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For two decades, Americans have engaged in a vast campaign to clean up our ethical act in politics, in the workplace, and in local communities. We have crafted a mountain of regulations, created vast networks of committees and consultants, and become accustomed to speaking of such taboos as "conflicts of interest" and "the appearance of impropriety." Perhaps one statistic says it best: Corporations currently spend over $1 billion per year on ethics consultants. Yet at the same time, our confidence that politicians and businesspeople will "do the right thing" has dropped to an all-time low. Our ethics efforts have failed. As Peter Morgan and Glenn Reynolds entertainingly and devastatingly describe, we have made legitimate ethical concerns into absurd standards, and wielded our moral whims like dangerous weapons. The Appearance of Impropriety offers a bracing antidote for executives, group leaders, and anyone in public life: A reminder of some basic rules of good conduct that must be taken back from the pundits and bureaucrats that surround us.

• Sales Rank: #2462407 in Books
• Brand: Brand: Free Press
• Published on: 2002-04-05
• Released on: 2002-04-05
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .70" w x 6.00" l, .96 pounds
• Binding: Paperback
• 288 pages

Features

• Used Book in Good Condition

Amazon.com Review
One of the longest-lasting residues of Watergate is the vetting industry: a mountain of regulations, committees, consultants, and special prosecutors dedicated to detecting and/or eradicating something called the appearance of impropriety. But for all this effort, it's hardly true that people in government and business are more ethical than they used to be. That disconnection is the point of departure for this book. The problem that Peter Morgan and Glenn Reynolds address is that the notion that all this energy is directed toward--the appearance of impropriety--is horribly obscure (Is it a conflict of interest, Michael Kinsley once wondered, to have a second child?). It's also subject to political whims and fads and, most important, not all that connected to what we should really be bearing down on: actual impropriety. This is a lively, opinionated read that makes excellent use of learned historical and literary contexts to cast convincing doubt on the current conventions of public morality.

From Booklist
To these authors, contemporary scandals are tempests in ethical teapots that obscure the substance of unvirtuous public conduct. Guided by episodes taken from Henry Fielding's Tom Jones and its appearance-versus-reality subject, Morgan and Reynolds energetically upbraid the "ethics establishment" that grew out of Watergate. Ineffective at rooting out substantive corruption, such as occurs in lobbying and campaign fund-raising, the ethical watchdogs--in the official bureaucracy, the press, and so-called public interest lobbies--fasten onto regulatory minutiae. Woe to the unwary so ensnared; even a Nobel Prize winner (David Baltimore) wasted 10 professional years defending himself and a colleague against a bogus scientific fraud allegation. Other examples the authors give, concerning plagiarism and election-posturing "anti-crime" legislation, are so deliciously preposterous that the reader is well primed for the concluding recommendations for reform. Presumably the authors would like to repeal the lot of post-Watergate enactments; instead they offer seven rules promoting ethical public behavior. A topical addition for active current-events collections. Gilbert Taylor

From Kirkus Reviews
A cautionary lesson, now grown dismayingly familiar, about well-intended reforms producing unintended bad results. Ever since the ``Big Bang''--the moral cataclysm of Vietnam and Watergate two decades ago--the US has promulgated the most far- reaching ethics-reform measures in its history, affecting government, business, science, and the scholarly community, according to Morgan and Reynolds (a D.C. attorney and a law professor at the Univ. of Tennessee, respectively). Yet, despite the passage of laws such as the 1978 Ethics in Government Act, cynicism about institutions has spread rather than diminished. The authors attribute much of this morass to reformers' mistake in focusing not on actual impropriety but on the appearance of impropriety, an appropriate standard for ensuring judicial impartiality but not for other settings where such neutrality is elusive. The result is ``a story of the substitution of appearances for substance, of technicalities for judgment, of opportunism for self-discipline.'' Among ethics controversies covered here are the scientific fraud charges against Nobel laureate Dr. David Baltimore and a colleague; Stanford University's accounting overcharges related to federal research grants; and Whitewater. Some conclusions are debatable (e.g., in criticizing costs incurred by independent counsels, the authors fail to note that many result from delaying tactics used by executive-branch targets). Many readers will also wish for deeper coverage of such fields as medicine and religion. However, reformers will be troubled by many implications of the regulations discussed here, including the ensnaring of ordinary citizens in the net of the government; apathy; and loopholes that enable politicians to circumvent rules. While too single-minded in its conclusions (haven't these ethics codes done any good?), this analysis offers disturbing reminders that ethicists need to think through the full consequence of their new rules. -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Even more needed today than when it was written 15 years ago.
By Man in the Middle
This book is 15 years old, but still does a great job of explaining many of our current political troubles, including (in my opinion) why the rollout of the Affordable Care Act was so rocky last month.

I was surprised to discover as I read this book that it's message is almost the opposite of what I'd expected from its title. And as the authors suggest, once I understood the issue they are describing, I saw signs of it everywhere.

If you lack time to read anything else, be sure to read the second-to-last chapter, in which the authors suggest solutions. Fortunately, they are ones anyone can help with, rather than the usual prescriptive wishing for magic to happen and public servants to behave differently for no obvious reason for them to do so.

Highly recommended.

1 of 1 people found the following review helpful.
Wise words
By Amazon Customer
The authors contend that what passes for ethics analysis today is nothing of the sort: it is an obsession with whether something "looks" bad: "...mak[ing] little distinction between incorrectly filled-out forms and truly wrongful behavior" (p 189). Determining whether something actually IS bad takes knowledge, one reason reporters are such common offenders. In the authors' words, their profession is "increasingly dominated by journalism graduates who never studied anything substantive before entering their profession" (pp 42-43). The authors are critical of the ethics consultants who can talk about the writings of Kant and Mill but know little or nothing of the field in which they are working and the tendency to denigrate the idea that ethics is "one set of rules of morality." (Lobbyists, politicians, and many others also come under attack.) The authors point out that ethics is about holding people accountable for their actions (an unfashionable idea today). As a result of these trends, all the talk of ethics has not improved behavior: quite the contrary: "...across the board the results [of focusing on appearance] have uniformly been poor. Appearance standards are readily manipulated by the unscrupulous...or by the self-important.... And although adopted in the name of increased sensitivity to ethics, they tend to draw attention away from sins worse than they condemn" (p 156). Case studies from several fields illustrate their points.

46 of 53 people found the following review helpful.
If you thought you understood Watergate, READ THIS BOOK!
By Eric G. Scheie
And if you ever wondered why there seems to be no accountability, READ THIS BOOK!
As Milton Friedman has pointed out, when government attempts to solve a problem, the solution is often worse than the problem itself. As "The Appearance of Impropriety" shows, when government was tasked with restoring integrity in government, the solution turned out to be an elaborate code of rules which, in effect, destroy integrity in order to save it!
As an attorney and a self-educated Watergate buff, I read all the whodunit books, explored countless "Deep Throat" theories, and read most of the standard Watergate tomes. Typically the period is portrayed as one in which America learned "hard lessons" in morality, then entered a "new era." During my college years I watched the morality play on television.
Eventually I realized the whole thing had been a triumph of hypocrisy masquerading as a triumph of morality, and I finally concluded that Watergate was a triumph of investigative journalism run amok. I was more cynical than most people even before I read this book, because I sensed that the "new", "more ethical" era was worse in a moral sense than the old era of corrupt backroom deals and cynical political skullduggery.
Authors Peter Morgan and Glenn Reynolds not only provided me with proof of my suspicions, but they demonstrate how the system the reformers created has come to rival the corruption of the past.
As they show, today's corruption is governed by an elaborate, appearance-based regulatory system in which compliance with the rules, by eliminating any real need for personal integrity, places honesty and integrity about on the level of compliance with such things as IRS codes or affirmative action quotas. Thus, the truly corrupt are enabled, and those with genuine integrity are burdened with humiliating and stultifying regulations which would keep many people away from public service. (As the authors note, Dwight Eisenhower was such a notorious rule breaker that it is doubtful that he could survive today's appearance-based scrutiny.)
Actual example of an ethics rule cited by the authors: "...[A] federal worker can legally accept pay for a "comic monologue" -- unless, that is, the government decides that the talk was actually an "amusing speech," in which case the federal worker could be fined $10,000 and drummed out of the service."
All of this and more can be traced to the post-Watergate explosion in ethics reform (a period the authors call "the Big Bang"). This has ended up deepening the entire country's cynicism, not by restoring integrity, but by creating a monstrous system of appearance-based regulations which encourage moralistic posing while actually undermining genuine integrity. Oddly enough, by exposing the appearance racket for what it is, this book offers hope to people (like me) who long since gave up. Integrity can still be made to matter, despite the cult of appearances enshrined since the Watergate Big Bang.
I am not out to rehabilitate Nixon, but were the fine insights of these authors juxtaposed alongside certain long-suppressed details of Watergate, additional light might be shed on why those who were out to get Nixon at all costs created a system of appearance-based "reforms" which ended up perpetuating the very thing they claimed to be ending. Those who "got" Nixon in my view ultimately had even more to hide than he did. They created a code for their times -- a code of appearances.
In the old days, an impropriety was an impropriety. Appearances were used to conceal improprieties, but with no real guarantee that anyone would be fooled. What was once a disguise has now become official certification that no impropriety exists.
When morality is defined as compliance with rules, true morality ceases.
Why didn't the government ever think of that?

See all 7 customer reviews...

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Book by Fowler, Damon Lee

• Sales Rank: #1674114 in Books
• Brand: Brand: Simon n Schuster
• Published on: 2005-09-27
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 1.20" w x 7.50" l,
• Binding: Hardcover
• 384 pages

Features

• Used Book in Good Condition

From Publishers Weekly
Starred Review. Cookbook author and food historian Fowler believes "each recipe tells a story." Happily for readers, the author of Classical Southern Cooking and New Southern Kitchen is an excellent storyteller. With focused intensity and depth of knowledge, Fowler presents a rich, colorful and amusing overview of Southern baking from historical, cultural and social perspectives. In engaging prose, Damon traces the influences of Southern mamas; African-American domestic workers and cooks; English, German and French settlers; and Native Americans in his introduction, while his chapter openers delve deeper into specifics, distinguishing between, say, soft winter wheat and red summer wheat and the different flours derived from them. Educational and enticing recipes for quick breads, cookies, cakes, pies, pastries and breads include detailed instructions and tips. The stories, appearing mostly in the recipes' head notes, range from personal to technical, detailing, for example, the origins of Mrs. Hill's Crumpets, small, airy, yeast-leavened buns derived from an 1867 cookbook; Pecan Upside-Down Cake, a cross between upside-down cakes (derived from French tarte tatin) and monkey bread (a sweet, pecan-studded biscuit); and the secret to MaMa's moist Coconut Cake (from Fowler's maternal grandmother). This cookbook is a treat, equally satisfying to cook from or to read. Photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
This compendium of southern baking will make a welcome addition to any cookbook collection on either side of the Mason-Dixon Line. Fowler has taken great pains to update traditional recipes, paying special attention to the cooking of the Carolina and Georgia coasts. Fowler's learned yet practical introduction carefully distinguishes the basic ingredients that give southern baked goods their uniqueness. His explanations of the art of biscuit making go about as far as possible to unravel biscuits' simple intricacies without having a baker actually at one's elbow. A selection of corn breads includes airy, souffle-like spoon bread. Fowler revives an heirloom recipe for rice bread. His assortment of pound cakes features a bourbon-brown sugar version destined to become a classic. Pies come in both sweet and savory versions, along with several exemplars of indigenous chess pies. That southern staple, the peanut, appears in both cookies and pies. An extensive bibliography cites more than a few community-based cookbooks that date back to the beginning of the twentieth century. Mark Knoblauch
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

12 of 13 people found the following review helpful.
The Proof Is In The Eating
By Foster Corbin
Southern cookbook writers are almost as prolific as its novelists. Just when we think there is nothing else to be said, another great book with new, untried recipes gets published; and we know we cannot live without it. Damon Lee Fowler has written just such a book.

Mr. Fowler in his introduction gives a brief history of Southern cooking, tracing its roots primarily to the African American and European tradition. He reminds us that there is no need to publish yet another lemon meringue pie recipe as there are dozens floating around. It also "pains" him that he cannot print again his fruitcake recipe (I for one feel no pain since I've never met a fruitcake, the accordion of desserts, I liked although I've neither cooked nor tasted his recipe). He also discusses fully ingredients and equipment in a chapter called "Southern Baking Essentials." There are chapters on quickbreads, stove-top baking, cookies, cakes, pies and pastries, and yeast baking. Finally there is an exhaustive biibliography and reading list.

I'm easy on cookbook writers. They must only print one outrageously good recipe in order for their book to be a success. Bubber's Key Lime Cake (pp. 184-185) makes the cut. This divine cake is a beauty to behold (all white layers and icing); is easy for the most part to assemble although sifting almost five cups of confectioners' sugar for the icing will not make your day; the key lime cream cheese buttercream icing, however, is as good as I have ever eaten; and finally the aroma of lime when you present your cake to your guests will make them smile. I guarantee it.

There are other recipes I want to try. The Appalachian Stack Cake (pp. 188-189) is close to one my grandmother baked when I was a child and I haven't had since then. The Brown Velvet Cake with Dark Fudge Frosting will probably let you live longer without the poisonous red food coloring we associate with red velvet cake. Mr. Fowler also includes several varieties of poundcakes and apparently has a love-hate relationship with them, noting that if you worry about them they are bound to fall.

There are of course many other recipes that will appeal to the individual baker. Mr. Fowler's directions are clear and easy to follow; to his everlasting credit he always tells the reader where to position the rack in the oven, something that many otherwise good cookbook authors fail to do.

Mr. Fowler writes an often pleasantly chatty introduction on the subject covered in each chapter and includes general information about baking those items. Examples: "The first thing required of biscuit making, as with all pastry, is a light touch." And filtered or bottled water should be used for your bread baking. Finally there are several fine color photographs included. You will find many recipes to try in this delicious book.

4 of 4 people found the following review helpful.
Will appeal to all levels of cook with easy recipes and plenty of tips
By Midwest Book Review
From cornbread to sweet potato breads and cakes, Southern baking holds a wide reputation - and there's no better place to learn the basics than from Damon Lee Fowler's New Southern Baking, celebrating traditional baking techniques but updating dishes for modern times. New Southern Baking will appeal to all levels of cook with easy recipes and plenty of tips - and it'll even appeal to advanced cooks who want different twists to dishes, such as a Chocolate Chip Pecan Wedding Shortbread or Sweet Potato Griddlecakes. Recommended above other more general Southern cookbooks, with its focus on baking and the wonderful blend of tradition vs. innovation.

5 of 6 people found the following review helpful.
Great book for beginning bakers
By Adele
I must say this is my first review. This book is really a great book for someone who has never baked or has not been that good at it. The only reason I bought this book to begin with was because I was shopping at a store in Savannah, GA and the gentleman who helped me find a good knife for cooking happened to be the author. Well I must say after getting it home I decided to scan for a few good recipes. I didn't even get to any recipes that night because I was learning about the ingredients that go into baking. I now know why I was never any good at baking. Mr. Fowler's instructions are very detailed and he gives wonderful histories of ingredients. I loved this book so much that I went straight to Amazon and looked for more books that he has written and have bought a couple of them. All of them that I have gotten are equal in quality. I really never read cookbooks, I just used them for recipes but this one is worth reading. Just a note, he is wonderful person if you ever get to meet him and very knowledgeable on all things culinary.

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Nilus Moore, a young Irish boy, lives with his father in their decaying, shambolic house. Haunted by the death of his mother, he escapes the chaos outside in the refuge of his room where he plays obsessively with an enormous matt-black jigsaw, its orderly perfection an answer to his loss. His garlic-chewing father has taken to his bed with a bottle of brandy, oblivious of his own brother's plans to demolish his already crumbling house. As the rest of his world seems to tumble around him, Nilus has to struggle to keep his home - and his sanity - from falling apart.

• Sales Rank: #3314964 in Books
• Published on: 2003-09-01
• Original language: English
• Number of items: 1
• Dimensions: 7.80" h x .63" w x 5.08" l,
• Binding: Paperback
• 240 pages

From Publishers Weekly
Nilus, protagonist of this mordant psychological tale, finds his world falling down around his ears. After his mother dies, his sickly, eccentric father gets embroiled in a battle with his uncle, an ex-socialist turned wealthy businessman who is trying to demolish their run-down house and neighborhood to make room for an office development. To block it all out, Nilus develops an obsessive-compulsive complex, fixating on chipped crockery and bedsheet creases, and continually scrambling and remaking a featureless black jigsaw puzzle, as if by rectifying tiny elements of disorder he can escape the larger chaos of life. As Nilus's longing for meaningful pattern degenerates from a droll disdain for human messiness into dark hallucination, he uncomprehendingly absorbs the Irish conflict between a comforting if rigid mythic and revolutionary past and a disillusioned, prosaic present. Published now in America in the wake of his well-received At Swim, Two Boys, O'Neill's debut is less accomplished than that later work. His gifts for quirky characters and witty, evocative language are only sporadically present in the somewhat slack narrative. Nilus's rather schematically drawn psychopathology is indebted to precursors from Norman Bates to John Fowles's The Collector, and his story lapses into trite gothic melodrama.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
After the resounding success of O'Neill's masterful At Swim, Two Boys (2002), Scribner has lost no time in bringing out the author's early work. First up was the mad comedy Kilbrack [BKL Ja 1 & 15 04], followed by this much odder novel. Following the death of his meticulous mother, 14-year-old Nilus Moore becomes obsessed with order, putting together a 50,000-piece, all-black jigsaw puzzle and obsessively checking the folds of his sheets. His flighty father proves to be of little help, endlessly quoting from his Teach Yourself Psychology books and giving in to his fleeting enthusiasms, including chewing garlic and reciting the rosary. When Nilus' uncle shuts down the family business and cuts off their funds, Nilus' father is forced to let out rooms in their shambling, squalid house; the first tenants are a child molester and a blind beggar. Rife with murky symbolism, the novel gradually reveals Nilus as an unreliable narrator, culminating in a shocker of an ending. Somewhat disjointed, with only flashes of mordant humor, this will draw O'Neill's new fans, but it may baffle them. Joanne Wilkinson
Copyright © American Library Association. All rights reserved

Review
"The story is populated by quirky characters and is told in language relished as much for its idiomatic sound as its verisimilitude."-- "Irish Times"

Most helpful customer reviews

8 of 9 people found the following review helpful.
Impressive
By F. Webb
I decided to read "Disturbance" having very much enjoyed Jamie O'Neill's later more well-known novel, At Swim, Two Boys. Reading a good author's early works, I'm never certain whether to expect more gold or merely an interesting artifact of the author's personal growth.

In "Disturbance" I think I found both. It is a much shorter novel, concentrating on smaller events and fewer characters, but the more limited scope of this story is executed hauntingly. The author has a talent for getting the reader to share the experience of his characters, and he uses that talent beautifully here. Nilus is lost and isolated after his mother's death, living in a crumbling house with his distant father. As he works to lose himself in petty distractions the reader shares his distraction, confusion and inability to interact naturally with others.

I would say that "At Swim, Two Boys" is still the more polished masterwork, but "Disturbance" is still a deeply impressive novel - easily worth a five-star rating.

2 of 2 people found the following review helpful.
Not Two Boys -- But Then...What Other Book Is?
By Buzz Stephens
This is not Jamie's best work. "At Swim Two Boys" deserves that rank. Still, it is a good short novel. The story (of a very strange boy) held my interest, and the writing is excellent. The ending did come as quite a surprise...and shock! At my age (73), I hope I live long enough to read many more books by this not nearly prolific enough writer.

1 of 1 people found the following review helpful.
not as good as his later work
By Mr. D. P. Jay
We chose this book after having voted the author's `At Swim Two Boys' one of our favourites. Most of us, however, were disappointed with this book. The author writes well but the story was irritating and didn't flow.

All the characters are Irish stereotypes and the story becomes ever more bizarre. Is the boy fourteen or sixteen? Did his mother die recently or during labour? Are the characters real or are they merely inside the by's head as he descends into a mental breakdown?

Nilus uses his bedroom as a refuge and behaves ion an OCD manner with his sheets, pyjamas and jigsaw, which has a piece missing on the day his mother died. The dresser in the kitchen is a shrine to his mother and the boy is very anxious then there is a cup with a chip at the front.

He is very detached from others: I didn't like our street. Our street made me nervous. It sort of depressed me. I never spent a moment longer in it than was absolutely necessary. It was full of low cottages without gardens. The front doors led straight on to the street. Sometimes they left the doors open. And then you'd have to see wallpaper and things, smell other people's cooking. I could do without snatches of these neighbours' lives. They were the sort of places tradesmen-like people lived in.

He worries: needless to say, I had difficulty sleeping that night. I kept worrying I might fall into a coma in the night and wake up buried deep in the dark and dread of my extremity. Then it got worse. I worried my mother hadn't really died at all, but had fallen to a deep slumber. Even now, this night, more than a year after, she might be turning slightly in her sleep, moaning softly. She would wake up. She would wake up and her fingers would stretch out and they would touch against something unexpected, velvety, soft. It was too dark to see, she felt about blindly, touching at first, then crushing her fingers. But everywhere she touched there was only the soft, half-satin, half-velvet confinement. Or dirt. Dirt had got in. She hated dirt. It would drive her frantic, sensing the dirt around her, near her mouth, maybe, trickling up her nose. And she couldn't move. And in her desperation, she turned her mouth to her arm, the beautiful soft skin of her arm, the milk skin she was so proud of, soft like a kitten's fur, she called it. And she forced her mouth to open, with her pearly perfect teeth, but, before she would bite, she creaked her gaze towards me, all pain and reproach, but her eyes weren't there, were eaten away, just sockets in her skull, and she said, 'Why, Nilus? Why did you finish the jigsaw?
I rearranged the drawstring on my pyjama bottoms, found my dressing-gown and slippers. I turned on every light on the way down. It would've annoyed my mother -- 'the Christmas tree', she used call the house. 'Have we shares in the Electricity Board?' -- But I could do without the dark, tonight.
I put the kettle on. I sat down at the table, in front of the dresser. I didn't want to look at it, but it fought for my attention. I'd left the dresser, when my mother finally died, exactly as she had left it. All chipped, cracked, rubbly. I'd known then that nothing could preserve my world from the chaos of her departure. Everything would end. The dresser was her shrine now, as in life it had been the altar to the orderliness of our home.

He dislikes disruption to his daily routine: I didn't know what all the fuss was about. I was quite capable of looking after myself. I always cooked the meals at home. The one time, after my mother's death, that my father tried his hand in the kitchen, I'd been served up something virescent.
I had a feeling that everything was out of control, or that I had no control over anything any more.
He likes the same menu every week.

He is obsessed with bringing some sort of order to his increasingly chaotic life: All those pieces crying out for arrangement, for order. To be something.

Does he have Asperger's Syndrome? In a sex lesson he misunderstands `temple' -is he taking it literally or has he simply not heard of the metaphor before?

What is it with the exhibitionism before Fr. Mucahy?

His use of triplications isn't so unusual. Other intelligent teenagers do it, e.g. in the play Bar Mitzvah Boy.

His Father has a thing about nudity. He only baths once a week, though that was normal in Britain just before that time. The house is falling to bits he takes Nilus to daily mass, usually arriving late (or is this Nilus's need for routine and perfectionism?).

The Teacher isn't very pastorally minded: You're a loner - and he is grateful not to have any further conversation.

The Uncle claims to be a socialist: I'm all for looking after the workers. Of course I am. I'm a Labour man, myself. I'll see them all right. Naturally I will. But not here. Not in these shambles. Sure, they'd have me up for rack-renting, housing a miserable mongrel in this old street. No matter what your father says.'
I've bailed him out enough times now. I'm not made of money. I've played banker to his follies long enough. The deeds are mine. Call it underhand he may, but that's business. It's a prime site this.' He was climbing into his car.
God knows, we're all entitled to a dream or two. I was quite a fighter in those days, you know. We were all going to change the world. And we believed it. Meetings, rallies, shouting down rivals at factory gates, slogans. The whole shooting gallery.'
It's not easy when you have a wife and a baby daughter to support. You can't eat pamphlets, as she used say.

Fr. Mulcahy is like the stereotypical alcoholic priest in Fr. Ted. He says he is in a hurry because it is the 20th Century.

A 'minority report' from a member who missed the discussion is more positive: This is such a funny (ha ha) and sympathetic book that the horror which eventually emerges is all the more frightening and unsettling. The first-person narration vividly inhabits the mind of a teenage boy, Nilus/Niall, and the reader is invited to empathize with his off-beat perspective from the outset. O'Neill is a wonderfully skilful writer, and his ability to present Nilus' humorous observation of other people's foibles comes across initially as engaging as a sort of Irish Catcher in the Rye. The adolescent psyche is almost by definition a bit disturbed, but often very sweetly affecting as well, and that sweetness is beautifully present in Nilus. It is, then, all the more horrifying to discover that the mind that we have been empathizing with is so very much more disturbed than we at first thought. For my part, I was more than three quarters of the way through the novel before I realised what was going on. Reading in the small hours, it was actually a frightening moment and one that will stay with me for some time. And that, I think, is a measure of the strength of this novel. Its presentation of a seriously disturbed mind is evocative and distressingly powerful.

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@ Ebook Download The Bedford Boys: One Small Town's Ultimate D-Day Sacrifice, by Alex Kershaw

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The memorable opening scene of "Saving Private Ryan", which portrayed the appalling scenario on Omaha Beach, where allied bombs had failed to knock out German gun emplacements or do any damage whatsoever to beach defences was loosely based on Bedford's story. The first wave of seasick young GIs were being tipped out into the tide to be picked off by waiting machine gun fire and shelling, acting more as target practice than a tangible threat. Incredible bravery and luck did in some instances prevail, and with the help of a more successful bomibing campaign later in the day, Omaha was finally taken. Company A was in that first wave of landings - known, jokingly as "the suicide wave" by soliders before the attack. Many of Bedford's young recruits to the US Army found themselves training and fighting together in Company A of the 116th Regiment of the 29th Division - a company which was all but obliterated by the end of the Longest Day. From small town lives - wives, fiancees and childhoods - to training in the UK and those fateful D-Day landings on on to the aftermath, this book creates a vivid portrait of one town's loss.

• Sales Rank: #497137 in Books
• Published on: 2003-06-02
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 304 pages

About the Author
Alex Kershaw is a British journalist and screenwriter. Since 1990, he has been a regular contributor to THE SUNDAY TIMES, GUARDIAN, OBSERVER and GQ magazine. He is the author of the widely acclaimed biographies of Jack London and Robert Capa.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
arrived from England promptly and was in very good condition. can't ask for any better. Thanks

1 of 1 people found the following review helpful.
The Bedford Boys
By Kristen Alexander
This wonderful book focuses on the young soldiers from Bedford, Virginia, who joined Company A, 116th Infantry, 29th Division, and explores the impact of the Omaha Beach assaults on the boys, collectively referred to by Kershaw as the Bedford boys, and on their small hometown. By weaving together recollections from survivors and other townsfolk, as well as extracts from letters, Kershaw has constructed a moving account where the reader gets to know and care for the young soldiers.

None of the Bedford boys had anticipated being involved in combat. Company A was a National Guard unit and most of its members had joined up during the Depression, for the "dollar a day". The atmosphere of the unit was like a social club and the boys were amongst family and friends. Kershaw introduces us to the boys and explores their rational for joining up, and impresses upon the reader the close-knit community ties of the boys. In October 1940, after Congress had passed a selective service bill, Company A was advised that it would be mobilised into the federal Army. Ultimately, they were destined for overseas service.

After they arrived in England, they began the longest training program that any American infantrymen undertook during World War II. It lasted over twenty months from October 1942 and culminated with the D-Day landings in June 1944. Their training was gruelling, and they were pushed to their absolute physical limits. 50 boys from Bedford had arrived, but that number continued to fall as each week, one after another was weeded out or assigned elsewhere. The training was so intense because, if they proved up to the challenge, the 29th Division would be selected for an audacious and risky amphibious operation. Their commander, General Charles H Gerhardt, knew this, and he would ensure that they met the challenge. Ray Nance, a Company A officer, and one of the few officers to survive, recalled that they "had tried to be the best in training. It was a matter of pride and honour. And it worked. We were chosen to be the first to land".

On 6 June 1944, 180 men from Company A landed in the first wave on Omaha Beach. By the end of the day, nineteen boys from Bedford were killed, and later in the invasion, three more were killed: twenty-two of the original fifty who arrived in England; twenty-two of the remaining thirty four who had been touched lightly on the arm by Ray Nance as they emerged from their debarkation areas.

The boys knew beforehand that there would be heavy casualties, and that many would not return. Kershaw explores this aspect in some depth, and I was particularly weighed down with this heavy pall of inevitability. Ray Stevens said that " if I go over, I won't be coming back". Roy Stevens, Ray's twin brother, admitted that everyone was scared, but they were putting on a good front. Before they embarked, his brother Ray wanted to shake his hand in farewell. But Roy refused, saying he would shake when it was all over. He continues to regret not shaking his twin's hand. British Sub-Lieutenant Green, who was in command of the flotilla of six landing craft that would take Company A to Normandy recalled that " we ...referred to ourselves as the suicide wave, ... and to be honest we were all quite proud of the label." In his last shore briefing, he was told that he should expect to lose a third of his men and his boats. Earl Parker, who had never met his young daughter said that "if I could just see her once, ... I wouldn't mind dying". He never met his daughter. Even though I knew the fates of these boys (the list of those fallen appears at the back, and you can work out the survivors from the notes) I was moved by their bravery and stoicism in the face of near certain death, and could not stop reading.

When the Bedford boys arrived on the shores of France, waiting for them were almost two thousand men from the German 352nd Division. At least three MG-42 machine guns fired over a thousand rounds a minute. Mortars were fired. Two dozen snipers picked off the advancing men, and those who had fallen, ensuring that they did not arise from the sands. It was a bloodbath, but ultimately, the sheer numbers of the Allied forces ensured victory. But for the town of Bedford, it was a disaster. Perhaps one of the most poignant passages of the book (which is also used on the cover blurb) comes from Elizabeth Teass, who operated Bedford's teletype machine. When she turned on the machine, she received the initial message "We have casualties". Elizabeth read the first line of copy, and expected the message to end. But it did not. "Line after line of copy clicked out of the printer. Within a few minutes as [she] watched in a `trance like state' it was clear something terrible had happened to Company A. `I just sat and watched them and wondered how many more it was going to be' ".

This book is well written, and Kershaw easily evokes the reader's emotions. The book successfully operates on a number of levels: as a straight history; as a moving testimony to the courage of the Boys; and as a social history of the effects of battle. Kershaw satisfies the reader's curiosity of "what happens next" by telling of how the survivors coped, how the town adjusted and of how, many years down the track, attempts were made to create a D-Day memorial.I was enthralled by this book. It reads easily, and is difficult to put down. And it touched just about everyone of my emotions: empathy; despair for the boys who did not return; admiration at their amazing courage; sympathy for their grieving families; laughter at the occasional black humour; and hate for the German snipers who struck down those on the beach, and especially hate for the pilot who strafed and killed the last Bedford boy who saw action on D-Day, Charles Fizer, as he and several others lay sleeping on 11 July 1944. Highly recommended.

1 of 1 people found the following review helpful.
It was amazing to learn the back story not only of the ...
By Bobbie J. Johnson
Riveting account of the young men from one small town in Virginia who gave the ultimate sacrifice in WWII. It was amazing to learn the back story not only of the young men, but also the women who loved them and watched them go off to war. I am familiar with this group as I live in Virginia but have yet to see the Memorial in Bedford. Like so many who fought in WWII, these were normal young men, trying to make a living in the newly post Depression Era. What they endured is amazing and to have lost so many of them in one battle adds a depth that many communities will never know. If you enjoyed Saving Private Ryan, then this is a book you will definitely not want to miss.

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^ PDF Download Scapegoat: The Jews, Israel, and Women's Liberation, by Andrea Dworkin

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On Yom Kippur, Jews of antiquity would sacrifice two goats: one killed as an offering to a harsh and judging god, the other taken to the wilderness and turned loose, a carrier of the sins of the group. Throughout history, argues brilliant feminist critic Andrea Dworkin, women and Jews have been stigmatized as society's scapegoats. In this stunning and provocative book, Dworkin brings her rigorous intellect to bear on the dynamics of scapegoating. Drawing upon history, philosophy, literature, and politics, she creates a terrifying picture of the workings of misogyny and anti-Semitism in the last millennium. With examples that range from the Inquisition, when women were targeted as witches and Jews as heretics, to the terror of the Nazis, whose aggression was both race- and gender-motivated, Dworkin illustrates how and why women and Jews have been scapegoated and compares the civil inequality, prejudices, and stereotypes that have framed identity for both groups. Taking the state of Israel as a paradigm, Dworkin traces the growth of male dominance in societies both old and new -- resulting in the subordination of women and a racial or ethnic "other." In Israel today, Palestinians and prostitutes are the new scapegoats: degraded, inferior, abject. Although the gentle Jewish martyrs of old have become modern Israeli warriors, women retain the stigmatized status of "weak Jews" who, when attacked, never fight back. This leads Dworkin to imagine a world in which women betray men of their own kind in order to develop and defend their own sovereignty. Ultimately, her book forces us to ask profound questions: Why do women continue to value their own lives less than those of themen they love? Where is the line between justifiable self-defense and violence? Both an impassioned plea for women to challenge and destroy the author- ity of the men in their own group and a startling work of history, "Scapegoat" will forever change how we think about the patterns of behavior and belief that give rise to domination and oppression.

• Sales Rank: #4424973 in Books
• Brand: Brand: Free Press
• Published on: 2002-04-05
• Original language: English
• Number of items: 1
• Dimensions: 9.02" h x 1.01" w x 5.98" l,
• Binding: Paperback
• 448 pages

Features

• Used Book in Good Condition

From Publishers Weekly
"I am... a lapsed pacifist. With extreme difficulty and reluctance I have come to believe that women have to be literate in both strategic violence and the violence of self-defense," writes Dworkin in her impassioned, sometimes brilliant and often problematic analysis of how institutionalized male violence against women, children and Jews has shaped the modern world. Beginning with the premise that violence born of anti-Semitism and from the hatred of women are similar, she argues that both wage a "war on the body" of the scapegoat and that resistance has taken the form of Zionism and feminism. Dworkin (whose Woman Hating and Pornography have influenced the women's movement) approaches her topics with a strong, frequently unsettling mixture of nuance and polemic, piling fact upon fact to make her arguments. Holocaust literature, Sylvia Plath's poems, the critical theories of Jacques Derrida, The Merchant of Venice, Gore Vidal's Live from Golgotha, The Turner Diaries and Benjamin Disraeli's novels (the bibliography includes more than 1,500 titles)--all find their way into her onslaught of information, statistics and analysis. While she frequently overstates her case (as when she claims that "women rarely report crimes involving either rape or battery"), Dworkin makes potent points (as when she examines the similar attitudes toward women, Jews and African-Americans in the writings of both conservative and right-wing vigilante groups in the U.S.). This weighty treatise unfailingly engages and provokes. Agent, Elaine Markson. (June)
Copyright 2000 Reed Business Information, Inc.

From Library Journal
Dworkin's (Life and Death; Intercourse) exegesis on anti-Semitism and misogyny traces the often-parallel paths of both forms of hatred. The atrocities of the Nazi Holocaust and the particularities of fascism's abuse of women are vividly rendered. Likewise, the psychological after-effects of historical efforts to eradicate world Jewry are starkly and convincingly documented. "Anyone who has suffered torture will never again be able to be at ease with the world," Dworkin writes. Indeed, those hurt routinely lash out: Jews are scapegoated by non-Jews, Palestinians are scapegoated by Israelis, and women are scapegoated by men. While Dworkin does not believe such behavior is inevitable, she argues that the Middle East is an especially thorny proving ground, juxtaposing the Jewish desire for national sovereignty against the reality that, for many females, both home and homeland are fraught with violence. Dworkin's solution is sure to rankle: women should abandon men for single-gender alliances that advance their self-interests. Although this conclusion is certainly arguable, this impressively researched, if controversial, text will draw a wide array of readers. Highly recommended for all libraries.
-Eleanor J. Bader, Brooklyn, NY
Copyright 2000 Reed Business Information, Inc.

From Booklist
In Life and Death (1997), Dworkin vowed to find a new way to write about violence against women, and the result is this towering indictment and call to action. Dworkin's prose has never been sharper, or her feminist vision more arresting, than in this extensively referenced synthesis of history, philosophy, religion, literature, and politics. At the heart of her inquiry stands the figure of the scapegoat, the lowest of the low, the rank routinely accorded to women, especially those who are poor, and to Jews. Dworkin examines, to profound effect, the scapegoat dynamic in two related but seemingly opposite arenas, the Holocaust and contemporary Israel, but her scope is global, and her insights pierce centuries of male sovereignty. Unflinching in her detailed chronicling of the Nazis' systematic murder and torture of women, Dworkin then links the apocalyptic to the domestic, offering astute and groundbreaking perceptions into women's loyalty to the men who harm them. Nothing has worked to free women from their scapegoat status, Dworkin concludes, and so she advocates a "concrete militancy" based on women accepting responsibility for putting a stop to male crimes against humanity. Donna Seaman
Copyright © American Library Association. All rights reserved

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3 of 7 people found the following review helpful.
The power of the word speaks again
By Cathleen M. Walker
Andrea Dworkin first opened my eyes in 1978 in the pages of Woman Hating, and she can still stretch my mind until it hurts!

Scapegoat: The Jews, Israel and Women's Liberation would have been better titled The Holocaust of the Jews and Violence Against Women: A Study of Comparisons.

There is no liberation for the women in this book, nor is women's liberation even defined - but violence against women certainly is, and nobody can put violence against women in context like Andrea Dworkin. The sad part is that her writing has become so academic that the very women who could benefit from this book couldn't possibly follow it - it's mind bending, as we used to say in the sixties. Poor, oppressed, exploited women don't have the time or the energy to untangle the philosophy and the logic Dworkin has taken such pains to evolve - only college professors do. They thrive on it.

Andrea Dworkin changed my life by showing me the nature of my own oppression, so that I could find my way out of it. The nature of oppression and exploitation is also known, in psychiatrist's terms, as projection. The perpetrator blames the victim for their own suffering even as he cracks the whip. So do survivors take on the role of perpetrator if they manage to avoid any effort at healing their own wounds. So does Israel take on the role of Fascist in the ever present PTSD of the history of their own suffering.

How do we end the violence? By breaking the cycle. How do we break the cycle? Certainly not by invasion, colonialization, and war. Dworkin names the violence no one dares to name, i.e. the use of prostitution in Nazi concentration camps by both Nazis and Jews alike. And yet, no matter how horrific the stories of suffering may be, only Dworkin had the courage to tell that one, which even the most articulate Jew would rather remained invisible, hidden in shame, those women and their courage and their suffering never counted.

This book should be mandatory reading in all upper level women's studies courses, with much food for thought, discussion and hopefully, action.

It appears Dworkin never learned about Project Monarch. One wonders what she would have said about that.

20 of 25 people found the following review helpful.
Andrea Dworkin comes clean in a dirty world.
By A Customer
In "Scapegoat," Andrea Dworkin comes clean. For the better part of her career, she has been dropping hints about the connections, or parallels, or metaphorical affinities between the Holocaust and violence against women. These hints have always had a meretricious quality in the absence of a detailed argument. "Scapegoat" comes as a true surprise. This book is not "Intercourse" plus the well-worn Holocaust analogy as an indicator of oppression: it is a serious monograph on the comparative lot of stateless peoples, including women. Dworkin's quotes from Jewish and non-Jewish writers are respectful and attentive, though self-indulgent in sheer number. Her analysis of Jewish religion and culture is critical but fair and reflective of great pride. The apocalyptic kitsch which the reader has a right to expect from Dworkin is less often on display here, and though men don't come off too well, there is relatively little time spent on deconstructions of "male" sexuality as the root of violence. Dworkin here is far more pragmatic: she blames any form of entrenched power and its abuses. This book is the closest Dworkin has ever come to mainstream cultural studies. If there is any justice in same, she will receive the readership "Scapegoat" deserves: people who sit through 600 pages a throw of Lacan, Foucault or Donna Haraway ought to be able to stomach this book with no trouble at all. In a perfect world.
But though this is Dworkin's best, most lucid and readable nonfiction book, it finally suffers by promoting just that which it argues to defeat, and what its existence calls into question almost by definition: presumptions of the ontological "uniqueness" of the Holocaust. The comparison to the abuse of women is not meant to relativize either, though the book's anthology of quotes offers a good deal of evidence for doing so. It is, instead, meant to assign to women an ontological specialness equivalent to being Jewish. Quite apart from the morally problematic nature of any such specialness, Dworkin falters badly on the necessary follow-through. The specialness of suffering results from a landless status which Dworkin is right in assuming not to be uniquely Jewish. By her own admission, there is no equivalent in specific female experience to the Jewish religion, which she correctly identifies as the unifying factor that has allowed even secular Jews to experience themselves as "chosen." Her alternative may be feminist ethical consciousness, but the analogy suffers from the fact that this is by definition a consciousness meant to transcend national boundaries. Like many other Jewish feminists, she identifies with Zionism and offers a severe yet forgiving analysis of its treatment of the Palestinians. She makes a fascinating parallel between Jewish ghettoization of Palestinians and feminist disdain for sexually abused women. Yet this analogy finally does not wash either. After four hundred pages devoted to the concept of both women and Jews as stateless people, the reader must be skeptical about prostitutes as an ethnicity, or "Zionism for women." Dworkin wants the possibility to exist and her understanding of the uniquely pained Israeli consciousness earns respect; all the same, she is too invested in the idea of nationalism as masculine and statelessness as female to propose a feminist separatist nationalism in credible terms.
"Scapegoat," then, tries hard to break new ground, both for feminists and for diasporan peoples, but finally ends up exposing the author's terrible and very Jewish dilemma: unable to choose either nationalism or statelessness in good conscience and yet left with the inescapable sense of chosenness and its burdens. All the same, it is a memorable summa by this country's best-known Jewish feminist, sacrificing her often tendentious originality for a reiteration of the Jewish question that honors its often-ignored sexual politics. Whether it does justice to them is a whole other question. "Scapegoat" can be read as a tissue of cliches on the subject; but people do think in cliches, and Dworkin does an adequate, sometimes uncanny job of describing how people tend to think about things. She will tell us that it is up to us to decide if that is how they are--with deeds as well as words. And words, as she has so often said, are deeds. It is in its reflection of the power of words about crimes and their victims that "Scapegoat" is most valuable as word and deed.

15 of 23 people found the following review helpful.
A Radical Humanism
By Dominic Fox
_Scapegoat_, Andrea Dworkin's first book of the twenty-first century, is a work which raises, once again, the question of what it is to be human.
The question is implicit in any discussion of _dehumanization_. Were the Jews in Germany dehumanized by the anti-semitic propaganda of the Nazis, or can the acceptance of the images of Jews presented in anti-semitic propaganda be compatible with the recognition of Jews as human beings? Are the women in pornography dehumanized by what Dworkin sees as the misogynistic propaganda of pornographers, or can the acceptance of the images of women presented in pornography be compatible with the recognition of women as human beings?
Dworkin's answers - "no" to both questions - stem from the conviction that there is something that it is to be human which is not compatible with being the stigmatized, objectified target of legitimized violence. One cannot be a human being and simultaneously be the kind of being whom it is just, reasonable and perhaps even erotically satisfying for another human being to rape, torture and kill. The willingness - to borrow a phrase - of Hitler's executioners to rape, torture and kill millions of Jews strongly implies that they did not and could not regard the Jews as human beings. According to Dworkin, the banality and ubiquity of rape and prostitution in male-dominated societies indicate a similar "willingness" among men, and a similar refusal or inability to perceive the humanity of their victims.
_Scapegoat_ asks what it is to be human, and rejects the answer that it is to be Aryan, or middle class, or male in a world in which non-Aryans, the poor and women are contrastingly less than human. Dworkin sees this answer as one of the underpinnings of the modern state, be it US or Israeli, where accession to full humanity and citizenship means casting off the stigma of dehumanization *and transferring it to others*. The scapegoat is made to be the bearer of one's own past humiliation and dishonour. Hence the astonishing malice of many of those who have escaped from poverty towards those who remain poor, the immense rage of the newly affluent against the "idle, immoral, irresponsible" underclass from whom they must struggle to distinguish themselves. Becoming "respectable" often means taking on the values and attitudes of those who formerly treated you like dirt.
Dworkin argues for a conception of the state the humanity and citizenship of whose members is not predicated on the scapegoating and dehumanization of the poor and stateless. She demands sovereignty for women, and predicts that organised, concerted and possibly violent struggle will be necessary to obtain it. Note that sovereignty does not mean social domination: Dworkin is not arguing for a substitution of female supremacism for male supremacism, but for a non-supremacist notion of sovereignty, a concept of the human which would not be merely a metaphysical transliteration of the social self-image of slavers and aristocrats.
The questions posed by _Scapegoat_ - and it is, substantially, a book of questions - are in my view fundamental; whether or not one agrees with Dworkin (for instance about deconstruction: here let me register an anguished squeak of dissent at her acceptance of David Lehman's ignorant characterisation of postmodern thought as the ingenious dissimulation of its own politically tainted origins. She could have read Lyotard, or Lacoue-Labarthe, or Derrida on the holocaust and learned otherwise. No doubt other matters seemed more urgent at the time), one must recognise that her writing and analysis strike at the nerve of many of the most difficult and painful issues of our political and personal lives.

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!! Ebook Free I Hate To See That Evening Sun Go Down: Collected Stories, by William Gay

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William Gay established himself as "the big new name to include in the storied annals of Southern Lit" (Esquire) with his debut novel, The Long Home, and his highly acclaimed follow-up, Provinces of Night. Like Faulkner's Mississippi and Cormac McCarthy's American West, Gay's Tennessee is redolent of broken souls. Mining that same fertile soil, his debut collection, I Hate to See That Evening Sun Go Down, brings together thirteen stories charting the pathos of interior lives. Among the colorful people readers meet are: old man Meecham, who escapes from his nursing home only to find his son has rented their homestead to "white trash"; Quincy Nell Qualls, who not only falls in love with the town lothario but, pregnant, faces an inescapable end when he abandons her; Finis and Doneita Beasley, whose forty-year marriage is broken up by a dead dog; and Bobby Pettijohn -- awakened in the night by a search party after a body is discovered in his back woods.
William Gay expertly sets these conflicted characters against lush backcountry scenery and defies our moral logic as we grow to love them for the weight of their human errors.

• Sales Rank: #283317 in Books
• Brand: Brand: Free Press
• Published on: 2003-10-01
• Released on: 2003-10-01
• Original language: English
• Number of items: 1
• Dimensions: 8.44" h x .80" w x 5.50" l, .89 pounds
• Binding: Paperback
• 320 pages

Features

• ISBN13: 9780743242929
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
In this collection of 13 short stories, Southern writer Gay (Provinces of Night; The Long Home) confirms his place in the Southern fiction pantheon. Set in rural Tennessee, the stories pulsate with the inevitability of emotional pain, sometimes charged with fear, other times with limitless rage. Gay's characters are perpetually frustrated with the world's awkwardness and obstinacy, lashing out in bizarre ways. After shooting his wife's yapping dog and then facing divorce proceedings, the protagonist of "Sugarbaby" flees responsibility and commits suicide rather than face the music. About to leave town with a young woman who exudes "sullen eroticism," the downwardly mobile television salesman whose desperation animates "The Man Who Knew Dylan" deserts her at a bus stop, smelling too much trouble to handle. In the more ironic stories, natural forces stifle rebellion. The title tale peaks when an old man pushed out of his home by his son tries unsuccessfully to burn out the house's new occupants, nearly killing himself. Although the stories maintain an alluringly simple, spare affect, they are complex in their psychological underpinnings and their poetically described settings range from deep woods to shady towns to the half-junkyard, half-wilderness hell of the area known as "the Harrikin," to which several of Gay's characters flee when they reach the end of their tether. The very names establish authenticity: Finis Beasley, Billy Crosswaithe, Bonedaddy, Quincy Nell. Despite occasional rambling sentences revealing the influence of Cormac McCarthy or the odd false-ringing line of twangy dialogue, this collection is a fine showcase for Gay's imaginative talent.
Copyright 2002 Reed Business Information, Inc.

From Library Journal
Gay (Provinces of Night; The Long Home) offers a collection of stories whose characters arrive at a crossroads and usually choose the wrong path, be it violence, arson, or suicide. In the title story, an elderly man escapes his retirement home and uses extreme measures to rid his house of the family who is renting it. "The Paperhanger" involves a Pakistani doctor's wife, her difficulties with the titular paperhanger, and a missing child. In "Closure" and "Roadkill on the Life's Highway," a quest for a hidden stash of money gives the protagonist the means to come to terms with his estranged wife. Gay often fails to connect characters with the reader, so it's hard to understand why they make their violent, irrational decisions. But in the stronger stories the truth of the characters comes through. For larger public libraries and collections of Southern fiction. Christine DeZelar-Tiedman, Univ. of Minnesota Lib., Minneapolis
Copyright 2002 Cahners Business Information, Inc.

From Booklist
*Starred Review* A bitter, betrayed teenage girl murders her former boyfriend, a fellow named Bonedaddy. A seemingly happy marriage is torn apart when a husband shoots his wife's dog. This is the South of Gay's short fiction, "a countryside so beleaguered and desolate even the dead were fleeing it." He brings to these stories the same astounding talent that earned his two novels, The Long Home and Provinces of Night, a devoted following. In "The Paperhanger," the most haunting in this consistently excellent collection, the daughter of a Pakistani family disappears. The paperhanger, in the house at the time of the girl's disappearance, along with other workers building the family's dream house, is only briefly a suspect. The girl's mother sits for weeks on her half-finished veranda as her marriage and life fall apart before meeting a horrifying fate at the hands of the paperhanger. The ordinary evil of the characters, each of them broken, is the hallmark of these gut-wrenching tales, stories told from half-finished verandas about wholehearted attempts to bandage the wounds of the human spirit with cheap wallpaper. John Green
Copyright © American Library Association. All rights reserved

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17 of 18 people found the following review helpful.
Middle Tennessee Stories: Heart of Darkness
By Foster Corbin
I'd give eleven of these thirteen short stories an A+, the remaining two, a B+. This is a good a collection of short stories as you'll find. It's no wonder that the critics have nothing but praise for Mr. Gay. Many of the characters are similar. Alhough they are told in the third-person, the stories belong to the menfolks. They are tough, quiet, often angry and capable of violence at the slightest provocation. (In "Crossroads Blues," the character Borum, in describing how he shot his wife and his brother when he found them in bed together says, "You need to know what a man's capable of.") Sometimes they are the victims of their own inaction until it is too late to extricate themselves from the dilemmas they find themselves, and they do something horrific. They often have difficulties with women, ever seeking the elusive female in their lives. In some stories there is conflict between children and older parents. There are murders, accidental killings, suicides, accidental deaths-- and divorces, infidelities, teenage pregnancies and abortions, cancer and Alzheimer's. These characters inhabit, at least some of them, a place called Ackerman Field, somewhere near Nashville, Tenneseee where there is still a "high sheriff." They listen to George Jones, the Carter Family and Jimmie Rogers. But these characters certainly are not freaks and are ultimately very sympathetic. I have known some of these men; they are strong as oak trees.
According to biographical information on Mr. Gay, he is largely self-taught and is a voracious reader. A seventh grade teacher gave him a copy of Thomas Wolfe's LOOK HOMEWARD ANGEL; and the rest is, as they say, history. Like Wolfe, sometimes Mr. Gay's prose gets a little too ornate; for the most part, however, he's a joy to read. Mr. Gay is a great lover of similes and metaphors; they often work beautifully. Windows are "stoned by double-dared boys." A man views his naked, sleeping wife "in the filigreed moonlight at once real yet as remote and lost as a dusty nude study stacked in a museum's forgotten corner." A room in a funeral home is "a cozy paneled vestibule just one door removed from eternity."
This is probably sparrows screeching at eagles but I believe the term is "jerry-rigged" (p. 120) rather than "jury-rigged." But then, even Homer nodded.
These are quite fantastic stories.

12 of 13 people found the following review helpful.
Kindle edition is a mess
By Guy Mason
The book, as it stands, is fine I suppose. But it's difficult to determine this with all of the typos and formatting errors that exist in the kindle edition. Words were spelled wrong, there was poor grammar, and formatting issues that separate text for clarity that exist in the printed book are all gone and corrupted in the kindle version. There doesn't seem to be any other way to address this on amazon, so here's my review.

2 of 2 people found the following review helpful.
how dark is too dark?
By David Hewitt
There is no doubt of this much: William Gay is a first-rate writer. There's no arguing with his ability to tell or construct a story, or to rhapsodize with effortlessly glittering prose. And there is a scarcely a weak story to be found in this collection. What I do question, foremost, is the man's range. While understanding that a collection of short stories can be connected thematically to be interpreted as a whole, I still was somewhat put off by the sameness which ran through all of them: the circumstances and characters were varied so slightly as to be virtually indistinguishable at times, making for a compendium of utterly bleak tragedies by an author whose world view is one of relentless despair. (Less significant but also worth mentioning is the way Gay repeats certain descriptive metaphors from story to story.)

In portraying the plights of so many lost souls, scrambling for whatever modicum of meaning and comfort they can manage to hang onto in this cruelest of worlds, the humanity Gay presumes to illuminate is at least partially undermined by the raging darkness of a cancerous cynicism which allows for absolutely no hope or light to suffice. Every single story contains at least one death; after a while it just becomes morbidly predictable that the worst-case scenario will emerge. And while one of his characters, Tidewater in "the Lightpainter", is overheard "wishing everything was black and white instead of incremental variations of gray", the reader may well often wish for the same when it comes to some of the secondary characters who populate these stories. Gay's leads are invariably complex and compelling, but this is often not the case with their foils - the callous offspring and spouses and sheriffs against whom they are pitted. Similarly, it is the overriding and unchanging perspective of stark fatalism which leaves one sensing a lack of dimension in this collection no matter what depth of ambiguity Gay manages to hang on his focal characters.

A fully satisfying read only if you enjoy both masterful writing and being informed how patently irredeemable life is.

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