Minggu, 30 Agustus 2015

~ PDF Download Prosperous Friends, by Christine Schutt

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Prosperous Friends, by Christine Schutt

Described by John Ashbery as “pared down but rich, dense, fevered, exactly right and even eerily beautiful,” Christine Schutt’s prose has earned her comparisons to Emily Dickinson and Eudora Welty. In her new novel, Schutt delivers a pitch-perfect, timeless and original work on the spectacle of love.

Prosperous Friends follows the evolution of a young couple’s marriage as it is challenged by the quandaries of longing and sexual self-discovery. The glamorous and gifted Ned Bourne and his pretty wife, Isabel, travel to London, New York, and Maine in hopes of realizing their artistic promise, but their quest for sexual fulfillment is less assured. Past lovers and new infatuations, doubt and indifference threaten to bankrupt the marriage. The Bournes’ fantasies for their future finally give way to a deepened and mature perspective in the company of an older, celebrated artist, Clive Harris, and his wife, Dinah, a poet. With compassionate insight, Schutt explores the divide between those like Clive and Dinah who seem to prosper in love and those like Ned and Isabel who feel themselves condemned to yearn for it.

  • Sales Rank: #465418 in eBooks
  • Published on: 2012-11-06
  • Released on: 2012-11-06
  • Format: Kindle eBook

From Bookforum
Schutt penetrates to the core energies of human drama with a pointillist's touch; feeling is lent graceful shape, less readily apprehensible, but ultimately more incisive. —Albert Mobilio

Review
Praise for PROSPEROUS FRIENDS:

"Sinewy, unsentimental . . . Schutt depicts [Isabel's] rattled consciousness with quick, painterly strokes—a glancing, impressionistic style that owes a happy debt to Virginia Woolf. . . . Schutt has formed genuine moments of beauty and hope."—The Wall Street Journal

"[Schutt] has honed a language that feels wholly hers: a carefully cadenced poetic prose that warrants being read reverently, aloud. . . . Prosperous Friends proves Schutt to be one of the finest stylists alive. . . . Reading Schutt's prose is like listening to music: beneath its manifest meaning, her language is full of ther, ineffable messages, encrypted in rhythms and melodies. . . . It isn't so much that Schutt succeeds in making order from chaos—she knows that she can't, we can't, no one can. So she says, once you've failed, go on living: make order from failure."—Los Angeles Review of Books

"A disposition to illuminate peaks of cognizance amid humdrum circumstances invests Schutt's latest novel, Prosperous Friends with an almost electrical charge. . . . Schutt has a delicate eye for the visceral. Like a Pre-Raphaelite painter, she shines unnatural light on natural things to disconnect and unbalance viewers. . . . In her brevity and elevated pitch, her sentences sound ready to pounce upon intimate disclosure. Like [Henry] James, Schutt penetrates to the core energies of human drama with a pointillist's touch; feeling is lent graceful shape, less readily apprehensible, but ultimately more incisive. . . . Prosperous Friends presses adventurously against mere telling's quotidian restrictions and attempts to enact 'the lyrical impulses of the soul.'"—Bookforum

"Prosperous Friends was another revelation this year, a devastating story of young love, old love, and no love, written with a razor, it would seem, on living skin."—The New Yorker (Best Books of 2012, P.S.)

"With terse sentences that read like poetry, Schutt strips each scene of excess context and cuts to the heart of the moment. Her prose evokes emotions more vital to the novel: frustration and despair juxtaposed with understanding and desire. The characters instantly come to life with a clever turn of phrase or a well-crafted sentence. . . . In a collection of carefully thought-out moments, Schutt's haunting yet lyrical words linger long after the final page."—Los Angeles Times

“Artful . . . Astonishing . . . Piercingly real . . . The poetic concision and allusiveness of [Schutt’s] prose give the story more heft than a mere two-hundred pages would suggest. . . . Her sentences never waste a phrase or even a word. In these finely cut scenes . . . Schutt deals killing blows with such short, precise movements that at first you barely register the wound.”—The Washington Post

"By turn poetically mesmeric and brutally unsentimental . . . [Schutt] beguiles us with . . . forensic attention to detail. . . . Schutt's writing dazzles while it disorients. This is a beautiful but disquieting novel about broken vows and hearts."—Star Tribune (Minneapolis)

"[A] powerful work of craftsmanship . . . While her sentences are lyrical and flowing—she is perhaps the single best practitioner of the acoustical clustering technique described as 'consecution'—her scenes tend to be stripped down and brutally juxtaposed. . . . Prosperous Friends is intimate and alien as a dream. Like poerty, it rewards careful reading, and though brief, the questions it raises linger, unanswerable and self-complicating."—The New York Observer

"Lovely and unpredictable . . . An unsettling book that is by turns grim, scathing, and droll. Watching it unfold in the presence of an author who is part poet and part sculptor is its own reward."—Portland Press Herald

"Christine Schutt's slender yet powerful novel examines modern love with a poet's insight."—Barnes & Noble Review

"Schutt is a writers writer whose elegant prose seems like chiseled diamond."—Library Journal

"Prosperous Friends is masterful, a comic-tragic astonishment. Christine Schutt continues to write some of the most original and rewarding prose I've ever read."—Sam Lipsyte

"Delicate prose, fearless storytelling...exquisitely wrought...Schutt lets readers feel the yearning sadness of a love that never quite happens...spare but lyrical."—Chapter 16 Blog

"Feeding off Chekhov, Wilder, O'Neill, and the emotional electricity of live theater, Christine Schutt stages her own brand of parlor drama in Prosperous Friends. . . . Schutt prodes prosperity's margin of error: free spirits who've pissed away entire legacies, scions sweating out trusts and entanglements, and fatalistic women who leverage sex and cohabitation as a means to financial security. With its well-bred, art-damaged Gothicism—and a bewitching knack for appearing both full-frontal and oblique—Schutt's prose may have no closer counterpart than the lyrics of P. J. Harvey. . . . At root, Prosperous Friends may be a knotty comedy or a confounding dramawhich is, in all likelihood, the living truth."—Paste

“No one writes sentences like Christine Schutt. Prosperous Friends is sure to be her masterwork. Like Fitzgerald’s Tender Is the Night, Schutt’s por¬trait of a young couple in ruins is exquisitely beautiful, stunningly resonant, and so minutely and vividly observed you feel devastated at its close. With Prosperous Friends, Schutt takes her place among the best writers of our time.”—Kate Walbert

“Why do we love one, and not another? Christine Schutt's beautifully telegraphic prose goes to the heart of a question posed in scenes and moments so real and exquisitely framed that the reader enters her vision completely. Elliptical, haunting, perfectly pitched, Prosperous Friends re-defines itself as it unfolds, changing and transforming, alive with truths and questions. Schutt demands our meditation, our intimate consideration, our awe.”—Jayne Anne Phillips

"Clever . . . Unorthodox . . . Schutt rips the facade off marriage."—California Literary Review

“It is no longer a secret that Christine Schutt is the finest writer among us, and Prosperous Friends is her finest work yet. There isn't a corner in any of her sentences left ungraced by her lyrical genius, her heart-fathoming wisdom. A few pages in, you'll know you have a classic in your hands.—Gary Lutz

“Christine Schutt casts the light of her brilliant prose into the shadowy corners of marriage and sex, aging and art-making, wealth and aspiration. What she finds there is thrilling, dangerous, true: impossible to forget. This is a moving, luminous novel, its radiance all the more striking for the darkness it's willing to explore.”—Sarah Shun-lien Bynum

"With her elusive, suggestive prose, Christine Schutt examines the mystery of one couple's dissolution. In its spare delicacy, Prosperous Friends recalls nothing less than James Salter's Light Years."—Stewart O'Nan

“Give me the tough, adamantine beauty of Christine Schutt’s writing any day. Her new novel, Prosperous Friends, is about that, about friends, and their marriages, and within the eddy of these various enterprises, within the many come-hithers and get-thee-gones, is a character at once Isabel Stark and Isabel Bourne. It's Portrait of a Lady one hundred and thirty years on, except it’s all incisively new, and it’s Christine Schutt at her finest.” —Michelle Latiolais

"Poignant . . . Schutt creates noteworthy texture with what she withholds . . . making for abrupt juxtapositions, vivid moments, and terse language, the sum of which feels fittingly reflective of the [book's central] relationship itself." —Publishers Weekly

About the Author
Christine Schutt is the author of two collections of stories, Nightwork and A Day, A Night, Another Day, Summer. She is also the author of the novels Florida, a National Book Award finalist, and All Souls, a finalist for the Pulitzer Prize.

Most helpful customer reviews

5 of 5 people found the following review helpful.
Come and Meet the Wavy Words of Author Christine Schutt
By Elaine Campbell
Not such reading Nightwood by Djuna Barnes several years ago have I come across such original writing by a female novelist as this book contains. Now I admire Jane Hamilton for her virtuosity, though I find her subjects too mundane; Paulette Jiles for her ability to sustain poetic prose over hundreds of pages. But what do we have here in this briefly flowing book--words in and out, going somewhere and then receding. Sort of like an imitation of our thoughts on a green, shady day.

Ordinarily I would not choose to read a book about a shaky marriage, maybe two of them, though one is older and more solid. Compromise has set in and all is found suitable. Adjustments have been resolved and semi-life is lived. Not so the younger couple who never seem to get to know one another. They hardly even try. They are more interested in being known. Affection is not a common bond.

However, when I read the description by John Ashbery, perhaps our greatest living modern poet, of this work as "pared down but rich, dense, fevered, exactly right and even eerily beautiful," my resistance dissolved. I trusted the integrity of Ashbery's recommendation and I'm glad I did because it led me to the reading of this book.

Upon reading the first chapter (just a few pages), I had to stop. "Wow!" I thought. "What did I just read?" Time for a reread already? The writing, like musty wine, cries to be mulled. I found myself pausing many times during the reading of this fluid prose, constantly surprised by original phrasing, images and even tone. Rewind, fast forward, then rewind again. Then on to the next sighting of rarity. Rarified?...An example, not taken directly from the text, of the author's inclusion of wordplay. Another quality of her unusual writing.

So if I appear to be in awe, I am. How Christine Schutt's future work develops and how her exploratory nature will find nurturance, maybe even healing, in the almost broken, the disconnected, the artistic plea will be something to follow from the reader's own stance and place.

A major talent here. A quick, sailing read through the harbor of the unique.

7 of 8 people found the following review helpful.
A STUNNING PORTRAIT OF A MARRIAGE THAT SHOULD NEVER HAVE HAPPENED
By David Keymer
This stunning short novel is about the rapid disintegration of a marriage that should never have happened. Both parties to it -pretty boy writer Ned and kind of pretty but desperately unfulfilled Isabel-- are basically unattractive types: the husband is a taker and a user, the wife seems doomed to dissatisfaction, starting with the disillusionment of their sex life. Their marriage is already unraveling when they become entangled with an older couple who seem to have what they've never gotten: a relationship, however incomplete it may be in many respects, that allows them to move forward through life together. The older man, Clive, is a successful painter, a serial adulterer and a roaring egoist, but his wife, a poet, has found a way to make it work between them, where the young couple just scar each other terribly before moving on to separate, who knows what kind of, lives.

The prose in this novel is luminous. Schutt uses alliteration repeatedly, creating waves of sound that just beg to be declaimed like the best poetry or an epic: "Might they not be released and made green again at some greater god's touch?" "g - g- g..."

The final paragraph in the book floats forward on cushions of alternating front-end "p"s, "w"s, "c"s and "ch"s, "s"s and "sh"s: "For eating rather than feeding his guests, the one-eyed giant Polyphemus lost his eye. Pious mortals who stick to the code fare better. Like the poor old couple --what were their names?- who offered all of what they had for the comfort of gods in disguise: the best chair, their last chicken, the cask of wine now sour but the gods make it sweeter.... etc., etc. [ending:] So it is that in dying they have only enough time to cry: 'Farewell, dear companion,' before they turn into trees, a linden and an oak, sprung from one trunk."

This is a book where the small touches are as telling as the narrative line. Schutt captures in two sentences what an old woman's hand looks like to her. She describes the nature that surrounds her characters in Maine -a nature that the poet notices (she writes about it), her painter husband only notices when some aspect of it engages his painterly eye and Ned and Isabel and Sarah, the painter's daughter, cruise through oblivious.

The story is told at a slant, the narrator outside events, so that passages slide obliquely into place as you read them, unclear at the start but then acquiring context and significance. There are no waste words in this book. The story is almost wholly about five characters. (The fifth is the painter's awkward and unhappy middle-aged daughter, who feels rejected by him. And she's right about that.) Only the painter's wife emerges as an attractive human being, but that's alright: Schutt reminds us that even the most self-involved people can feel and hurt.

It's a really good book. I hope lots of people try it.

7 of 8 people found the following review helpful.
Is "Poetic Fiction" an oxymoron?
By Roger Brunyate
Christine Schutt writes well, there's no doubt about it. As a poet, though, not your normal novelist. The book is made up of images, moments in time, stages in a relationship, oblique encounters bereft of the usual machinery to connect one part to another in linear narrative. Yet a story does emerge, a story in which little happens but much is revealed.

It begins with a young married couple, Isabel and Ned Bourne, both writers, both beautiful, both very much in love -- though Isabel, despite Ned's best efforts, is anorgasmic -- a minor detail, or sign of something deeper? It is Ned's postdoctoral year in London, and they are both in awe of the history, the theatre, the literary heritage, and rich friends who can cart them off on a whim to Rome or Florence. Other friends follow, in New York and later in Maine; it is a marriage characterized by semi-tolerated infidelity.

Eventually, out of the many acquaintances, another couple emerges: Clive Harris, a celebrated painter in his seventies, and his wife Dinah, a poet. Though Dinah also also accepts her husband's serial adultery, somehow their marriage works. Such shape as the novel has comes from the gradual emergence of the Harrises into the limelight, eclipsing the disintegrating Bournes.

The jacket blurb compares the book to James Salter's LIGHT YEARS, and I agree, in that both deal with the marital problems of artistic couples in a slightly precious impressionistic way. But I remember being enthralled by the Salter whereas Schutt, despite her brevity, could not imprint any part of the book on me sufficiently to remain in my mind when I was a mere forty pages on. So, despite the beauties on almost every page, I could barely glimpse the architecture of the book as a prose poem, and had very little investment in it as a story.

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Jumat, 28 Agustus 2015

? PDF Ebook Personal Impressions, by Isaiah Berlin

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Personal Impressions, by Isaiah Berlin

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Personal Impressions, by Isaiah Berlin

This enthusiastically received collection contains Isaiah Berlin's appreciation of seventeen people of unusual distinction in the intellectual or political world - sometimes in both. The names of many of them are familiar - Winston Churchill, Franklin D. Roosevelt, Chaim Weizmann, Albert Einstein, L. B. Namier, J. L. Austin, Maurice Bowra. With the exception of Roosevelt he met them all, and he knew many of them well.

For this new edition four new portraits have been added, including recollections of Virginia Woolf and Edmund Wilson. The volume ends with a vivid and moving account of Berlin's meetings in Russia with Boris Pasternak and Anna Akhmatova in 1945 and 1956.

  • Sales Rank: #1224772 in eBooks
  • Published on: 2012-06-30
  • Released on: 2012-06-30
  • Format: Kindle eBook

Review
"Welcoming and rewarding. . . . [Berlin] is at his most conversational. This splendid book bring[s] the past to life."--Peter Stansky, New York Times Book Review

From the Back Cover

"Berlin was one of the foremost intellectuals in the English language--one of the finest historians of ideas in the latter half of the century and a rightly celebrated political thinker. . . . These essays tell us about him as well as his subjects."--Mitchell Cohen, City University of New York


About the Author

Isaiah Berlin was, until his death in 1997, a Fellow of All Souls College, Oxford. He was renowned as an essayist and as the author of many books, among them Karl Marx, Four Essays on Liberty, Russian Thinkers, The Sense of Reality, The Proper Study of Mankind, and from Princeton, Concepts and Categories, Personal Impressions, The Crooked Timber of Humanity, The Roots of Romanticism, The Power of Ideas, and Three Critics of the Enlightenment. Henry Hardy, a Fellow of Wolfson College, Oxford, is one of Isaiah Berlin's literary trustees. He has edited several other volumes by Berlin, and is currently preparing Berlin's letters and remaining unpublished writings for publication.

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11 of 11 people found the following review helpful.
Biography becomes autobiography also
By Shalom Freedman
Isaiah Berlin writes his personal impressions of some of the most distinguished people of his time, many of whom he knew personally. He does this with his characteristic insight and intelligence. Among those he writes about are Churchill, Roosevelt, Chaim Weizmann the President of Israel, Pasternak, Akhmatova, Virginian Woolf and Edmund Wilson. In making these portraits Berlin also holds the mirror up to himself , and biography becomes autobiography also.This is most tellingly so perhaps in the story of his famous meeting with Akhmatova who had lived so long in fear and darkness before Berlin's turning point visit. We also see the man of ideas as a man of action in the help he gave to Weizmann in the struggle for Israel's founding.

Every one of these essays contains insights of great interest.

This work is a pure delight, nectar and ambrosia for the mind.

0 of 1 people found the following review helpful.
Impressions will delight you ... if you know a lot already.
By Jared Bernstein
reading it from the library.... if you know a whole lot about analytic philosophy of the mid-20th century, then this Berlin's P.Impressions will delight you. Otherwise, his peripatetic style of description is difficult. He explains very little, but the description of Ayer, Austin, and company at Oxford in the 30's is unique and warm and helpful.

1 of 2 people found the following review helpful.
Five Stars
By robert
great

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Senin, 24 Agustus 2015

? Download PDF The Jewels of Paradise, by Donna Leon

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The Jewels of Paradise, by Donna Leon

Donna Leon has won heaps of critical praise and legions of fans for her best-selling mystery series featuring Commissario Guido Brunetti. With The Jewels of Paradise, Leon takes readers beyond the world of the Venetian Questura in her first standalone novel.

Caterina Pellegrini is a native Venetian, and like so many of them, she’s had to leave home to pursue her career. With a doctorate in baroque opera from Vienna, she lands in Manchester, England. Manchester, however, is no Venice. When Caterina gets word of a position back home, she jumps at the opportunity.

The job is an unusual one. After nearly three centuries, two locked trunks, believed to contain the papers of a baroque composer have been discovered. Deeply-connected in religious and political circles, the composer died childless; now two Venetians, descendants of his cousins, each claim inheritance. Caterina’s job is to examine any enclosed papers to discover the “testamentary disposition” of the composer. But when her research takes her in unexpected directions she begins to wonder just what secrets these trunks may hold. From a masterful writer, The Jewels of Paradise is a superb novel, a gripping tale of intrigue, music, history and greed.

  • Sales Rank: #208735 in eBooks
  • Published on: 2012-10-02
  • Released on: 2012-10-02
  • Format: Kindle eBook

Review
"Fascinating. ... her first stand-alone ... boasts the same sensitivity to human behavior that distinguishes her Guido Brunetti series."--Bill Ott, "Booklist"

"A veteran mystery maven weaves present-day Venice into a 300-year-old puzzle in this engaging stand-alone. ... [The Jewels of Paradise] packs the charms of Venice into a smart whodunit."--"Kirkus Reviews"

"While it is undeniable strange to be wandering through Venice without the protection of Brunetti's solid presence, the young heroine of this novel is so winning that readers should find themselves forgiving the Commissario his absence. ... The Jewels of Paradise is as much a tale about a young woman wising up and learning to fight more effectively for her own happiness as it is a mystery--though the centuries-old secrets that those chests contain are also pretty compelling. Commissario Brunetti is allowed to take a vacation once in a while, but only if his replacements are as wry and erudite as Caterina."--Maureen Corrigan, "The Washington Post"

""The Jewels of Paradise"... shares some features of the Brunetti mysteries--Venice's mash-up of high and low culture, corrupt businessmen and Italian-style family squabbles. It also shares Leon's elegant prose, with humorous, wonderfully detailed descriptions as seen through the eyes of her heroine."--Jennifer Melick, "Opera News"

About the Author
Donna Leon is the author of the international best-selling Commissario Guido Brunetti series. The winner of the CWA Macallan Silver Dagger for Fiction, among other awards, Leon was born in New Jersey and has lived in Venice for thirty years.

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188 of 198 people found the following review helpful.
wait! where's the beef? (and the pasta and the gelato and the walks and the stairs . . .)
By Julia Walker
I love Donna Leon's books. I've loved them for 20+ years. And I was delighted that there was going to be a new character, a woman. Paola Falier is a character of/from whom I never see/hear enough -- mordant wit personified.

Caterina is no Paola Falier. She is the oddest combination of experience and cluelessness. She swans around various digital databases, but evidently can't imagine setting up the Italian equivalent of a gmail account. She loves Venice but conveys this with the catch-phrase "ridiculous beauty," substituting oxymoron for visual detail. What a cheat. And her voyeuristic interest in the family across from her window -- although it fits with her obsession about children -- verges on the deeply disturbing.

But _geeze_. This isn't a book; it's an outline. Certainly Leon knows the first rule of storytelling -- show, don't simply tell -- but she ignores it here. The composers >>> music get some detail, but not the living people. Venice -- even Venice! -- gets short-changed. We are told how ugly Manchester is, but there's not one single specific, not even about the rain. Ditto the food. The faculty dinner party at the beginning promised to be hysterical, but the author flipped us off with a few adjectives and an epithet or two.

The plot is an excuse for the music, and that would be OK if there were actually a plot; instead it's a collection of improbable circumstances. Things happen for 200 pages and then a thin, thin plot-let shimmers across the few remaining pages then things stop. I have two questions: if one famously rich and powerful branch of the Roman Church had the trunks for centuries and an even more powerful branch is backing this undertaking, why on earth do they need the farce of hiring a musicologist with 5 languages? Why not do the work in-house? This issue becomes an elephant-in-the-room of such enormous size that there's no space for anything else.

I planned to give it two stars, but my finger simply wouldn't click there for Leon's Venice. So.

As Sharon says above, I don't think I'm comparing this to the Brunetti novels. I think I just don't much like it.

(And clearly that has played havoc with my syntax. . . .)

31 August: OK, here's a PS about the intermittent Italian (see the comments after Sharon Isch's review)

At coffee with language-loving friends today I tried to tease out why I found it so irritating. Here it is:

Leon uses Italian phrases in 3 sorts of circumstances: as excited utterances (as they say on Law and Order), as carefully considered word-choice, and as pretentious filler. In the first category we find "vade retro, satana," (p 194) as Catarina gets shocking news about dark conspiracy. "Get behind me, Satan," roughly, and the context makes that clear even if Tina's horrified into in German hadn't preceded it. And no harm no foul if you keep reading.

Then there's the best usage, just on the next page (195): "She gave considerable thought to how to close the email and decided on 'Cari saluti, Caterina,' which, while being informal was nothing more than that but certainly suggested continuing goodwill." This parallels the on-going discussion of "lei" and "tu," which Leon actually deigns to explain, and is, I'd say, both in character and appropriate. And if you can't take a guess, it's a one-sentence paragraph, so you can go look it up.

Finally there's the third category, into which most of the sins fall. From the same section -- as she nears the end, Leon evidently feels less bound to English -- there's this on p 182: "You've probably read the phrase in the paper motivi futili." In addition to bad English syntax, "motivi futili" is both unnecessary and counter-productive. Cognates get you "motives" but "futili" isn't really "futile." (No, I looked it up.) BUT the worst part is, this falls in a conversation where the reader doesn't need to pause, to ponder, to pursue translation. This is like Leon playing with "Dell'alma stanca" -- ok, obviously a title or first line when initially used, but as she keeps at it, returning twice more to individual words, still sans translation, it's just annoying. And I know what "stanca" means.

I got tired of being annoyed. Furthermore, this generates resistance to the Italian that is acutally appropriate or even necessary. With these over-precious articulations, Leon reminds me of a student who comes back from a study-abroad term in the UK, his mouth stuffed with idiomatic Brit plums. Please.

I happily allow Dorothy Sayers an entire letter in untranslated French, a letter with the solution to the mystery, but I object to Leon's parole-dropping?

Well, si. And see: my finger found that 2-star rating after all. Sad.

43 of 43 people found the following review helpful.
I love Baroque opera, Venice and Donna Leon, but this book just didn't engage me
By IRG
As someone who loves (and knows more than a bit about) Baroque opera and who had thoroughly enjoyed all of Donna Leon's wonderful Inspector Brunetti books set in Venice, I was primed to read this new Leon tome. No, I wasn't expecting a Brunetti character equivalent in the world of musicology. But I was expecting the character enchantment and engagement that I had from the first pages of the very first Brunetti book.

Fifty pages in and I was asking myself how it was possible that this book was written by the same Leon who wrote the Brunetti books. The sentence structure, the style, the use of Italian phrasing (that required me to stop and look up the meaning as Leon provided none nor a context), the heavy-handedness with the research aspects of the storyline...the lack of interesting characters, particularly the main one, Caterina. I simply could not believe that this was written by the same writer who created and grew Brunetti. The same author who brought both ancient and contemporary Venice to life and explored a whole range of topics within the Brunetti series. And who made us feel as if we personally knew both Brunetti's work and real families. Vivid, interesting and never boring characters. (If you've read the Brunetti books, you know how well Leon handles the whole exploration of literature in them whether it's a discussion with Paola, Brunetti's literature professor wife, or Brunetti's own musings on various books. This is a marked contrast to how the music history bits are handled in this book. Night and day of difference and not in a good way.)

The theme of Baroque opera--including its history--could have been explored with a lot more intrigue especially in the hands of someone like Leon. I was bored reading the book, which felt, at times, as if one had just juiced up some research notes. I am studying Baroque opera at the moment and the textbooks are far more lively and definitely not boring. What can one say when someone as clearly skilled as Donna Leon cannot bring this theme to life?

I struggled to finish because I feel I owed it to a writer whose work I have loved for years. There are flashes of the brilliant Leon buried within but they are not enough to offset what is, sadly, a work that did not engage me. A work that had her name not been on the cover, I would never have known the author was Donna Leon. It pains me to even write this because we have been gifted with years of incredible work by Ms. Leon and for that I am grateful. I hate criticizing the work of an author I truly enjoy but not liking this book in no way diminishes the quality of her work or her success or her contributions (Long live Brunetti!).

83 of 93 people found the following review helpful.
Meanwhile, in Another Corner of Venice. . .
By takingadayoff
It's exciting to see that Donna Leon's latest mystery is a stand-alone, not one of her Commissario Brunetti mysteries.

In The Jewels of Paradise, the protagonist, Caterina, is a music professor in her thirties, in a dead end job teaching first year music theory at a conservatory in Manchester. When she's offered a temporary position in her hometown of Venice, she doesn't ask questions, she just jumps at the opportunity.

Everything about the new job is a little off. The institute she will be working at doesn't seem to have any purpose and the lawyer who represents her clients is a little too smooth, even for a lawyer. Her assignment doesn't seem entirely plausible - examine the papers in two 300-year-old trunks for clues as to which of the two claimants should get the contents.

The papers belonged to a composer and priest of the early 18th century. The parallel mysteries of how this little-known composer came to write such beautiful music and why the clients think the contents of the trunks might be valuable take place over a few days. There is little physical action in the story, but the dual mysteries play out with a pleasant drip-drip of clues and an undertone of tension and menace.

I got caught up in the story right away and was hooked right up to the end. Even though my limited opera knowledge comes entirely from Bugs Bunny cartoons, and the composer in question wrote operas, Leon made it all perfectly clear. And yet I think the mystery itself lacked the sophistication of the Brunetti stories, in which Leon usually highlights a social issue in addition to a murder and the ending is rarely neat and tidy. The mystery of the Jewels of Paradise was less complex and had what seemed an almost Nancy Drew-ish solution. This was at odds with the rather involved musical history of the composer, the non-fictional Agostino Steffani.

As much as I've enjoyed the Brunetti series, which started strong, weakened for a few years, and now seems to be back on track with the most recent books, I have mixed feelings about series mysteries. Writers and readers like having familiar characters to return to, but they often take over the books, which become less mystery and more soap opera about the regular characters.

Whether Brunetti has reached that point is a matter for discussion - meanwhile, Leon has taken a risk and that's good news.

Four stars for a refreshing change of pace. Leon has left her options open -- a new series, back to Brunetti, another stand-alone mystery, all of the above? In any case, I can't wait to see what Leon comes up with next.

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¿Qué hay en el corazón mismo de plantar una iglesia?
El componente humano más importante que tiene la plantación de toda iglesia es su propio fundador. Las Escrituras se refieren con frecuencia a la personalidad y la labor que desempeñan los que son llamados a ser líderes. Sin embargo, gran parte de esa sabiduría que procede de Dios es echada a un lado para sustituirla con estrategias y métodos humanos, lo cual termina haciéndonos pagar un alto precio. Ya va siendo hora de que volvamos a los criterios llenos de autoridad de la Biblia a la hora de decidirnos en cuanto a la persona, el mensaje y la misión que necesita tener toda iglesia.

  • Sales Rank: #1459305 in eBooks
  • Published on: 2013-01-08
  • Released on: 2013-01-08
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Darrin Patrick es el vicepresidente de la Red Hechos 29 para la Plantación de Iglesias, y el pastor fundador de Journey Church, en Saint Louis, Missouri. Lleva veinte años dedicado al ministerio y da conferencias continuamente en reuniones de pastores y sesiones de entrenamiento para fundadores de iglesias.

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History at the Limit of World-History (Italian Academy Lectures), by Ranajit Guha

The past is not just, as has been famously said, another country with foreign customs: it is a contested and colonized terrain. Indigenous histories have been expropriated, eclipsed, sometimes even wholly eradicated, in the service of imperialist aims buttressed by a distinctly Western philosophy of history. Ranajit Guha, perhaps the most influential figure in postcolonial and subaltern studies at work today, offers a critique of such historiography by taking issue with the Hegelian concept of World-history. That concept, he contends, reduces the course of human history to the amoral record of states and empires, great men and clashing civilizations. It renders invisible the quotidian experience of ordinary people and casts off all that came before it into the nether-existence known as "Prehistory."

On the Indian subcontinent, Guha believes, this Western way of looking at the past was so successfully insinuated by British colonization that few today can see clearly its ongoing and pernicious influence. He argues that to break out of this habit of mind and go beyond the Eurocentric and statist limit of World-history historians should learn from literature to make their narratives doubly inclusive: to extend them in scope not only to make room for the pasts of the so-called peoples without history but to address the historicality of everyday life as well. Only then, as Guha demonstrates through an examination of Rabindranath Tagore's critique of historiography, can we recapture a more fully human past of "experience and wonder."

  • Sales Rank: #1998560 in eBooks
  • Published on: 2012-06-19
  • Released on: 2012-06-19
  • Format: Kindle eBook

Review

"A new book by Ranajit Guha is both an important event for South Asian Studies and a significant occasion for the humanities....This is a deeply stirring work." -- Homi Bhabha



"Guha's works have deeply influenced not only the writing of subcontinental history but also historical investigations elsewhere, as well as cultural studies, literary theories, and social analyses across the world." -- Amartya Sen



"Guha has been one of those rare creative spirits whose works continue to light our path towards this common humanity by honestly exploring our historical differences." -- Haider A. Khan, Comparative Studies of South Asia, Africa & the Middle East



"...the Tagore essay...is a gem and Guha's eloquence usefully prods every reader to rethink his/her methodical toolkit." -- Gabriel Paquette, Itinerario



"Combining acute theoretical and political insight with empirical substance and prescription for enriching historical practice, this is an exemplary postmodern intervention." -- Patrick Finney, Journal of Contemporary History



"This book is definitely worth a read for those interested in questions pertaining to everyday life and also in recent postcolonial efforts to rethink the practices of disciplinary history." -- Bernardo A. Michael, Journal of World History

About the Author

Ranajit Guha is founding editor of Subaltern Studies and author of a number of celebrated books, including Dominance Without Hegemony: History and Power in Colonial India. He has held various research and teaching positions in India, England, the United States, and Australia. He currently lives in Austria.



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~ PDF Ebook The Hole in Our Holiness: Filling the Gap between Gospel Passion and the Pursuit of Godliness, by Kevin DeYoung

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The Hole in Our Holiness: Filling the Gap between Gospel Passion and the Pursuit of Godliness, by Kevin DeYoung

The hole in our holiness is that we don't care much about holiness. Or, at the very least, we don't understand it. And we all have our reasons too: Maybe the pursuit of holiness seems legalistic. Maybe it feels like one more thing to worry about in your already overwhelming life. Maybe the emphasis on effort in the Christian life appears unspiritual. Or maybe you've been trying really hard to be holy and it's just not working! Whatever the case, the problem is clear: too few Christians look like Christ and too many don’t seem all that concerned about it.

This is a book for those of us who are ready to take holiness seriously, ready to be more like Jesus, ready to live in light of the grace that produces godliness. This is a book about God's power to help us grow in personal holiness and to enjoy the process of transformation.

  • Sales Rank: #60333 in eBooks
  • Published on: 2014-01-31
  • Released on: 2012-08-15
  • Format: Kindle eBook

Review

“This book is vintage DeYoung—ruthlessly biblical.”
—John Piper, Founder, desiringGod.org; Chancellor, Bethlehem College and Seminary

“My heart resonated deeply when I first heard Kevin speak on this subject. His message is a wake-up call to God’s people—timely, prophetic, and desperately needed in our day. As a gifted theologian and thinker, Kevin tackles many of the biblical intricacies and nuances of true holiness. As a pastor, he evidences sincere compassion and concern for the condition of the flock. As a fellow pilgrim, he gets to the heart of ways of thinking and living that keep us from reflecting our holy God in this dark world. As a servant and lover of Christ, he holds out a vision of the beauty and power of personal holiness.”
—Nancy Leigh DeMoss, author; radio host, Revive Our Hearts

“Holiness was once a central component of following Christ. But for many today, the Christian life is little more than a celebration of cheap grace and pseudo-liberty, with a high tolerance for sin. In this well-written and much-needed book, Kevin DeYoung thoughtfully points us to an unpopular yet strangely liberating truth—that God is holy and expects us to be holy. With no hint of legalism or drudgery, Kevin offers a balanced and engaging view of law and grace. Kevin DeYoung is one of my favorite writers, and this book demonstrates why. I repeatedly said 'Yes!’ as I turned these pages. I’m convinced that Christ-followers desperately need to read, discuss, and live out the timely, God-exalting message of The Hole in Our Holiness!”
—Randy Alcorn, Founder and Director, Eternal Perspective Ministries; author, If God Is Good and Heaven

“Grace is too amazing to save us from sin’s guilt only to leave us under its cruel tyranny. In this book, Kevin DeYoung reminds us that the gospel is the ground of our justification and sanctification. At the same time, he reminds us of the many exhortations in Scripture to pursue godliness as the fruit of our union with Christ in the power of the Spirit. The Hole in Our Holiness offers important reflections on a crucial topic in the ongoing conversation about the joys and struggles of the Christian life.”
—Michael Horton, J. Gresham Machen Professor of Systematic Theology and Apologetics, Westminster Seminary California; author, Calvin on the Christian Life

“One might expect a book about holiness to be heavy on finger-pointing, leaning toward legalism, and embarrassingly out-of-touch. But The Hole in Our Holiness is none of those things. Instead, Kevin DeYoung gets specific about what Spirit-infused, gospel-driven effort toward holiness looks like. Going way past ‘try harder’ and ‘believe better,’ this book implants in readers not just a longing to be holy but real hope that it could happen.”
—Nancy Guthrie, Bible Teacher; author, Seeing Jesus in the Old Testament Bible study series

“J. C. Ryle wrote his classic Holiness out of a concern that ‘practical holiness and entire consecration to God are not sufficiently attended to by modern Christians in this country.’ It is with the same prescient concern and pastoral insight that my friend Kevin DeYoung has written what I consider to be the modern equivalent, urging a new generation of Christians to obey God's command to ‘be holy, for I am holy.’ May The Hole in Our Holiness do for our time what Holiness did in a previous age: promote gospel-centered holiness in Christians and churches around the world.”
—C. J. Mahaney, Senior Pastor, Sovereign Grace Church of Louisville, Louisville, Kentucky

“I have loved being under Kevin's teaching during my college years, specifically on this matter of holiness. This is indispensable reading material for all who desire a life of piety. Though we are fallen people, Kevin points us to our potential for godliness and how our progress in this area is of the utmost importance. Get your highlighter ready!”
—Kirk Cousins, former starting quarterback, Michigan State University; quarterback, Washington Redskins

“The strength of this book lies in its biblical understanding that all great renewal is founded upon knowing the goodness and holiness of God. We are commanded to be holy because he is holy, and only in Christ can we be trained accordingly: ‘For the grace of God has appeared bringing salvation to all people, training us to renounce ungodliness and worldly passions, and to live self-controlled, upright, and godly lives in the present age’ (Titus 2:11). I pray that Kevin’s words would be read widely and that the church might be known as a people ‘zealous for good works’ upon seeing the Father’s holiness and Christ’s redeeming work.”
—John M. Perkins, President, John M. Perkins Foundation for Reconciliation and Development

About the Author

Kevin DeYoung (MDiv, Gordon-Conwell Theological Seminary) is the senior pastor at University Reformed Church (PCA) in East Lansing, Michigan. He serves as a council member at the Gospel Coalition and blogs at DeYoung, Restless, and Reformed. He serves as Chancellor’s Professor of Systematic and Historical Theology at Reformed Theological Seminary and is a PhD candidate at the University of Leicester. He is the author of several books, including Just Do Something, Crazy Busy, and The Biggest Story. Kevin and his wife, Trisha, have seven children.

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47 of 50 people found the following review helpful.
Will help its readers understand the holiness of God and how to grow in the grace of God
By Dave Jenkins
In the past year or so there has been a significant discussion on the relationship between justification and sanctification in the Reformed blogosphere. One of the participants of that discussion and arguably one of the most articulate voices in evangelical Christianity is Pastor Kevin DeYoung who wrote blog posts in that conversation, and now has written a very helpful book titled The Hole in our Holiness Filling the Gap between Gospel Passion and the Pursuit of Godliness.

At the heart of DeYoung's book is the Gospel. He teaches that, "Any gospel which says only what you must do and never announces what Christ has done is no gospel at all" (11). DeYoung's concern is a valid one as much of the preaching many of my friends have grown up on was preaching that focused only on what they were supposed to do in their Christian life rather than on what Christ has done in His work on Cross and in the Resurrection.

One of the most neglected truths in Christianity and arguably one of the most important truths for every Christian to understand is definitive sanctification (our positional identity in Christ), and how it does not eliminate the need for continuing "progressive sanctification." DeYoung notes, "In Christ every believer has a once-for all positional holiness, and from this new identity every Christian is commanded to grow in the ongoing-for your whole life process of holiness" (32). David Peterson notes that "Believers are definitively consecrated to God in order to live dedicated and holy lives, to his glory." In other words, sanctified is what Christians are and what they must become.

Chapter six is one of the most helpful chapters in the book and will help believers to understand how the Gospel empowers them to live the Christian life. Here DeYoung argues that "faith is operative in both--in justification to receive and rest, and in sanctification to will and to work" (85). Piper notes that, "I don't wait to kill my sin, I don't wait passively for the miracle of sin-killing to be worked on me, I act the miracle." DeYoung notes that, "Christians work they work to kill sin and they work to live in the Spirit" (89).

One of the more helpful discussions in the book is on union with Christ. Union with Christ is the central truth of the whole doctrine of salvation not only "in its application but also in its once-for-all accomplishment in the finished work of Christ" (95). "Our progress in the pursuit of holiness comes largely from understanding and appropriating our union with Christ" (100). "Union with Christ means God's power for our us working in and through us" (112).

Union with Christ begins with the Holy Spirit's work of faith and regeneration within people's hearts, whereby they are grafted into Christ and His living body, the church. By the Holy Spirit, Christ dwells in His people and nourishes them with the gospel through preaching and the holy sacraments so that by grace they may live to please God. This truth not only applies to our understanding of holiness but also our view of ethics as the restoration of God's image in those united to Christ is the goal of the gospel, the purpose of salvation, and the full expression of the Christian life.

One of the other helpful comments by DeYoung is the following: "To run hard after holiness is another way of running hard after God. Just as a once-for-all, objective justification leads to a slow-growth, subjective sanctification, so our unchanging union with Christ leads an ever-increasing communion with Christ" (123). Calvin taught that union and communion with Christ are realized only through Spirit-worked faith. Communion is actual, not because believers participate in the essence of Christ's nature but because the Spirit of Christ unites believers so intimately to Christ that they become, as it were, flesh of His flesh and bone of His bone. From God's perspective, the Spirit is the bond between Christ and believers, whereas from our perspective faith is the bond. One of the Spirit's principal operations is to work faith in the sinner.

Only the Spirit can unite Christ in heaven with the believer on earth. Just as the Spirit united heaven and earth in the incarnation, so in regeneration He raises the elect from earth to commune with Christ in heaven and brings Christ into the hearts and lives of the elect on earth. Thus, communion with Christ is always the result of the Spirit's work- a work that is astonishing and experiential rather than comprehensible. The Holy Spirit is the link that binds the believer to Christ and is the channel through which Christ is communicated to the believer.

Faith unites the believer to Christ by means of the Word, enabling the believer to receive Christ as He is clothed in the gospel and graciously offered by the Father. Calvin notes, "We ought not to separate Christ from ourselves or ourselves from him," but participate in Christ by faith, for this "revives us from death to make us a new creature."

By faith the believer possesses Christ and grows in Him. What's more, the degree of this faith exercised through the Word determines his degree of communion with Christ. Calvin notes that "everything which faith should contemplate is exhibited to us in Christ." The believer who excels in piety learns to grasp Christ so firmly by faith that Christ dwells in his heart, though He remains in heaven. The pious live by what they find in Christ rather than what they find in Christ.

Hole in our Holiness is a very helpful book that will help Christians to not only understand the importance of holiness, and their positional standing as adopted sons and daughters of God, but also how to grow to be like Christ by the grace of God. Hole in our holiness is a great book for the new Christian who is just learning what Christianity is all about. Hole in our holiness will help the seasoned Christian to understand why they need to continue to grow to be like Christ and to fight against sin by the grace of God. Pastors should put Hole in our holiness in the hands of their people to help them to understand what holiness is and how to grow in the grace of God.

Wherever you are in your walk with God, I encourage you to pick up this important new book by DeYoung, because it will help you to think through what the Bible teaches on holiness and expose as it has done with me the areas in my own life that need to be addressed as I continue to grow in the grace of God. May this book by Pastor DeYoung do for our generation what J.C. Ryle's Holiness continues to do today instructing people in the holiness of God and the majestic truth of our union with Christ.

Title: The Hole in Our Holiness: Filling the Gap between Gospel Passion and the Pursuit of Godliness

Author: Kevin DeYoung

Publisher: Crossway (2012)

Disclosure of Material Connection: I received this book free from the publisher through the Crossway book review bloggers program. I was not required to write a positive review. The opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commission's 16 CFR, Part 255 : "Guides Concerning the Use of Endorsements and Testimonials in Advertising."

0 of 0 people found the following review helpful.
Okay book
By Matt Walker
The book explains the Reformed view of sanctification. There are a few misrepresentations of Dispensationalism. The author's position on alcohol is not defendable.

0 of 0 people found the following review helpful.
A challenge for Christiam centered living
By Rudy Ordoñez
Great books, inspired by God to challenge all his children for looking for holiness.

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