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• Sales Rank: #3588 in Books
• Published on: 2015-05-30
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .20" w x 6.00" l, .20 pounds
• Binding: Paperback
• 88 pages

Most helpful customer reviews

37 of 38 people found the following review helpful.
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Simple techniques easy to understand and follow
By kalaum linn
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Passion Pretzel G froce and the butterfly
By Susan Grant
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See all 434 customer reviews...

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[Z339.Ebook] Ebook Download Chagall: Love, War, and Exile (Jewish Museum), by Susan Tumarkin Goodman

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A groundbreaking examination of the artist’s work during wartime

Marc Chagall (1887–1985), one of the foremost modernists of the 20th century, created his unique style by blending richly colored folk art with Cubism, Surrealism, and imagery drawn from the Russian Christian icon tradition. This book explores a significant but neglected period in the artist’s career, from the rise of fascism in the 1930s through the end of World War II, which he spent in Paris and then in exile in New York.

Chagall’s paintings from this time express the horror of the Holocaust as well as hope for the survival of his people and belief in the ultimate triumph of love. Works use many of Chagall’s familiar figures—the Artist, the Bride, the Clown, the Wandering Jew—set in unexpected, often wrenching scenes. These contrast with lavish flower paintings that reflect the artist’s adoration of his wife, Bella. Less well known are Chagall’s canvases showing the Crucifixion of Jesus, often depicted as a Jew, and his rarely seen, dreamlike poems, eleven of which are published here. Susan Tumarkin Goodman and Kenneth E. Silver analyze Chagall’s complex iconography and phantasmagorical style, tracing his Jewish, Christian, autobiographical, French, and Russian sources.�

• Sales Rank: #500817 in Books
• Brand: YALE UNIV PRESS
• Published on: 2013-10-22
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x 8.25" w x 1.00" l, 1.70 pounds
• Binding: Hardcover
• 148 pages

Review
“The handsome, well-illustrated catalog. . . includes an illuminating essay by the show’s curator, Susan Tumarkin Goodman”—Manuela Hoelterhoff, Bloomberg News (Bloomberg News)

About the Author
Susan Tumarkin Goodman is senior curator at the Jewish Museum. Kenneth E. Silver is professor of art history at New York University.

Most helpful customer reviews

20 of 20 people found the following review helpful.
Chagall in Extremis: The Years of War and Holocaust
By Kenneth Hughes
This volume is published in conjunction with the exhibition of the same name at The Jewish Museum in New York from September 2013 to February 2014. It is not an exhibition catalogue in the usual sense of a numbered series of reproductions of the exhibited items; it consists, rather, of two essays centered around and commenting on the fifty-odd paintings and drawings in the show and a small selection of Chagall's poems in English translation. (In fact, the only serious argument I have with this book is that the originals of the poems--in Russian, Yiddish, and French--are not also given. Poetry is, as is well known, the first thing to be lost in translation, and surely a great number of the people who would want to see this exhibition and have the publication would be able to read the originals.) The focus is on the years between 1930 and 1948--although these are bracketed by the inclusion of both earlier and later works of a similar kind--and it should put to rest the notion that only the early Chagall is worthy of serious attention. For these are serious works indeed, and in fact rather shocking in their insistence on the figure of Christ as their central image. Who would have thought that the godfather of fiddler-on-the-roof imagery, for which this transplanted Russian Jew became most widely known, would have created during these years at least twenty-five images of the Crucifixion? How this came about, why Chagall went in that direction and what the figure of the crucified Christ ultimately meant to the artist is the subject of the fascinating seventy-page essay by Susan Tumarkin Goodman, the Senior Curator at The Jewish Museum, an established Chagall scholar whose many publications on the artist include the excellent "Chagall and the Artists of the Russian Jewish Theater," the catalogue of an exhibition she curated at the museum in 2008 (see the reviews on this website). Dr. Goodman calls her essay about Chagall in the '30's and '40's "The Fractured Years," a title concisely evocative of the "Love, War, and Exile" theme of the exhibition: years in which Chagall was forced to flee the Paris he had come to love, first to temporary refuge in the south of France, and then to the United States, where the increasingly credibly documented reports of the Holocaust caused him excruciating existential anxiety in his exile, and where at the same time he had to suffer the death of his beloved soul-mate, Bella, his muse and wife of over thirty years.

The second essay in the book is by the noted art historian Kenneth E. Silver, who has written extensively on French art in the early twentieth century and on French-Russian Jewish artists such as Chaim Soutine. His essay is titled "Fluid Chaos Felt by the Soul," a formulation used by the French Catholic philosopher Jacques Maritain, a friend of Chagall's, to describe the artist's work. Prof. Silver notes that the artistic theme of the "Jewish Jesus" had been evolving since at least the late eighteenth century, and he situates Chagall's Christ iconography well within this tradition: the connection between the Christian savior and Jewish martyrdom is at the bottom of the "flood of turbulent imagery [that] was the aesthetic rule of Chagall's oeuvre" (114).

There are about fifty full-page reproductions of the works, as well as numerous companion illustrations and photographs. The color of the reproductions is excellent, which is crucial with Chagall: as Picasso said, "when Matisse dies, Chagall will be the only person left who understands what color really is." Everyone who has seen a general survey of Chagall's works is familiar with one or two of his Christ paintings. But it is quite a different thing to see so many of them gathered from over thirty-five institutional and private lenders world-wide and to realize how important the image of the crucified Christ was to him in the insane years of World War II and the Holocaust. Having seen these paintings and read these essays, it is not likely one will ever think of Chagall in the same way again.

4 of 4 people found the following review helpful.
Excellent book!
By Maria V Bourlatskaya
This book has great articles on Shagall's life and work as well as good number of good quality reproductions of his work – the colors differ from the originals but not as bad as in other books I have seen. Overall excellent book for someone who wants to look at Shagall's paintings and learn more about him and his art.

2 of 2 people found the following review helpful.
A Great Exhibition Catalog
By T. G. Weaver
This is a beautifully produced catalog of a fine show at the Jewish Museum in NYC, that included many excellent Chagalls in private collections which have never been publicly shown before. A must-have for Chagall lovers!

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[O958.Ebook] Free Ebook The Flash Vol. 1: The Dastardly Death of the Rogues: Brightest Day (Flash (DC Comics Unnumbered)), by Geoff Johns

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The Flash races out of BLACKEST NIGHT and into the first graphic novel collection of his new monthly title written bycomics hottest writer Geoff Johns (BLACKEST NIGHT, GREEN LANTERN). The all-new adventures of The Fastest ManAlive start with "Case One: The Dastardly Death of the Rogues!" Barry Allen, The Flash, runs back to his life in Central City, but when one of the Rogues turns up murdered under mysterious circumstances, it's up to The Fastest Man Alive to not onlysolve this bizarre crime, but protect those that are still targeted by the elusive killer. This storyline ties directly into BRIGHTEST DAY, the direct follow-up to the biggest comics event of 2009, BLACKEST NIGHT.

• Sales Rank: #257405 in Books
• Brand: DC Comics
• Published on: 2012-01-17
• Released on: 2012-01-17
• Original language: English
• Number of items: 1
• Dimensions: 10.20" h x .40" w x 6.70" l, .59 pounds
• Binding: Paperback
• 228 pages

Features

• The Flash Vol 1 The Dastardly Death of the Rogues Brightest Day Flash DC Comics Unnumbered

Amazon.com Review

From The Flash, Vol. 1: The Dastardly Death of the Rogues
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From Publishers Weekly
Barry Allen, the super-fast superhero the Flash, is back from the dead and rebuilding his life in Central City. Allen finds a city transformed; the population has tripled, the crime rate has quadrupled, and the forensics department is overworked and staffed with burnouts. Flash finds a city overrun with costumed villains, in particular the Rogues, both the villains Barry knew and new criminals stepping into established personae. A bad situation takes a turn for the worse when the Renegades, the 25th-century descendants of the Rogues, arrive. Futuristic policemen enforcing draconian, inflexible laws, the Renegades' target is the man who the Renegades' records show will commit murder, a killer better known as the Flash. In keeping with the retreat into Silver Age nostalgia that saw Barry Allen's successors pushed aside to reintroduce one of the few fallen heroes whose death seemed both permanent and meaningful, this story resembles a '60s-era tale expanded six-fold. Manapul's art is lively, making for a comfortable but unchallenging tale. (Feb.)
(c) Copyright PWxyz, LLC. All rights reserved.

Most helpful customer reviews

0 of 0 people found the following review helpful.
but it's a great standalone story and gives interesting insight into the origin ...
By Kindle Customer
Surprisingly addicting crime story. Showcases both Barry Allen and The Flash well.

I read it with Brightest Day and it's fairly pointless as a tie in.

So if you're only interested in BD you don't need this...but it's a great standalone story and gives interesting insight into the origin of the Flashpoint storyline.

5 of 5 people found the following review helpful.
Latest Flash Series Not Bad, Not Geoff Johns' Best
By Izzy
Barry Allen's return to his own monthly book begins here. This trade collects issues 1-7 of The Flash series as well as The Flash: Secret Files and Origins 2010 issue. Geoff Johns writes all the stories while Francis Manapul and Scott Kolins supply the art.

The first 6 issues tell the tale of Flash's confrontation with the 25th century police force, the Renegades, who accuse Barry Allen of murder. (The Renegades are the 'good guy' versions of the Rogues, Flash's famous gallery of villains who include Captain Cold, the Trickster, Mirror Master, and others.)

There are some cool moments: Flash picking bullets out of the air, speed reading to learn how to rebuild an apartment complex that was destroyed during one of his battles, or racing up the side of a building. It's great to see Johns spend a moment to show us there are consequences to super-hero brawls, and that Barry Allen cares. The art is consistently excellent throughout the book as well.

But these early issues are replete with one fight after another, first with the Renegades, then with the Rogues who inevitably show up to crash the party. And when compared to the great work Johns has done on Green Lantern, these early Flash issues are just ok. It's clear these issues are set up for the larger Flashpoint saga to come.

Things get interesting with issue 7, which focuses on Captain Boomerang and gives the character more depth. Johns even provides a plausible explanation for Boomerang's original, very hokey (by today's standards) costume. This is where Johns is at his best: telling character-driven stories while modernizing the DC pantheon in a way that doesn't offend the fans (i.e., conflict with continuity).

I expected the Secret Files and Origins 2010 issue to be total filler, but was pleasantly surprised to see both excellent art and a great story that peeks into a dark corner of Barry Allen's past, something that drives him to this day. A nice touch in the story is how the Flash can't sleep, so he does a bunch of activities, then goes back to bed a minute later. (Johns' subtle reminder of Barry's super-speed.) There's even a section on how boomerangs and mirrors work (and how Captain Boomerang and Mirror Master use these tools).

The end of the book includes a cover gallery of alternate covers. Beneath the dust jacket, the book comes with a red cover emblazoned with Flash's famous lightning bolt. Pretty cool!

So it's a solid 3-star package. Not at the level of Johns' awesome Green Lantern stories, but plenty there for Flash fan to enjoy. Pick this book up if you are a Geoff Johns follower, a Flash fan, or want to follow the Flashpoint saga as it unfolds throughout the DC universe this summer. Otherwise, wait for the cheaper paperback (or even the inevitable omnibus version to get the entire storyline in one go).

0 of 0 people found the following review helpful.
Johns and Manapul do Flash best. This begins the transition from Rebirth to Flashpoint and does not disappoint
By Neal S.
Barry Allen is back (see The Flash Rebirth) and is settling into life as Central City's hero, though things have changed a bit. As Barry deals with police from the future -- the Renegades who want to arrest him for a murder Barry will committ in the future -- he begins getting strange visions that he cannot explain. This volume has top notch art and writing (as expected from Manapul and Johns), and Flash fans are sure to love this. Also, they manage to make Captain Boomerang into a villain to be feared and taken seriously, and include his origins.

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[B166.Ebook] Download PDF The Essence Of Hakkoryu Jujutsu: Techniques Of Sandan Gi, by Dennis G. Palumbo

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Shihan Dennis Palumbo expands upon the principles of hakkoryu jujutsu by fully exploring the more advanced and subtle applications of sandan gi. Besides the martial applications of the art, this book illustrates the final phase of waza training and includes photos of advanced walking exercises, after-class massage and more.

• Sales Rank: #2484344 in Books
• Published on: 1995-11-01
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x 7.50" w x .50" l,
• Binding: Paperback
• 120 pages

Most helpful customer reviews

4 of 8 people found the following review helpful.
Essential for the blackbelt!
By A Customer
This book is essential for the Hakkoryu JuJutsu blackbelt.
Master Palumbo shows how to train, stretch and get the most out of mastering the basic techniques learned in the Shodan and Nidan stages of your training.
The Hakkoryu practitioner MUST purchase the Shodan and Nidan technical manuals in order to learn the basics, seek a certified, knowledgable instructor and GET TO WORK!!

0 of 1 people found the following review helpful.
One of Three Must Have Books!!!
By Renshi Scott
As a Hakkoryu practitioner I must say I found SLM of Shihan Palumbo's materials, Shodan through Sandan, very beneficial. I used his books many a times for final review before testing when I didn't have someone to train with immediately. If you are a true Hakkoryu practitioner, this book should be a must have book for you.

0 of 1 people found the following review helpful.
techniques of sandan gi,hakkoryu jujutsu
By George W. Courage
as a sandan in hakkoryu jujutsu,here is a book that brings the techniques of hakkoryu jujutsu togeather,purchasing this book is money well spent.

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[K793.Ebook] Free Ebook Fantasy Art Techniques, by Boris Vallejo

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In a captivating, behind-the-scenes look into the creative process of a fantasy artist, renowned artist Boris Vallejo discusses in depth the techniques of a personal style that has placed him among the leading international fantasy and science fiction artists of today. 91 color images; 32 line drawings.

• Sales Rank: #5970424 in Books
• Published on: 1985-10-01
• Original language: English
• Number of items: 1
• Dimensions: 11.06" h x 8.27" w x .0" l, 1.18 pounds
• Binding: Paperback
• 128 pages

From School Library Journal

YA A lovely browsing collection of color reproductions that will appeal to young fantasy fans because of Vallejo's exciting renditions of unearthly creatures and sexy humans. The moods range from the frightening to the humorous. Vallejo describes various painting techniques in an accompanying text, and he includes some rough sketches to illustrate the development of painting. This book is more of an introduction to fantasy art appreciation than a course in technique. There is no index or list of illustrations.

Copyright 1986 Cahners Business Information, Inc.

Excerpt. � Reprinted by permission. All rights reserved.

The Concept

The elements of a fantasy illustration need make no pretence of imitating life such as they must in, say, an illustration for a gothic, a mystery, or a novel. Fantasy engages the imagination to a much larger extent; the creatures portrayed may come partly or entirely from your head. And yet, to be successful, the scenes from your imagination must be convincing enough for a viewer to be willing to go along with you: to willingly suspend his disbelief and say, "Yes, this could work".

How does someone begin to create these wholly imaginary pictures? The answer to the eternal question "Where do your ideas come from?" seems obvious at first. Naturally, they come from my head. Where else? Ideas come from one's head. It's true, when you set a manuscript to illustrate, you're likely to find descriptions in it. Still, it is up to the artist to interpret them. All those alien beings and landscapes come into being from what is, in fact, known to us. Existing life may be the point of departure, yet all successful fantastical creatures must relate back to it as traceably as vertebrates do to the single-celled amoeba. Muscles are what makes movement possible for the higher forms of living creatures. If you want to paint a combination animal/machine, let's say, there must still be a relation to existing animals and existing machines; the musculature, at least, must be plausible.

The immediate environment is a tremendous source of ideas for me: shadows, shapes, things that, as a result of being near-sighted, I don't exactly see. It's pretty easy for me to reinterpret something twenty feet away which is already fuzzy. With a little push it readily loses its real contours and becomes something else in my eyes. If I start elaborating on what I don't clearly see, I can go in any direction. All I need is an existing starting point; my imagination takes over from there.

This odyssey of the imagination need not be a deliberate or controlled thing. It's much better when it's not directed, when I simply sit quietly and let it happen. In a sense, it's as though my ideas don't come out of me so much as I allow them to move in on me. The most important thing one can do to nourish the imagination is relax. I have noticed that when I specifically try to think of something, really strain towards an idea, very little happens. Whatever does happen is usually stilted and forced. If I relax and open the doors, so to speak, ideas do come.

Often enough, inspiration begins with the model. I see someone and I think: I would like to use this person for a painting; I would like to focus on this or that special feature of this person. From there I can evolve a character, an atmosphere, or an entire concept.

I once saw a young man at the gym I go to. He was an excellent bodybuilder, but the more notable quality about him was that he possessed not only huge muscles -- a really fine development -- but also a very boyish, almost child-like face, which presented a striking contrast with his physique. I stored this impression in the back of my mind, hoping that a job would come along for which I could use him. Then I was given a collection of stories by Isaac Asimov.

My original concept for this book's cover was of a young scientist type sitting on top of the earth in the middle of space. Subsequently I got a call from my client saying that although she liked the sketch, it was not exactly what she had in mind. What did she have in mind? Well, she was rather vague about that, but she preferred something with a more heroic feeling. As we were talking it occurred to me that, instead of emphasizing the human aspect of the stories, I might emphasize the mechanical.

It was then that I decided to do a robot -- not the typical machine-like robot, but a more human one who would, nevertheless, have a superhuman appearance. At once I made the connection between this idea and the young man I had seen in the gym. The fact that his face was so youthful and his body so highly developed led naturally to the idea of keeping the roundness of the muscles and the distinctive shape of the body but making it metallic, chrome, really beautiful and shiny out there in the middle of space. I still thought of having him standing on the earth, but as I worked, the earth changed into a simple globe. It also became shiny, like glass or chrome.

So, you see how the concept changed from the sketch of the robot that I started out with to the finished painting. With the use of that man as the model, the robot became an almost superhuman figure, spinning nebulae out of his bare hands. His face is nearly expressionless. Yet there is a suggestion of childlike wonder and joy at what he is doing: there he is in the middle of space, fascinated with the beautiful things he is creating. In this case, the "model" was just perfect, and the concept owed a great deal of its development to his physical characteristics.

Of course the concept may originate in a more general way than with the model. I may simply think: It would be nice to do something metallic; it would be nice to do something fluffy; it would be nice to do something in which I can concentrate wholly on the figure because the background would be negligible or, vice versa, in which I can concentrate mainly on the background because the figure is inconsequential.

Most often, however, the concept is established by the manuscript to be illustrated or by the movie for which a poster is to be made -- by the product to be sold. In the case of a book there is, first, the manuscript. There is an old saying that one shouldn't judge a book by its cover. But often enough a book is bought precisely because of its cover. Therefore, as an artist, what one must look for in a manuscript is a scene that is representative of the book, perhaps one with plenty of action or one that is, for its colour or subject, quite eye-catching. After all, there are hundreds of books on the bookstore shelves and the successful cover should draw the prospective buyer like a magnet.

Some authors are very descriptive and make the task of selecting a visually effective scene relatively easy. The Lavalite World is a good example. It is a book of adventures and consequently presents any number of action scenes involving the hero, the heroine, and the monster or villain. To show the hero and heroine riding a tree trunk into battle was, to my mind, colourful and unusual enough to evoke any browser's interest in the book.

Some authors are less visual in their writing. They write with less attention to detail and their imagery is more abstract. In such a situation one has to capture a feeling, something representative of the story rather than a particular scene or incident from it. This feeling must then by expressed in visual terms in order to convey an immediate sense of what is going on in the book. My illustrations for Enchantment, which my wife Doris wrote, exemplify this.

The painting for "Web" does not represent a particular scene from the story. It is simply a depiction of the way I experience a spider woman. I began with the question: What typifies a spider? It has eight legs. But I didn't want to paint a totally unappealing woman with eight hairy legs. I wanted a woman who was sensual and sexy-looking, but at the same time menacing, and who would still evoke the feeling of a spider -- perhaps with a spiderweb around her.

The painting that was done for Heavy Metal, however, was not inspired by a manuscript or anything more than the title of the magazine itself: HEAVY METAL. I began with the idea of something metal, a heavy metal. A safe came to mind. The door of a safe which, to me, was quite representative both of "metal" and of "heavy". From there followed the image of a bank vault. Yet this was a fantasy painting that I was going to do. What did fantasy have to do with a bank vault? I decided to put it into space; a heavy metal bank vault floating in outer space. Still, something fantastical had to happen. What if something is inside there, I thought. What would have to be locked behind such a door? Some kind of creature, obviously, that has to be kept from escaping. And what if the creature has been pounding at the door? What if the creature has a metal hand that it has been pounding and pounding the door with and has finally broken through? The first picture that flashed through my mind was of some powerful and monstrous creature. But that would have been a bit too ordinary. So I made it incongruous: a kind of wild-looking woman instead of a creature, not all that physically powerful in appearance but with a crazed look. She not only had the metal hand but the wild eyes and the wild red hair. All these elements brought together in a painting should really make the viewer stop and say: Look at that! What's going on there!

Copyright � Collins & Brown Ltd 1985
Text and illustrations copyright � Boris Vallejo 1985

Most helpful customer reviews

1 of 1 people found the following review helpful.
An excellent supplement to their Fantasy Workshop book
By Alaskaguy
I've been entralled by Boris and Julie's book covers for many years. Fixated by their figures, fantasy creatures, and supernatural landscapes, I couldn't even imagine painting figures in such detail myself. I really like this book, but will also admit that it left me a bit disappointed at first, not by what it included - but by what it lacked. Its strengths are summed up in Boris's sage advice that "the beginning artist should draw only what he sees" and its thorough demonstration of using models, reference photos, and sketching. By itself, that's well worth the price of this book - especially coming from a fantasy artist! Several step-by-step demos and many finished paintings add considerably to this, but still left me (then a wannabe artist) wanting to know more. What a surprize to find their other book Fantasy Workshop: A Practical Guide! Taken as a pair, these two books by Boris and Julie reveal a considerable amount of advice and details about techniques, style, composition, inspiration, and more for painters of all levels. In fact, they inspired me to take the plunge and try my hand at realistic portrait and figure painting. By following their methods and demos, I've been been pleasantly surprized with the results. I've since acquired more experience, as well as a substantial library of books by other authors (read my other reviews), but I find myself returning to this and others by Boris and Julie, for reference, techniques, and inspiration.

0 of 0 people found the following review helpful.
Boris at his best (imo)
By Amazon Customer
used to have this book back in the 80's.
was glad i found it again.
the artwork is fantastic.
you get some pencil work in the beginning and then the full color oil paintings.
love it.

0 of 0 people found the following review helpful.
Five Stars
By Sean
great

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[N568.Ebook] Free Ebook Learn Bengali Vocabulary Activity Workbook (Bengali Edition), by Dinesh Verma

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This is a book that teaches Bengali vocabulary through a series of puzzles and activities. It introduces over 800 words of Bangla with their English translation. The objective of the book is to make it a fun experience for someone to learn Bangla. It is the second book in the Learn Bengali series of activity books, and assumes that the reader is comfortable with the English language, and has basic familiarity with Bangla script.

• Sales Rank: #1067198 in Books
• Published on: 2009-07-18
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .23" w x 8.00" l, .48 pounds
• Binding: Paperback
• 100 pages

Features

• ISBN13: 9781438287263
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Most helpful customer reviews

7 of 7 people found the following review helpful.
Great workbook
By Amy
We are native English speakers learning the Bengali language and have had a very difficult time finding comprehensive resources to learn. Rosetta Stone doesn't even have Bengali! This workbook is sufficient. It uses the Bengali script, which is great, but it does not teach it. If you don't know the script prior to using this workbook, then you will have a hard time! It does use more of the formal words than the colloquial, but those are good to know too. Very helpful and worth the cost.

1 of 1 people found the following review helpful.
A book for A kid!
By BooNeha
It is not what I was looking for but It quites helps to give me the basic patterns of Bengali!

0 of 0 people found the following review helpful.
Thus it might not be very useful. It could be useful for beginner learners of ...
By R
This vocabulary workbook follows the format of children activity books. All Bangla words are written in Bangla script (no transliteration). If you already know Bangla script, I suppose you must already know most of these words. Thus it might not be very useful. It could be useful for beginner learners of Bangla script who want to practice reading and learn vocabulary, as the size is very big and clear.

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• Sales Rank: #2653131 in Books
• Published on: 1994-10-12
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: .44" h x 5.12" w x 7.71" l, .37 pounds
• Binding: Paperback
• 134 pages

Language Notes
Text: English (translation)
Original Language: German

Most helpful customer reviews

0 of 0 people found the following review helpful.
I definitely need to re-read this one to appreciate all its deeper meanings
By sally tarbox
Verified Purchase(What is this?)

One of those books that's seemingly simply written, yet has a lot of deeper meanings, this is one that I immediately felt would benefit from a second reading. It follows one day in the life of a washing-machine repairman in postwar Germany - 'the day Hedwig arrived' - from the moment he gets up, having to fetch a girl whom he's not seen since childhood who's coming to the big city.

Walter talks of his life, through which his main memory seems to be the lack of food rather than the expected thoughts of war. Recollections of wonderful visits to a soup kitchen. And although food is plentiful now, the awareness that those who provide it now were not always so kind:
(in a chocolate shop) 'I tried to imagine what she would have said had I come here seven years ago and asked for some bread - and I saw those eyes get narrower still, hard and dry like those of a goose, and I saw those charming, daintily spread fingers contract like claws, saw that soft manicured hand grow wrinkled and yellow with greed.'

The final paragraph of the book was an utter summing up of what the War must have felt like for the German people.

19 of 19 people found the following review helpful.
Bread and Love
By Julian Beecroft
Hunger is not an experience the modern West has much experience of. In this short and very intense novella, written in 1955, Heinrich Boll describes the desperate circumstances of post-war German society in appalling detail: the father who sells his prized first editions to send money to his son to buy bread; the widowed husband who arrives in hospital to retrieve his wife's belongings only to go berserk when he can't find a tin of corned beef he is convinced she couldn't have eaten. In a final, mean act, she has.
Walter, the narrator, is a young apprentice in a ruined German city, most likely Boll's home city of Cologne. With the fierce moral gaze typical of Boll, Walter judges everyone he comes into contact with in terms of their willingness to give up some of their bread, a universally prized commodity in a country on the edge of starvation. Meanness is the norm, especially among those who are already beginning to thrive, such as Walter's employer, Wickweber.
Into this life of increasing opportunities and base motivations comes Hedwig, a girl from Walter's home town who has travelled to the city to train as a teacher. Walter's father has asked him to meet her at the station and find her a room. She is nothing like his childhood memory of her. In prose which powerfully conveys his sense of being thunderstruck, Walter describes falling suddenly in love as something fateful and terrifying, which makes him see clearly the counterfeit life he would otherwise have gone on leading. Like bread, love is the mark of a person's humanity, and for Boll, those few who are willing to give it are at least still redeemable.
In a mere 80 pages, a portrait of extraordinary detail is drawn of a desperate society already giving way to a complacency that will become perhaps the overriding civic emotion in the contemporary West. As a love story, this novella's lack of sentimentality, its emotional urgency, suggests that, for all the verbiage that is printed about modern relationships, our public discourse is able to shed about as much light on love as it can on hunger.

0 of 0 people found the following review helpful.
wolf inside my stomach
By oklahomacocklebur
Fascinating short novel by the winner of the Nobel Prize for Literature 1972. The protagonist is a young repairman in Germany just after WWII. A young man driven by fear of failure and a hunger. Disconnected and somewhat disoriented, he goes through the motions of interpersonal relationships but seems more an observer outside himself who cannot accept the results of his choices.

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• Sales Rank: #3859409 in Books
• Published on: 1976
• Binding: Paperback

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