2 comments about The Real James Herriot: The Authorized Biography.

1. -James Herriot was a country animal doctor who recanted his life into stories, which became All Creatures Great and Small and other books and audios. His son, Jim Wight, upon his father's death, composed a tribute to a man we all thought we knew in The Real James Herriot. The abridged audio version is narrated by TV's James Herriot, actor Christopher Timothy. His familiar tramping of the characters and Herriot's words makes him the perfect choice to read this veneration.



2. This is a most enjoyable book allowing a glimpse into the life of one of my favorite authors. It was interesting to learn about the situations that molded the life of James Herriot (Alf Wight).

5 comments about Lady Jane Grey: Nine Days Queen.

1. A book with Catherine Parr on the cover using a few embellished facts, very little research and fanciful story telling make this a book only for the passive reader.



2. I had eagerly anticipated this book for a long time, but I found it very dissapointing.

   It's more of a quick retelling of the struggle for the throne after Henry VIII's death than a biography of Jane. She's a minor character in her own biography, emerging only for brief, tersely described events.




3. Jane Grey was queen for nine short days, during a period of great turmoil. The documentary evidence from this time is rather spare; even the coins minted during this brief reign are so rare as to be valued collectors' items. Author Alison Plowden uses documentary evidence and secondary sources to reconstruct the world around this brief reign. Indeed, Jane Grey remains a shadowy figure, even with this and other biographies available, given that, as a child, she was not party to much life at court, and did not have ongoing correspondence with many people likely to preserve such writing (only a handful of personal letters remain from her).

   Plowden introduces the world of the Tudors and their friends, hangers-on and rivals from the time of Lancaster/York conflict, and Henry VII, the first Tudor king, forward. This reads like a soap opera, and indeed it was a time of intrigue, deception, jockeying for position and occasional outright evil behaviour. The executioner's task at the Tower was never wanting for more; the Tudors, Seymours, Brandons, Dudleys and other such families were intertwined in the political, religious and dynastic machinations of the time, and sometimes this late medieval machinery caught up the people as it would grind along.

   Lady Jane Grey was not born to be queen. This does not make her unique among monarchs in British history; when the current queen Elizabeth was born, it seemed very remote that she should ever advance to be monarch. Indeed, even the great Henry VIII wasn't the heir apparent when born; his brother Arthur was Prince of Wales -- Henry married his brother's widow Catherine of Aragon, and the successive sequence of wives and offspring commenced from there. Lady Jane Grey was born of none of these wives, nor even from Henry directly, but rather through one of his younger siblings, Mary, one-time queen of France.

   Plowden's tracing of the history is very much personality driven. Events and issues take a secondary role to the history she recounts here -- it is very much the people involved, who are somewhat hard to keep straight at times (when one would acquire a new title, the name changes; since these names often had predecessors also active in royal and governmental affairs, one sometimes needs charts and graphs to keep the players distinct).

   Lady Jane Grey was a mere teenager when she came to power, such as it was. A precocious and intellectual child, she still lacked the political savvy of the Privy Council and other chief executors and leaders from Henry and Edward's reigns; she was the not-always-willing but not-unwilling pawn of her family's ambitions -- at one time thought to be a possible wife for the king Edward, her family jumped at the chance of settling the crown directly on her head, under the ostensible purpose of preserving a Protestant succession.

   Ultimately, the venture was doomed to failure, for as much as the royal and parliamentary authorities like to believe they rule England, ultimately it has been the people en masse, and those whom they do not support do not last long. The common folk, still largely Catholic in leaning, also understood royal succession in simple terms -- Mary Tudor was the next in line for the throne, so they supported her (largely they would support Elizabeth, a moderate Protestant, for the same reason five years later). Lady Jane fell victim again to the problems of politics; Mary Tudor, once queen, was inclined to be lenient until it was felt that Jane's presence continued to be a rallying point for Protestant dissidents.

   Plowden's book is not a simple biography of Jane Grey, but rather a survey of the historical period, from the generation prior to the aftermath. If Jane Grey seems to be a bit lost in the sea of people in this text, that is understandable, for even though she was queen for a short time, it was hardly her own reign or her own doing, and she didn't last long enough for contemporary histories in personal detail to be written (nor was it really in the interests of others to do so during the reign of either Mary or Elizabeth). Taken as a snapshot of a short time in the Tudor dynasty, and a very unique period in British history, this is a good survey.

   This is not an historical romance, nor a narrative history done in novel style. It is a little light on notes, placed at the end rather than as footnotes, for a 'grand' history, but is still built on strong authority. The select bibliography is worthwhile, as is the index. While Plowden's language could take a little polish to good effect, the text remains interesting and factually well-executed, keeping speculation and romantic embellishment to a minimum, and clearly delineating between documentary fact, gossip and hearsay, and later interpretations and reconstructed memories.




4. I was honestly hoping that the issue with the cover portrait would have been resolved with the reprint. There is no new information that I had so hoped for from a writer as well-known as Alison Plowden. I am disappointed and would not recommend that anyone seeking facts about Lady Jane read this book. In an "information age", I had really hoped for facts, the book is so reflective of 1986. There are plenty stories about the Tudor period of our history but little factual compositions.



5. I didn't read much of "Lady Jane Grey: Nine Days Queen", but that's due to the author. However, the book is skimpy and regulated to "this event happened" and "He/she did/said this and that". Alison Plowden is a good and factual writer, but this time she paints by the numbers. Also, in her excellent four-book biography of Elizabeth I, Plowden's attitude resembles Hester W. Chapman's; she tends to get a bit terse and condescending. I guess this is why I didn't finish "Lady Jane Grey: Nine Days Queen". I simply didn't want to encounter Plowden's attitude again while reading about my favorite Tudor princess.

No comments about The Last Lion Part B: Winston Spencer Churchill, Alone, 1932-1940.

2 comments about William Morris: A Life for Our Time.

1. Most books about William Morris are like rainbows, filled with colorful images. Simply because he made so many wonderful and colorful embroideries, tapestries and patterns, and because color itself is something people like, and therefore buy.

   This book doesn't have many colors inside, but it contains many black and white photographs, that are of great interest for those who like to read about William Morris and his time. And the combination of text and photographs create so many images in your mind, that you forget about color.

   For the same people, this is the the final book about William Morris and his life. It's not the book to buy, if you want to know all about his printing of books in Kelmscott Press (there you have to go for Peterson's books), but it's the book about all the other stuff you want to know about Morris - and everything, you didn't know, you would want to know.

   Having spent more than 5 years on this matter, Fiona MacCarthy has succeeded in making an extraordinary and therefore the final biography on William Morris.

   More than 700 pages with more than 100 pages of source and reference notes.

   It's a book to read and to read again and to use, when you're working with text about the period, the arts & crafts movement - or simply with Morris. Buy it, even if you don't have the money - wear the old jacket another year. You won't regret.

   As long as it's out of print, you have to go to the library, where you should tell them to order some more books, so they print more.




2. Fiona MacCarthy's background is in design, which brings a lovely perspective to her biography of Morris. MacCarthy also writes well, which is a plus in a book this size. She writes with affection for her subject, but without any of the bizarre idolatry with which some people approach Morris. He was a crashing bore as a poet, a mere amateur painter, a gifted fabric designer (but there are many gifted fabric designers), and a Socialist who knew only marginally more about what people actually do for a living than did Ruskin. Nevertheless, Morris was a volcano of artistic activity and heart-felt social ideas, and therein lay his genius. MacCarthy does an excellent job bringing Morris's genius to life in this first rate biography.

5 comments about The Decline and Fall of the House of Windsor.

1. Was the most interesting book I have ever read on Britains royal family. The facts are stated in such a way that the reader is never bored. There is just enough information to really get to know the characters without getting bogged down with too much detail.



2. The reviewer who wrote: "There is just enough information to really get to know the characters without getting bogged down with too much detail" pretty much sums it up. How do you get to know people and still avoid details? Thus the flaw in this type of trash. Save your money. If you want to get to know Queen Mary, read Anne Edward's biography.



3. Donald Spoto is an American. By that I mean that he approaches a subject - royalty - with a skeptical eye, never forgetting that he is a citizen of a country whose entire political system was designed to prevent a monarchy from being established. This attitude stands in refreshing contrast to the bulk of American writing on the Windsors, who seem to stimulate some atavistic longing for royalty on the part of writers who should know better (see the review immediately below for a fairly typical complaint obviously rooted in Windsor-worship). Kitty Kelly's recent THE ROYALS is similar in its irreverence for the superhuman panoply of royalty. Spoto, however, is a far better writer than Kelly. As several other reviewers have commented, Spoto's previous works have been biographies of Hollywood celebrities, and this book extends and refines Spoto's musings on the history and implications of modern society's obsession with media-generated fame. The overarching theme of this book is celebrity as an intrusive phenomenon that is slowly stripping the Windsors of their ancient royal mystique, a glamour which requires distance from the masses to remain viable. Spoto generates a certain amount of sympathy in the reader for the tribulations of what one realizes, after all, are a very ordinary (perhaps even downright mediocre) group of human beings who have done little to merit the attention so relentlessly thrust upon them by the media and their (it must be said) fans and followers. That said, Spoto, with his gift for creating vivid impressions of personalities with a few concise phrases, leaves the reader with a very unpleasant picture of a family gone seriously awry psychologically and dominated by a line of mean, selfish and grasping women who keep their weak male relatives on a very tight leash (all of which may be hallmarks of dynasties in decadence). The most heartbreaking sections of the book deal with the present Queen mother's repulsive treatment of the Duke and Duchess of Windsor, and will certainly make the reader think twice when he or she sees the next photograph of the smiling, befrilled, Dowager Queen Mary, for an iron heart lies behind that mask of "sweet little old lady." Equally affecting is Spoto's history of the "Diana years." He depicts a family ruthlessly using a teenage girl as a brood mare, then becoming vindictive when she refused to do exactly what they told her to do. In fact, the activities of the entire clan in recent years, as reported by Spoto, cast serious doubt on their fitness for the role their birth has expected them to play. I was unable to avoid a certain feeling of contempt for these people and their ridiculous courtiers. Spoto's book enables us to see the Windsors for what they really are - the living exemplars of feudalism, still undead as we enter the 21st century. As such, they are a useless anachronism and deserve to go. Kudos to Spoto for daring to write a sharp, well-documented book that pulls no punches!



4. I have read several House of Windsor histories but few make as much sense of Edward VIII and George VI as this one. I'd recommend this book to others because it is a good explanation why the present royal family is what it is today.



5. Decline and Fall of the House of Windsor could best be summarized as a survey class on the British Monarchy from Queen Victoria to the present. A interesting trashy read indeed, but along the way Spoto recounts stories both well known and relatively unknown, rehabilitating somewhat forgotten figures such as Queen Alexandra and recasting familiar subjects such as Queen Elizabeth, the Queen Mother and Wallis Simpson in a different light. Spoto is adept at pointing out major breaches of protocol if not outright violations of the British Constitution made by King George VI, the Queen Mother, and Queen Elizabeth II along the way. Spoto is able to explain some of the arcane rituals of the monarchy, peerage, royalty, and nobility in a comprehensible and easy to understand manner. His coverage of the Wallis Simpson affair involving the Prince of Wales (later King Edward VIII) is particularly well told and perhaps the most engaging chapters in the book.
   
   Nowhere near as vindictive or hateful as Kitty Kelly's The Royals (1997) Decline and Fall of the House of Windsor is well researched and well annotated but is a bit out of date. Since its publication Princess Diana, the Queen Mother, and Princess Margaret have all died as have other figures such as Princess Alice. Spoto leaves us with the image of Diana and Prince William and Prince Harry enjoying the Magic Kingdom at Disney World and posits that may be the closest they come to an actual Kingdom, but the events that have transpired since then seem to have changed things. Decline and Fall of the House of Windsor is handy ammunition for Republican sentiments and won't be well received by ardent monarchists, but along the way it renders its subjects more human and less regal. Spoto's fair, frank, and honest assessment of the Windsors, faults and all is certainly one of the better books written on the royals. While his assessment of the future of the monarchy is bleak the events since that time seem to indicate a somewhat happier future. But it is evident that light has indeed been allowed in on the magic and the spell that bound subjects to sovereigns has indeed been broken.

1 comments about Letters of T.S. Eliot: 1898-1922 (Letters of T. S. Eliot, 1898-1922).

1. No biography of Eliot could better capture the thoughts and personality of the young poet than these letters. Eliot had a lively correspondence with so many, including family, friends, editors, and partners in verse. Even the short letters -- like the ones in which Eliot simply announces to his correspondent that he's exhausted and doesn't want to write anything -- give a glimpse of how Old Possum acted.

   Eliot's poetry is so cerebral and allusive that when reading it, one can feel at his mercy. In his letters he is far less in control, and the contrast is fascinating.

No comments about David Livingstone (Pocket Biographies).

1 comments about Louisa May Alcott: An Intimate Anthology (New York Public Library Collector's Editions).

1. I have enjoyed Louisa May Alcott's writings for a long time, so I was thrilled to find this book! I was very eager to read it and it did not disappoint me!

   If you are a fan of Louisa May Alcott, this book is a MUST! It is packed full of great stuff.

   In this anthology you will find four autobiographical stories and essays; a selection of her letters; five poems by L.M.A.; selections from her journals from age 14 to shortly before her death; and four of her short stories.

   There is also a section titled "Remembering Louisa May Alcott." This portion includes essays, photographs, drawings and a poem. Fascinating!

   Included at the back of the book are suggestions for further reading and a checklist of illustrations. It was very interesting to read about L.M.A and see photos of her and places she had lived.

   Another interesting note is that her life was very similar to the March family in "Little Women".

   This is a great book! Interesting and factual with much of Louisa's work I have not found anywhere else. Worth buying!

5 comments about The Great Melody: A Thematic Biography of Edmund Burke.

1. O'Brien does a masterful job of bringing to life a neglected and misunderstood politician and political theorist. Those whose knowledge of Burke is limited to "Reflections" are in for an awakening. By book's end the reader will feel much like I. Berlin (whose correspondence with CCOB is in the appendix) and recant previously held stereotypes of Burke as a reactionary. A thorough detailing of Burke's writings and speeches makes clear that he was far from the two dimensional figure derided in political theory seminars.

   O'Brien makes old political controversies regarding Ireland, India, America and revolutionary France fresh and engaging. An initial puzzle of this book is O'Brien's passionate refutations of the Namierite view of Burke. Yet, Burke continues to be a bogeyman to the academic left for good reason. Burke hated tyranny in any form and virtually alone among his contemporaries recognized that recasting society in the name of an idea promised the worst form of tyranny. Devotees of the French Revolution detest Burke whose credentials as a champion of the oppressed in Ireland, India and America were beyond reproof.

   O'Brien himself, however, was curiously un-Burkean during his political career as it related to the Cold War. Burke correctly recognized that the French Revolution was a proto-totalitarian movement. He saved his most withering scorn for his former allies who viewed the revolution as a net benefit for the French and the world. In contrast, O'Brien in his UN days urged that Ireland follow the "decent" countries such as Sweden and stay above the US-Soviet fray. One wishes that O'Brien, now in his eighties, would have come to grips with his past as a neutral in the struggle between freedom and the successors of the French Revolution.




2. An excellent biography, highly readable, a bold and ultimately persuasive thesis - that Burke was not only a major political thinker but that he shaped much of the late 18th century. From a fascinating introduction showing how modern scholars had successfully destroyed and obscured Burke's true legacy to its brilliant organizing principle (a line from Yeats), this is a great book. This book should be required reading for every senator, congressman, and presidential candidate - if only to improve the level of discourse by reading Burke's great speeches. Yeats' lines on Burke: "American colonies, Ireland, France, and India/ Harried, and Burke's great melody against it." O'Brien shows how much one great man can do against tyranny, and how little. The book falls short on two counts: one, inadequate bios of Rockingham, Fox, Portland, Pitt the Younger, and his relation to Sam Johnson and Joshua Reynolds. Two, Burke the man does not walk these pages as Johnson does Boswell's book. True, O'Brien has organized the book around Yeats' lines, but the domestic Burke, the friend of Johnson and Reynolds could have been amplified. These are minor faults. This biography is excellent in so many ways that it compares very favorably with Boswell's Johnson and indeed excels it on many fronts.



3. Everyone knows Edmund Burke's most famous quote: "for evil to triumph, it is only necessary for good men to do nothing". As a former lecturer in political science, I was mainly familiar with Burke as the founder of Anglo-conservatism (infinitely more nuanced and modern than his equivalent in Franco-conservatism, the Count Joseph de Maistre). I had also read an early work, namely "An Enquiry into the nature of the Beautiful and the Sublime", which I thought a brilliant little jewel. But there's much more about Burke than that.

   O'Brien, the great man of Irish diplomacy, shows in this extraordinary book that Burke, whom recently history has shown as a fawning servant to the political leaders of his time (Rockingham and Pitt), was at the heart of the great fight between George III's royal absolutism and the emerging English democracy. Burke was on the right side of virtually all the fights he picked. He advocated equality before the law for the Irish subjects of the king, first tolerance and then freedom for the American colonies, the end of the colonialist abuses of the East India company, and a quarantine on the infectious ideas of the French Revolution. The later one is still a contentious affair. Zhou En Lai famously opined that it was still too early (in the 1970s) to judge the French Revolution. Burke would have had none of that. As early as 1790, in the "benign" initial phase of the revolution, he foresaw the Terror, the execution of the Royal Family, the Consulate and the Empire, and the French banner covering all of the Europe, in the name of "Liberty, Equality, Fraternity".

   O'Brien shows the extraordinary situation of an Irish Protestant (always accused of crypto-Catholicism) having great informal influence on the politics of Great Britain, while holding menial offices or representing various "rotten boroughs" in Parliament (this is no aspersion on Burke's memory- that's how politics was done at the time, and anything that gave Burke a pulpit couldn't have been all bad). The "Great Melody" of the title provides the underlying themes around which O'Brien organizes the public part of Burke's life. Far from tiresome, this is a useful device that provides unity and coherence to Burke's thoughts and actions. O'Brien's attacks on mid-century historiography are perfectly adequate, given that much of what was written as that period was designed to regress Burke into irrelevancy, as a sycophant and a lackey. He never was that. He was a good and a great man, and O'Brien does him justice in his book. Perhaps the only fault that I could find in it is a tendency to assume the reader's prior knowledge of the arcanes of Irish history. But these are quibbles. If you can stomach a history of ideas, full of events and studded with memorable characters, this is the book for you.




4. There is much in O'Brien's book that is interesting, original and insightful. But it suffers from two fatal flaws, one stylistic/structural, one substantive: (1) It is a mess. It is part personal biography, part intellectual biography, part annotated anthology, all mixed together in a confusing and unsatisfactory hodge-podge that may have been deliberate, given Burke's (and therefore O'Brien's) aversion to systems and abstraction. It is as if the author set out with a firm intention to portray Burke a certain way, collected up all the relevant facts, but just couldn't pull it all together in the end. It reads like a work-in-progress, several drafts short of completion and in dire need of a good editor; (2) It seriously overstates its case, and is therefore simply not reliable as an account of Burke's thought. O'Brien's Burke is a pluralist liberal, one of the "good guys" not to be classed among the "reactionaries", as Isaiah Berlin has done. But as Berlin points out--with far too much courtly politeness--in his exchange with O'Brien (reproduced in the appendix), the author has simply turned a blind eye to those aspects of his subject that make him appear illiberal. Most liberals at the time supported the French Revolution, at least in its early phase, and with good reason: it destroyed a confused mass of privilege, injustice and corruption that served the interests of a largely hereditary elite, which Burke vigorously defended. Most liberals since have supported it too. Few (if any) liberals today would hesitate to condemn someone who defended tradition, hereditary privilege and deference to authority as Burke did. To say that Burke was a liberal just doesn't wash. Granted he had SOME liberal tendencies, but he had many other tendencies that liberals have always found repugnant. It is a crude and one-sided portrait. O'Brien subscribes to the old-fashioned Cold War liberalism of Jacob Talmon, who interpreted the struggle between liberal democracy and "totalitarianism" in the 20th Century as a replay of the struggle between liberalism constitutionalism and the Terror. O'Brien's agenda in this book is to accept this dubious and anachronistic framework and to place Burke firmly on the "correct" side in it, with a demonic Rousseau on the other. THE GREAT MELODY was probably out-of-date before O'Brien wrote a word of it, just as much of Burke was when it appeared in the eighteenth century.



5. "The Great Melody" by Conor Cruise O'Brien is not your traditional biography; there is little here concerning Burke's personal and family life. Instead, the work concentrates on Burke's political career and thought and, specifically, how they relate to his Irish heritage. The result is a fascinating look into the mind and personality of a man who suffered from a conflict of emotions over his Irish heritage that included his father's conversion to Protestantism while his mother and wife remained Catholic. Burke himself was torn in different directions his entire life; loyalty to Britain and also his Irish ancestors and friends suffering under the Penal Laws, loyalty to the British constitution, but also a deep feeling for the need of justice for the oppressed people at home and abroad.

   O'Bien's book takes an in-depth look at Burke's career in parliament and as a member of the Whig party through an extensive analysis of his letters, speeches, political relationships, and writings, specifically, as they relate to his struggle on behalf of the American colonists, the struggle of the Irish Catholics, the people of India suffering at the hands of the rapacious East India Co., and the French Revolution.

   The work can be a little dry at times and tends to quote in an overly lengthy manner, but the immense erudition and scholarship and the insightful picture of Burke that emerges more than compensate for this. I do wish, however, that O'Brien had spent more time on "Reflections On The Revolution in France," but he feels that since it is so readily available to the reader there is no need. Finally we see an Edmund Burke as he really was and not the "old reactionary" that is so often depicted. We come to understand that Burke always believed that "the people are the true legislator," that Burke did not want to see Americans in Parliament who were slave holders, that he was a life-long opponent of increased powers for the Crown and the corruption such power entailed, that he was one of the few who consistently fought against injustice toward the American colonials, that he found all authoritaianism abhorrent, and that he opposed commercial monopolies and the abuse of power in all its forms. But, because he opposed the overturning of society and its reengineering on the basis of "metaphysical abstractions," he was often portrayed as a reactionary by later pundits. Lewis Namier and his followers are particularly taken to task by O'Brien for this tendency. In the end we see a Burke who always supported basic human rights, but remained constantly aware that real life circumstances must make social and political change possible if such change is not to lead to chaos and violence. Burke's fear of radicalism based upon abstract theory was real and the destructiveness of the French Revolution, the Russian Revolution, and the Nazi bio-racial religion more than sufficiently proves his point. A reading of O'Brien's fine book can only lead the intelligent reader to a renewed respect for a great man, a decent and liberal minded man, and a man of immense vision.

5 comments about Meet the Beatles: A Cultural History of the Band That Shook Youth, Gender, and the World.

1. I literally couldn't put this book down once I started it. That hardly ever happens to me.
   
   Having only been 4 when the Beatles exploded on the U.S. scene in '64, I have only vague memories of the early Beatles--I do remember skipping across the playground at Our Lady of Providence School, circa '66, and singing "She Loves You, yeah, yeah, yeah" with playmates. And I remember circulating the riddle du jour: "What did the boy octopus sing to the girl octopus? I wanna hold your hand, hand, hand, hand..."
   
   If you're already a fan who knows every bit of minutiae about the Fab Four, this book probably isn't for you. But this is THE book to read if you're a new fan or if you were too young for the Beatles Experience when it was happening or especially if you question WHY the Beatles became a virtual religious experience when no other bands did.
   
   My only complaint is that author Stark far too often overlooks my two fave Beatles -- George & Ringo. They receive precious little ink with regard to their own biographies. In that respect, the book should really be titled _Meet Paul & John_.
   
   Not having read any other Beatles books, I've been recently informed that this is typical of books about the Beatles. That's really too bad. Perhaps it's because (as I learned in this book) George had the most normal and loving childhood of the four and was the only Beatle with a fully intact family in which a parent neither fled nor died. Maybe that's why Stark gave us so little info. about George. Perhaps George was too boring because of this--too few sensational stories.
   (Do read the new, '06 biography of Harrison, _Here Comes the Sun_ if you long to know more about him.)
   
   As for Ringo, God love him, the little that is in the book helps one understand his incredible "everyman" appeal and also why he's always seemed the most empathic of the four. It's because he was an only child who spent most of his childhood sick, in bed, at the doctor, and/or in hospital. But his mum was quite steadfast and loving (dad wasn't around), and little "Richie" seems to have coped by developing quite the sense of humor as well as a sensitivity to the downtrodden "little guy" which he both figuratively and literally was in the Beatles. (Though he got the most fan mail, much of it from children.)
   
   Overall a great read. I just hope Stark writes another book that focuses on the two "economy class" Beatles (George Harrison's term, not mine.)



2. this book is good. It is not excellent, but it is good. It does touch on the background of the fab four and I would say that it is intrresting to read. I have tons and tons of books on the Beatles and I saw them on stage "live" twice back in 1966, the last year that they stopped touring on stage.
   
   I would recomomend this book to anyone who wanted to know their background .



3. This is yet another biography of the Beatles. This particular one tells the story of the Beatles while explaining the influences that shaped them, and also the ways that they helped to shape culture, especially the women's movement and the youth movement. The author does a particularly good job in discussing "the boys" childhoods, and how that influenced the men they became. It's true that John and Paul are mentioned much more than George and Ringo, but then again, they were the "leaders" of the group and thus of the most influence to society. Overall, I found the book to be quite interesting.



4. As a child of the 60s, the Beatles' music can be recalled in my mind more easily and indelibly than any other tunes. This both hinders my objectivity as a listener and heightens my pleasure at reading about them. This modest book, a sort of condensation of the detail that can be found within such newer studies as the weighty Bob Spitz biography (also reviewed by me) and Jonathan Gould's 2007 social history "Can't Buy Me Love," (which will be reviewed by me, and which does not mention Stark!), efficiently retells the familiar story. Where, as the author admits right away, it differs remains in the stress given the cultural factors.
   
   Not a professional scholar of the group, and not a hagiographer of the band, Stark writes with less passion than Spitz and less range than Gould. The book does move over the later years too rapidly, and while it lists many sources consulted, the references within the text are less easily cross-referenced. This does ease readibility but may frustrate those wishing for more exactitude. The music, likewise, appears but cursorily covered compared to the social impact. Songs remain understated. You will not find the day-by-day chronicle or the musical cut-by-cut analyses; Stark cautions us early on that other books have done this already. So, any reader needs to understand that this book offers instead an overview, if chronologically ordered, of the wider implications of the Beatles upon their decade. John and Paul gain the most notice; relatively little to Ringo and George has been given. There is very little attention paid to the songs. Artistic trends and packaging of the band and its records receive little direct interpretation. For instance, the discussion of "Revolver" ignores totally its cover art!
   
   But, for a relatively brisk read, Stark does add nuances that pleased me. For instance, reminding us of the power of the limited range of TV and radio, the single-sex enrollment of English schools that encouraged students to imitate in drama the (absent) opposite sex, nostalgia and romanticism as literary forces in Britain, the gender-bending tradition of British humor and fashion, Liverpool's ties to the American South but not the African American diaspora, the ambiance of the art school, or the influence of drugs of various types on the band. The Hamburg years and the fact the Beatles played a thousand gigs before coming to America make clearer their musical and psychological development before 1964.
   
   Also, rarely noticed points to those of us less than totally obsessed, such as that Ed Sullivan did not even learn of the band's fame prior to the show until he had been delayed on a plane due to the band's landing ahead of him causing congestion, make this a worthwhile version of another explanation for the band's prominence. He explains why they made it when Elvis, the Stones, or earlier musicians did not. He emphasizes the group dynamic that changed how audiences regarded collective endeavor in the arts. Most of all, Stark shows why in regard to the counterculture, gender roles, intellectual currents, and their quasi-religious allure, the four young men were able to lead the boomers into a revolution after all-- not the one Yoko might have expected, but one that changed hairstyles, demeanors, LPs, and the process of how artists relate to and are in turn changed by their fans.



5. Being a Beatles fan,I am wary of how the "lads" are portrayed in books & media. I like a balanced POV of a band that was both a musical & cultural phenomenon and whose music(for the most part) still sounds as fresh and exciting as the day it was recorded. That being said,I think the author did a fairly balanced job of portraying them as talented,intelligent yet without mythologizing them. I especially liked how he showed the unique contributing factors of their native Liverpool & later,Hamburg's) influence on their music & look. They were originals,(the first rock band to work as a collective unit,for example)which we take for granted now and this book reminds of us this fact.(though the author's description of them as "androgynous" is a bit extreme,in my opinion(perhaps "boyish" is a better term)& their effect on the women's movement is an interesting concept,if a bit over-stated. That being said This book is a fast,highly involving read that does make you appreciate the band's contributions to popular music even more.