanent injury in one leg that caused a painful limp for the rest of his life. He was awarded the Military Cross, the 1914–15 Star, the Silver Badge, the British War Medal, and the Victory Medal (132).

After the war, Scott Moncrieff became a British spy. He joined Military Intelligence, liaising with MI5. The stated qualities that Scott Moncrieff possessed, which made him an ideal spy, were “sense of honour, courage, acumen, brains, audacity, and presence of mind” (210). He was assigned to the Office of Passports, covertly. There was an innocent community of English writers in Italy, so Scott Moncrieff’s journalism and being a professional translator, mingling with that expat community, constituted a perfect cover. Among other assignments, he monitored and reported on Mussolini’s naval and military activities. He stayed and worked as a British agent in Italy for eight years.

Jean Findlay’s biography gives us a window into a brilliant mind and a fascinating character that circulated in a highly charged period of history. In turn, Scott Moncrieff gives English speakers a window into the brilliance of Proust, Stendhal, Pirandello, and others. After a hundred years, Findlay brings her ancestor back to the fore and reminds us of this forceful and sublime figure. She does it with an aesthetic excellence that makes this biography a masterpiece of literature in its own right.

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James Kirke Paulding’s The Dutchman’s Fireside

Book Review
Title: Dutchman’s Fireside
Author: James Kirke Paulding
Publisher: College & University Press
Date: 1966 (first published June 10, 1831)
ASIN: ‎ B00QOB429E

Paulding’s 1831 novel has two distinct, overlapping story arcs: In the first, the hero is initiated from awkward boy to confident man who has proven himself through several trials. In the second, the heroine grows from appearance-and-social-status obsessed to a deeper appreciation of character, courage, and integrity. The heroine’s change makes her more appreciative of the hero’s qualities. It helps that he saves her life a few times.

Perhaps the most enjoyable (to me) section of the novel is the hero’s journey to the frontier, where he confronts several life-threatening challenges. He rises to the occasion each time, and each instance strengthens his character.

In a less enjoyable but important section, the hero visits the heroine in New York City, where she socializes in sophisticated circles. When the rural hero comes to visit, she is embarrassed by his manner, his clothes, and his general appearance. Through various experiences she comes to regret her embarrassment and reestablishes their relationship, and in the end they get married.

The storyline offers valuable life lessons, but the real joy in reading this book is Paulding’s style of writing. The æsthetic composition, syntax, and linguistic choices comfort the heart like the warm hearth cited in the title. It is truly a pleasure to read.

The book is not very well known, though it was quite popular in its time. I for one definitely recommend dusting it off. For pleasant light reading with the bonus of some interesting eighteenth-century American Colonial history, the book is a hidden treasure.

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Lottman’s Flaubert: A Biography

Book Review
Title: Flaubert: A Biography
Author: Herbert R. Lottman
Publisher: Little Brown & Co
Date: January 1, 1989
ISBN: 978-0316533423

This biography of Gustave Flaubert (1821–1880) is a great story and Herbert Lottman is a great storyteller. Flaubert finished law school and then promptly forgot all about law and embarked on a literary life, becoming one of the greatest novelists of the nineteenth century.

The book chronicles the struggles and failures and illnesses that plagued Flaubert throughout his life. He labored with excruciating scrupulousness over every word and punctuation in his writing. That slow exacting process, combined with regular periods of illness when he couldn’t work at all, explain why Flaubert’s output was small in comparison with other novelists. His good friend and colleague Émile Zola, for example, published well over 20 major novels. Flaubert published about six major works (depending on who you ask): Madame Bovary, Salammbô, Sentimental Education, Temptation of Saint Anthony, Three Tales, and Bouvard et Pécuchet.

Flaubert’s closest literary friends, those he spent the most time with, and corresponded with the most, included Émile Zola, Alphonse Daudet, Ivan Turgenev, Edmond de Goncourt, Jules de Goncourt, Théophile Gautier, and perhaps closest was George Sand. Flaubert was also close friends with a number of the French aristocracy, especially Princesse Mathilde Bonaparte, daughter of Napoleon’s brother Jérôme Bonaparte; and Prince Louis-Napoléon, the only child of Napoleon III, Emperor of France.

Given Flaubert’s august social circles, the story of Flaubert necessarily weaves in and out of larger Nineteenth-century French history. The political landscape becomes a complementary side story in the life of Flaubert. His movements and life conditions are very much affected by the 1830 July Revolution, Revolutions of 1848, Franco-Prussian War of 1870, Overthrow of Paris by the “Paris Commune” in 1871, among others.

Flaubert never married or “settled down,” but there were very special relationships that he cherished. These are touchingly shown throughout his biography, and how he navigated these amid his work and his extensive travels, and his mixed emotions and personality conflicts within himself—all of which played a rôle in his ever-troubled personal life.

Herbert Lottman produced a minor masterpiece of his own, in this compelling novelistic story of the life of Gustave Flaubert. I highly recommend it to anyone interested in literature, French history, or in simply reading good books.

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Also see: Gustave Flaubert’s Sentimental Education.

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Remarque’s book All Quiet on the Western Front

Book Review
Title: All Quiet on the Western Front
Author: Erich Maria Remarque
Publisher: Turtleback Books
Date: January 1, 1975 (orig. November 1928)
ISBN: 978-0881039825

[SPOILER ALERT] This review tells you how it ends.

The story begins near the beginning of World War I and ends very near the end of the war. It is told by the character “autobiographer” first-person narrator Paul Bäumer. He quickly evolves from green recruit to among the most seasoned and savvy soldiers in the German army. His friends who joined at the same time stay with him and are important characters throughout the story, even as they gradually drop out of the story by virtue of being killed or permanently injured and sent home (mostly the former).

Remarque draws vivid pictures of the soldier’s life in the trenches, but also just as vividly portrays scenes in makeshift hospitals, trudging back and forth to the trenches, and notably the emotionally conflicting experience on leave back in his hometown for a couple of weeks. He also served briefly in a training camp near a prison that held captured Russian soldiers. In other words, Remarque excels at bringing any kind of scene to life on the page.

The book is a novel, not an autobiographical work. But it is filled with actual experiences of the author who served in World War I. The tone is introspective and philosophical during the lulls in fighting, guarding, watching, waiting for the next onslaught. But the descriptions in the thick of the onslaughts—shelling, attacks, counterattacks, hand-to-hand fighting, killing, almost being killed—in these most horrific scenes the tone shifts to a mechanical, vivid-but-clinical, description, including when the narrator’s own comrades are killed in front of him. This reliance on a more clinical tone to describe the most horrible sights and sounds rings true. I found this exact same phenomenon in two other World War I books written from first-hand experience: Ernst Jünger’s Storm of Steel, and Ernest Hemingway’s A Farewell to Arms. Both revert to that same distancing in the detached-yet-vivid recitation of the most terrible experiences. It seems a necessary psychological-survival mechanism.

[SPOILER ALERT] On the very last page the point of view changes from first-person narrator to third-person omniscient. The “autobiographer” first-person narrator who has been telling the story from page 1 onwards, finally dies—so the point-of-view shift is necessary on the last page in order to finish the story. Seeing the end of the storyteller highlights the doomed enterprise, the mortality of everyone in such a war. Normally the reader assumes the narrator of the story must have survived it. So it is with great impact that a third-person omniscient observer steps in at the last to shock us with the death of the main character.

The sadness of the ending, and indeed of the whole story, brings home the truth of the everyday life and death of a soldier in the trenches of World War I. I highly recommend the book for it’s truth, as well as its striking æsthetic achievement as a classic work of literary art.

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Thomas Friedman’s book Thank You for Being Late

Book Review
Title: Thank You for Being Late
Author: Thomas Friedman
Publisher: Farrar, Straus and Giroux (Picador)
Date: October 24, 2017
ISBN: 978-1250141224

The title of the book comes from a lunch meeting when the other person arrived about twenty-five minutes late. During this time waiting, Friedman says he actually thought about things—it gave him time to reflect. It was a little moment that had a big impact. He started pursuing this line of concentrating and thinking about things, instead of spending all day reacting to digital distractions of all kinds. One thing he thought about was technological advancement and its impact on us.

One theme that pops up often throughout the book is Moore’s Law, “what happens when you keep doubling the power of microchips every two years for fifty years” (38). Friedman provides analysis of many varied examples of these technology accelerations.

The book is also a history lesson and a journey through time, for example, dividing computing into three eras: 1. Tabulating Era (1900 to 1940s); 2. Programming Era (1950s to 2007); 3. Cognitive Era (2007 to 2017 when this book was published).

There was Oracle SQL from IBM in the 1970s, followed by structured-pattern improvements of Hadoop. He revisits milestones such as the advent of Xerox PARC in the early 1980s and a new field at the time called “Search” (57), e.g., Yahoo! and AltaVista.

The mid-1980s brought us memorable devices such as the TeleRam Portabubble that journalists could use to transmit stories to the home office. Soon after, the joys of Tandy laptops arrived (206). Then there was a company called Qualcomm and its late-1980s innovation called the Cell Phone—also when wireless signals via CDMA versus TDMA were sorting themselves out. By the early 1990s a few people had email, and by the mid-1990s everyone had email. In 1995 there was a startup called Netscape (206).

Still, in the early 2000s, people would pay for their eBay purchases by mailing a check (117). The revolution to online purchasing was just beginning.

Getting back to Moore’s Law and the age of technology accelerations—one of the consequences can be seen in the job market. While the book spans many areas of change such as climate and global accelerations this review focuses mainly on employment implications in the technology sectors.

Friedman points to the example of General Electric’s research center in New York. “GE’s lab is like a mini United Nations. Every engineering team looks like a multiethnic Benetton ad … this was a brutal meritocracy. When you are competing in the global technology Olympics every day, you have to recruit the best talent from anywhere you can find it” (95).

Friedman’s “brutal meritocracy” is a direct result of Moore’s Law and its technology accelerations. As a result, “you need to work harder, regularly reinvent yourself, obtain at least some form of postsecondary education, make sure that you’re engaged in lifelong learning, and play by the new rules while also reinventing some of them. Then you can be in the middle class” (219).

In this new intense world of exponential learning requirements, for example, “‘When I walk into a subway and see someone playing Candy Crush on their phone, [I think] there’s a wasted five minutes when they could be bettering themselves” (219). There is no time to waste even a minute, if you want to survive in a technology-related career.

Spending time on the internet, especially on social media, is just another example of a failure to learn. As Friedman puts it, “the Internet is an open sewer of untreated, unfiltered information.” The problem is that students and job applicants who spend thousands of hours on the Internet have not learned the skills to analyze or assess what they see.

“A November 22, 2016 study published by the Stanford Graduate School of Education found ‘a dismaying inability by students to reason about information they see on the Internet … Students for example, had a hard time distinguishing advertisements from news articles’” (378). The lead author of the report, Professor Sam Wineburg, said that “Many people assume that young people fluent in social media are equally perceptive about what they find there—but the opposite is true’” (378). Critical thinking is the missing piece in an alarming number of students and job candidates. Critical thinking requires self-governance and self-discipline. Free time must be devoted to learning and self-improvement just to get by.

At a minimum, to achieve average middle-class employment in technology, the skills needed include strong “writing, reading, coding, math, creativity, critical thinking, communication, collaboration, grit, self-motivation, lifelong learning habits, entrepreneurship, improvisation” (226). When an opening comes along for a promotion, only those showing initiative in the form of advanced degrees, professional certifications, and relevant product certifications, are considered (232). If you haven’t met these “brutal meritocracy” minimum standards, you won’t get the job, or the promotion, and you may never know why you were passed over.

This new paradigm is still mind boggling to many—the cutting-edge ultra-adaptable super-motivated attributes—in order to achieve average employment. One positive aspect to this once-extreme-but-now-normal paradigm, which Friedman points out, is the end of privileged access. The only way to get there is practice. “Practice advances all students without respect to high school GPA, gender, race and ethnicity, or parental education” (244). How do you keep up the practice? Friedman’s answer is Concentration: “Students need to learn the discipline of sustained concentration more than ever and to immerse themselves in practice—without headphones on. No athlete, no scientist, no musician ever got better without focused practice, and there is no program you can download for that. It has to come from within” (245).

Friedman talked to hundreds of technology leaders in researching this book. It displays deep and extensive knowledge in the social, political, and personal impacts of technology accelerations. His writing is conversational and compelling, so it’s a pleasure to read as well as important learning.

Do I recommend this book? Yes, to everyone.

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Stanley Turkel’s book Built to Last

Book Review
Title: Built to Last: 100+Year-Old Hotels East of the Mississippi
Author: Stanley Turkel
Publisher: AuthorHouse
Date: September 5, 2013
ISBN: 978-1491810071

Stanley Turkel’s book offers a unique window into the past via the history of the most illustrious hotels built in the US. The title prepares the reader to encounter some of the finest examples of architecture and construction, and the reader is not disappointed.

Each hotel has a story. Each story begins at first construction (mostly late 1700s to early 1800s), and tells the story all the way to the present, roughly up to 2013 when the book was published.

Many stories include near destruction, ruin by neglect, fire damage, and other “near-death” experiences. But in these cases, investors or historical preservation organizations came to the rescue. All of the hotels featured are still standing today.

Being the grandest hotels in the US, one expects a start-studded guest list. Practically every president from George Washington on down stayed in one or the other hotel featured in the book. One hotel housed troops during the Revolutionary War. Others were used for various purposes during the War of 1812, the Civil War, WWI, and WWII. Many movie stars, famous writers, politicians, aristocrats, and other celebrities are named with each hotel’s historical guest list. One hotel was designed by Kurt Vonnegut’s grandfather. Another hotel’s grand opening was celebrated by the Boston Mayor, grandfather of President John F. Kennedy. These kinds of connections and “name dropping” bring color and life to the history, much moreso than typical history textbooks.

We learn the origin of the term “lobbyist”—the massive lobby of Washington D.C.’s Willard Hotel was where influencers cornered Congressmen to sway their policies. Hence the term.

The variety of backstories is endless. Some hotels started as large manor homes, one began as a hat factory, then a bank, before becoming a hotel. One of the oldest (1651) began as a Carmelite Convent. Another housed a theater for Vaudeville acts.

These stories provide context for the hotels being discussed, so we learn a lot of interesting facts about the surrounding communities, societies, personalities, and events of those times. The book is an easy read, as well as an enjoyable journey through the past, tracing the centuries of change up to the present day. I recommend this book for anyone with interest in architecture, past societies, or general history.

—————————
Robert Rose-Coutré
Author of Screenformation 2.0

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Lee Edwards’ book William F. Buckley

Book Review
Title: William F. Buckley Jr.: The Maker of a Movement
Author: Lee Edwards
Publisher: Intercollegiate Studies Institute
Date: April 8, 2019
ISBN: 978-1610171557

The book’s subtitle, “The Maker of a Movement,” is perfectly à propos of Buckley’s life, and the emphasis of this book. The overarching themes of Buckley’s life—demonstrated in some detail—were industriousness, prolific output, and brilliance. These attributes would be essential to generate the energy needed to “make a movement.”

The movement was largely made via the two vehicles Buckley created and mastered: The National Review magazine and his TV show Firing Line. Through these outlets, he formed a coalition of moderate conservatism that grew from the 1950s to the 1980s, culminating in the election of Ronald Regan for president of the United States. Aside from politics or one’s opinion of President Reagan, it was an astounding thirty-year odyssey.

This Buckleyesque conservative movement succeeded as much by Buckley’s supercharged work ethic as by his innovative intelligence. Edwards illustrates the two rôles—different but equally important—played by the National Review and Firing Line. The way Buckley easily outdebated adversaries on Firing Line enhanced perception of his ideas, as he defended them with such alacrity. His persuasive writing in the National Review gave depth to his ideas, infusing his ideology with greater substance. Those two vehicles became huge forces of nature, and together formed the American Culture of the mid- to late-twentieth century.

Some interesting facts about Buckley:

  • Buckley had Native fluency in English, French, and Spanish (having been raised in Mexico City, Paris, London, and New York)
  • Buckley attended the National Autonomous University of Mexico (or UNAM) until 1943
  • Graduated from the U.S. Army Officer Candidate School (OCS), commissioned as a second lieutenant in the United States Army
  • At Yale, Led (and excelled on) the Yale Debate Team
  • At Yale, Served as editor-in-chief of the Yale Daily News
  • At Yale, Inducted into the Yale society of the Skull and Bones
  • At Yale, worked for the FBI
  • At Yale, Buckley studied political science, history, and economics and graduated with honors in 1950
  • After graduation, worked for the CIA in Mexico City
  • At the CIA, his manager was E. Howard Hunt
  • Created the National Review magazine himself (fund raising, business and editorial ends), owned it and ran it for most of his adult life
  • Led Firing Line most of his adult life
  • Was an accomplished pianist and harpsichordist
  • Sailed across the Atlantic in his own sailboat, then sailed across the Pacific.

In summary, Edwards does a good job tracing Buckley’s personal and professional life, following the rising trajectory of his cultural influence. The book offers brief but well-chosen episodes in the life of William F. Buckley Jr. Far from “the definitive biography,” it is more of a précis of a life, sprinkled with colorful highlights of achievement, ingenuity, and adventure: a life well lived.

Robert Rose-Coutré
Author of Screenformation 2.0

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Christopher Alexander’s book A Pattern Language

Book Review
Title: A Pattern Language: Towns, Buildings, Construction
Author: Christopher Alexander, et al
Publisher: Oxford University Press
Date: January 1, 1977
ISBN: 978-0195019193

“No social group…can survive without constant informal contact among its members” (p. 618). Alexander’s book highlights hundreds of detailed ways in which human interaction must be promoted and invigorated by the planning and construction of cities, parks, neighborhoods, houses, rooms, sidewalks, yards, gardens, public spaces, office buildings, commercial spaces, and many more. The very foundation of human survival rests in frequent face-to-face interaction, and deep in-person connections reinforced by daily renewal, in person. A Pattern Language is about optimizing physical space-and-structure to maximize personal, social, and spiritual wellbeing.

Alexander astounds with his breadth of knowledge and way-down-in-the-weeds detailed insights into all permutations of family life, professional life, community life, recreational time, work time, conversation time, indoors, outdoors, and every other aspect of life and society. For example, if you don’t know exactly how to create space that’s both indoors and outdoors, and why it’s important, this book will answer all your questions.

The book is not about interior design. But it provides a thorough analysis of interior juxtaposition of furniture, fireplaces, fixtures, walls, angles, windows, window boxes, doors, ceiling variations (e.g., vaulted), stairways (e.g., width, steepness, location), height and width of everything, optimal dimensions, lattice, porches, construction materials, appliances, locations of everything inside and out, all with profound insights into how these factors interact and the results of each in everyday life. It also provides a thorough analysis of outdoor juxtaposition of sidewalks, parks, woodsy areas, gardens, streets, speed limits, parking areas, restaurants, shopping areas, proximity of town centers, swimming pools, borders, offices vis-à-vis neighborhoods, and many more. Alexander recommends sizes, dimensions, layouts, angles, materials to use, interplay between spaces, for all of the above.

Most reviews and summaries of the book that I have seen focus on the pattern of the language, which is understandable given the title. But I was most impressed by the way the language patterns reinforce the substance of content—making life more livable. The book offers a thousand macro and micro plans and parameters for doing just that. The recommendations are not merely the author’s opinions. Exhaustive research supports the recommendations. Alexander did his homework, and cites the sources that underpin the reasoning in every respect. Having said that, the author is transparent where a recommendation is more hypothesis that proof. In any event, the reader decides if, what, and how much to adopt or investigate further.

The intimate detail would be hard to visualize on its own. So every major point is illustrated with photographs, drawings, and other graphical reinforcements.

I enjoyed reading the book immensely. People who love life and/or patterns will enjoy reading it too.

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David McCullough’s book Brave Companions

Book Review
Title: Brave Companions: Portraits in History
Author: David McCullough
Publisher: Simon & Schuster
Date: November 1, 1992
ISBN: 978-0671792763

David McCullough gives us a stimulating summary of several interesting historical figures, mostly 1800s–1900s. The figures made significant contributions to history in one way or another, representing very diverse types of contributions.

The mini-biographies are light but nicely convey something compelling about each subject. Not meaning to compare, but I couldn’t help think of Lytton Strachey’s Biographical Essays and Truman Capote’s character sketches in both The Dogs Bark and one or two included in Capote’s Music for Chameleons: light touch, entertaining observations, easy read. Read it on a train, for example.

The book is a page turner because the writing is clear, articulate, and aesthetically pleasing—polished but not too formal, conversational but not too informal. McCullough is sitting in your living room chatting about some interesting characters from history that he has read about lately, or read some feature in the newspaper, and is telling you about it. That’s how it felt to me. Sometimes he focuses on characters, other times he focuses on events.

People and subjects: Alexander von Humboldt (late 1700s/early 1800s German scientist and explorer); Louis Agassiz (1800s American scientist and educator); Harriet Beecher Stowe (1800s author of Uncle Tom’s Cabin); An 1880s visit to town of Medora, North Dakota, where incidentally Theodore Roosevelt lived briefly; Frederic Remington (late 1800s painter/artist); Construction of the Brooklyn Bridge in the 1870s, with focus on a few players including John Roebling; A brief look at aviators such as Charles Lindbergh; Conrad Richter (1900s American author); Miriam Rothschild (1900s zoologist—and yes, of THE Rothschild family); David Plowden (1900s photographer).

McCullough has massive knowledge of all the above periods of history, which is obvious even from these light sketches. But McCullough’s expertise is also obvious from his deeper full-length projects (e.g., Truman, John Adams, 1776). If you are familiar with these works, bring different expectations to the current work. Here, McCullough skims through a few brief moments to pass the time on your express line to Penn Station.

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